China Program Books

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.

China's 1911 Revolution ended the rule of both the 267-year-old Manchu Qing dynasty and the more than 2,000-year-old imperial system, establishing Asia's first, if not lasting, republic. Because war correspondence was not an established profession in China and the camera was a rare apparatus in Chinese life at the time, photographs of the revolution are rare. Francis E. Stafford (1884-1938), an American working as a photographer for Asia's largest publishing company, Commercial Press in Shanghai, had unusual access to both sides of the conflict. The Birth of a Republic documents this tumultuous period through Stafford's photographic eye.

Stafford trained his lens on the leaders of the revolutionaries, the imperial court, and the generals and foot soldiers, as well as on the common people. His images thus capture the stock in trade of war correspondents and photo journalists, but he also documented scenes of everyday life, from the streets of China's cities to the muddy lanes of its villages, from paddy rice fields to factory workshops, from open-air food markets to the inner chambers of Buddhist temples and Christian churches. His remarkable photographs reveal sweeping social and political change, as well as the tenacity of tradition.

The 162 photographs presented here are from the collection of Stafford's grandson, Ronald Anderson, and are set in historical and cultural context through an interpretive introduction and extensive captions. This book will appeal to historians and general readers interested in modern China, revolution, and war.

Across eighteenth-century China a wide range of common people forged government documents or pretended to be officials or other agents of the state. This examination of case records and law codes traces the legal meanings and social and political contexts of small-time swindles that were punished as grave political transgressions.

In this first serious study of Hanshan (“Cold Mountain”), Paul Rouzer discusses some seventy poems of the iconic Chinese poet who lived sometime during the Tang dynasty (618–907). Hanshan’s poems gained a large readership in English-speaking countries following the publication of Jack Kerouac’s novel The Dharma Bums (1958) and Gary Snyder’s translations (which began to appear that same year), and they have been translated into English more than any other body of Chinese verse.

Rouzer investigates how Buddhism defined the way that believers may have read Hanshan in premodern times. He proposes a Buddhist poetics as a counter-model to the Confucian assumptions of Chinese literary thought and examines how texts by Kerouac, Snyder, and Jane Hirshfield respond to the East Asian Buddhist tradition.

During the Qing dynasty (1644–1911), the province emerged as an important element in the management of the expanding Chinese empire, with governors -- those in charge of these increasingly influential administrative units -- playing key roles. R. Kent Guy’s comprehensive study of this shift concentrates on the governorship system during the reigns of the Shunzhi, Kangxi, Yongzheng, and Qianlong emperors, who ruled China from 1644 to 1796.

In the preceding Ming dynasty (1368–1644), the responsibilities of provincial officials were ill-defined and often shifting; Qing governors, in contrast, were influential members of a formal administrative hierarchy and enjoyed the support of the central government, including access to resources. These increasingly powerful officials extended the court’s influence into even the most distant territories of the Qing empire.

Both masters of the routine processes of administration and troubleshooters for the central government, Qing governors were economic and political administrators who played crucial roles in the management of a larger and more complex empire than the Chinese had ever known. Administrative concerns varied from region to region: Henan was dominated by the great Yellow River, which flowed through the province; the Shandong governor dealt with the exchange of goods, ideas, and officials along the Grand Canal; in Zhili, relations between civilians and bannermen in the strategically significant coastal plain were key; and in northwestern Shanxi, governors dealt with border issues.

Qing Governors and Their Provinces uses the records of governors’ appointments and the laws and practices that shaped them to reconstruct the development of the office of provincial governor and to examine the histories of governors’ appointments in each province. Interwoven throughout is colorful detail drawn from the governors’ biographies.

This study of poetry by women in late imperial China examines the metamorphosis of the trope of the "inner chambers" (gui), to which women were confined in traditional Chinese households, and which in literature were both a real and an imaginary place. Originally popularized in sixth-century "palace style" poetry, the inner chambers were used by male writers as a setting in which to celebrate female beauty, to lament the loneliness of abandoned women, and by extension, to serve as a political allegory for the exile of loyal and upright male ministers spurned by the imperial court. Female writers of lyric poetry (ci) soon adopted the theme, beginning its transition from male fantasy to multidimensional representation of women and their place in society, and eventually its manifestation in other poetic genres as well.

