With over 60 contributions, The Tokugawa World presents the latest scholarship on early modern Japan from an international team of specialists in a volume that is unmatched in its breadth and scope. In its early modern period, under the Tokugawa shoguns, Japan was a world apart. For over two centuries the shogun’s subjects were forbidden to travel abroad and few outsiders were admitted. Yet in this period, Japan evolved as a nascent capitalist society that could rapidly adjust to its incorporation into the world system after its forced "opening" in the 1850s. The Tokugawa World demonstrates how Japan’s early modern society took shape and evolved: a world of low and high cultures, comic books and Confucian academies, soba restaurants and imperial music recitals, rigid enforcement of social hierarchy yet also ongoing resistance to class oppression. A world of outcasts, puppeteers, herbal doctors, samurai officials, businesswomen, scientists, scholars, blind lutenists, peasant rebels, tea-masters, sumo wrestlers, and wage workers. Covering a variety of features of the Tokugawa world including the physical landscape, economy, art and literature, religion and thought, and education and science, this volume is essential reading for all students and scholars of early modern Japan.
Huang Xiangjian, a mid-seventeenth-century member of the Suzhou local elite, journeyed on foot to southwest China and recorded its sublime scenery in site-specific paintings. Elizabeth Kindall’s innovative analysis of the visual experiences and social functions Huang conveyed through his oeuvre reveals an unrecognized tradition of site paintings, here labeled geo-narratives, that recount specific journeys and create meaning in the paintings. Kindall shows how Huang created these geo-narratives by drawing upon the Suzhou place-painting tradition, as well as the encoded experiences of southwestern sites discussed in historical gazetteers and personal travel records, and the geography of the sites themselves. Ultimately these works were intended to create personas and fulfill specific social purposes among the educated class during the Ming-Qing transition. Some of Huang’s paintings of the southwest, together with his travel records, became part of a campaign to attain the socially generated title of Filial Son, whereas others served private functions. This definitive study elucidates the context for Huang Xiangjian’s painting and identifies geo-narrative as a distinct landscape-painting tradition lauded for its naturalistic immediacy, experiential topography, and dramatic narratives of moral persuasion, class identification, and biographical commemoration.
Sometime before 1579, Zhou Lujing, a professional writer living in a bustling commercial town in southeastern China, published a series of lavishly illustrated books, which constituted the first multigenre painting manuals in Chinese history. Their popularity was immediate and their contents and format were widely reprinted and disseminated in a number of contemporary publications. Focusing on Zhou's work, Art by the Book describes how such publications accommodated the cultural taste and demands of the general public, and shows how painting manuals functioned as a form in which everything from icons of popular culture to graphic or literary cliche was presented to both gratify and shape the sensibilities of a growing reading public. As a special commodity of early modern China, when cultural standing was measured by a person's command of literati taste and lore, painting manuals provided nonelite readers with a device for enhancing social capital.
One of the most important and celebrated works of premodern Korean prose fiction, Kŭmo sinhwa (New Tales of the Golden Turtle) is a collection of five tales of the strange artfully written in literary Chinese by Kim Sisŭp (1435–1493). Kim was a major intellectual and poet of the early Chosŏn dynasty (1392–1897), and this book is widely recognized as marking the beginning of classical fiction in Korea. The present volume features an extensive study of Kim and the Kŭmo sinhwa, followed by a copiously annotated, complete English translation of the tales from the oldest extant edition. The translation captures the vivaciousness of the original, while the annotations reveal the work’s complexity, unraveling the deep and diverse intertextual connections between the Kŭmo sinhwa and preceding works of Chinese and Korean literature and philosophy. The Kŭmo sinhwa can thus be read and appreciated as a hybrid work that is both distinctly Korean and Sino-centric East Asian. A translator’s introduction discusses this hybridity in detail, as well as the unusual life and tumultuous times of Kim Sisŭp; the Kŭmo sinhwa’s creation and its translation and transformation in early modern Japan and twentieth-century (especially North) Korea and beyond; and its characteristics as a work of dissent. Tales of the Strange by a Korean Confucian Monk will be welcomed by Korean and East Asian studies scholars and students, yet the body of the work—stories of strange affairs, fantastic realms, seductive ghosts, and majestic but eerie beings from the netherworld—will be enjoyed by academics and non-specialist readers alike.
Follows the path of an everyday object, from quarry to desk An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, an object of art, a token of exchange between friends or sovereign states, and a surface on which texts and images are carved. As such, the inkstone has been entangled with elite masculinity and the values of wen (culture, literature, civility) in China, Korea, and Japan for more than a millennium. However, for such a ubiquitous object in East Asia, it is virtually unknown in the Western world. Examining imperial workshops in the Forbidden City, the Duan quarries in Guangdong, the commercial workshops in Suzhou, and collectors’ homes in Fujian, The Social Life of Inkstones traces inkstones between court and society and shows how collaboration between craftsmen and scholars created a new social order in which the traditional hierarchy of “head over hand” no longer predominated. Dorothy Ko also highlights the craftswoman Gu Erniang, through whose work the artistry of inkstone-making achieved unprecedented refinement between the 1680s and 1730s The Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage.
Your students and users will find biographical information on approximately 300 modern writers in this volume of Contemporary Authors®. Authors in this volume include: William Least Heat-Moon Jack London Oscar Wilde Dorothy Sayers