Emerging from the role of sexual objects within poetry, late imperial women were agents of literary change in their expansion and complication of the boudoir theme. While some take ownership and de-eroticizing its imagery for their own purposes, adding voices of children and older women, and filling the inner chambers with purposeful activity such as conversation, teaching, religious ritual, music, sewing, childcare, and chess-playing, some simply want to escape from their confinement and protest gender restrictions imposed on women. Women's Poetry of Late Imperial China traces this evolution across centuries, providing and analyzing examples of poetic themes, motifs, and imagery associated with the inner chambers, and demonstrating the complication and nuancing of the gui theme by increasingly aware and sophisticated women writers.

Meng Jiangnü Brings Down the Great Wall brings together ten versions of a popular Chinese legend that has intrigued readers and listeners for hundreds of years. Elements of the story date back to the early centuries B.C.E. and are an intrinsic part of Chinese literary history. Major themes and subtle nuances of the legend are illuminated here by Wilt L. Idema's new translations and pairings.

In this classic story, a young woman named Meng Jiang makes a long, solitary journey to deliver winter clothes to her husband, a drafted laborer on the grandiose Great Wall construction project of the notorious First Emperor of the Qin dynasty (BCE 221-208). But her travels end in tragedy when, upon arrival, she learns that her husband has died under the harsh working conditions and been entombed in the wall. Her tears of grief cause the wall to collapse and expose his bones, which she collects for proper burial. In some versions, she tricks the lecherous emperor, who wants to marry her, into providing a stately funeral for her husband and then takes her own life.

The versions presented here are ballads and chantefables (alternating chanted verse and recited prose), five from urban printed texts from the late Imperial and early Republican periods, and five from oral performances and partially reconstructed texts collected in rural areas in recent decades. They represent a wide range of genres, regional styles, dates, and content. From one version to another, different elements of the story--the circumstances of Meng Jiangnu's marriage, her relationship with her parents-in-law, the journey to the wall, her grief, her defiance of the emperor--are elaborated upon, downplayed, or left out altogether depending on the particular moral lessons that tale authors wished to impart.

Idema brings together his considerable translation skills and broad knowledge of Chinese literature to present an assortment of tales and insightful commentary that will be a gold mine of information for scholars in a number of disciplines. Haiyan Lee's essay discusses the appeal of the Meng Jiangnü story to twentieth-century literary reformers, and the interpretations they imposed on the material they collected.

Occupying much of imperial China’s Yangzi River heartland and costing more than twenty million lives, the Taiping Rebellion (1851-64) was no ordinary peasant revolt. What most distinguished this dramatic upheaval from earlier rebellions were the spiritual beliefs of the rebels. The core of the Taiping faith focused on the belief that Shangdi, the high God of classical China, had chosen the Taiping leader, Hong Xiuquan, to establish his Heavenly Kingdom on Earth.

How were the Taiping rebels, professing this new creed, able to mount their rebellion and recruit multitudes of followers in their sweep through the empire? Thomas Reilly argues that the Taiping faith, although kindled by Protestant sources, developed into a dynamic new Chinese religion whose conception of its sovereign deity challenged the legitimacy of the Chinese empire. The Taiping rebels denounced the divine pretensions of the imperial title and the sacred character of the imperial office as blasphemous usurpations of Shangdi’s title and position. In place of the imperial institution, the rebels called for restoration of the classical system of kingship. Previous rebellions had declared their contemporary dynasties corrupt and therefore in need of revival; the Taiping, by contrast, branded the entire imperial order blasphemous and in need of replacement.

In this study, Reilly emphasizes the Christian elements of the Taiping faith, showing how Protestant missionaries built on earlier Catholic efforts to translate Christianity into a Chinese idiom. Prior studies of the rebellion have failed to appreciate how Hong Xiuquan’s interpretation of Christianity connected the Taiping faith to an imperial Chinese cultural and religious context. The Taiping Heavenly Kingdom shows how the Bible--in particular, a Chinese translation of the Old Testament--profoundly influenced Hong and his followers, leading them to understand the first three of the Ten Commandments as an indictment of the imperial order. The rebels thus sought to destroy imperial culture along with its institutions and Confucian underpinnings, all of which they regarded as blasphemous. Strongly iconoclastic, the Taiping followers smashed religious statues and imperially approved icons throughout the lands they conquered. By such actions the Taiping Rebellion transformed--at least for its followers but to some extent for all Chinese--how Chinese people thought about religion, the imperial title and office, and the entire traditional imperial and Confucian order.

This book makes a major contribution to the study of the Taiping Rebellion and to our understanding of the ideology of both the rebels and the traditional imperial order they opposed. It will appeal to scholars in the fields of Chinese history, religion, and culture and of Christian theology and church history.

The death of the Italian Jesuit Matteo Ricci in China in 1610 was the occasion for demonstrations of European rituals appropriate for a Catholic priest and also of Chinese rituals appropriate to the country hosting the Jesuit community. Rather than burying Ricci immediately in a plain coffin near the church, according to their European practice, the Jesuits followed Chinese custom and kept Ricci's body for nearly a year in an air-tight Chinese-style coffin and asked the emperor for burial ground outside the city walls. Moreover, at Ricci's funeral itself, on their own initiative the Chinese performed their funerary rituals, thus starting a long and complex cultural dialogue in which they took the lead during the next century.

The Interweaving of Rituals explores the role of ritual - specifically rites related to death and funerals - in cross-cultural exchange, demonstrating a gradual interweaving of Chinese and European ritual practices at all levels of interaction in seventeenth-century China. This includes the interplay of traditional and new rituals by a Christian community of commoners, the grafting of Christian funerals onto established Chinese practices, and the sponsorship of funeral processions for Jesuit officials by the emperor. Through careful observation of the details of funerary practice, Nicolas Standaert illustrates the mechanics of two-way cultural interaction. His thoughtful analysis of the ritual exchange between two very different cultural traditions is especially relevant in today's world of global ethnic and religious tension. His insights will be of interest to a broad range of scholars, from historians to anthropologists to theologians.

Winner of a 2006 Choice Magazine Outstanding Academic Title Award

As medieval Chinese manuscripts were copied and recopied through the centuries, both mistakes and deliberate editorial changes were introduced, thereby affecting readers' impressions of the author's intent. In Tao Yuanming and Manuscript Culture, Xiaofei Tian shows how readers not only experience authors but produce them by shaping texts to their interpretation. Tian examines the mechanics and history of textual transmission in China by focusing on the evolution over the centuries of the reclusive poet Tao Yuanming into a figure of epic stature.

Considered emblematic of the national character, Tao Yuanming (also known as Tao Qian, 365?-427 c.e.) is admired for having turned his back on active government service and city life to live a simple rural life of voluntary poverty. The artlessness of his poetic style is held as the highest literary and moral ideal, and literary critics have taken great pains to demonstrate perfect consistency between Tao Yuanming's life and poetry. Earlier work on Tao Yuanming has tended to accept this image, interpreting the poems to confirm the image.

Tao Yuanming and Manuscript Culture is a study of how this cultural icon was produced and of the elusive traces of another, historical Tao Yuanming behind the icon. By comparing four early biographies of the poet, Tian shows how these are in large measure constructed out of Tao Yuanming's self-image as projected in his poetry and prose. Drawing on work in European medieval literature, she demonstrates the fluidity of the Chinese medieval textual world and how its materials were historically reconfigured for later purposes.

Tian finds in Tao's poetic corpus not one essentialized Tao Yuanming, but multiple texts continuously produced long after the author's physical demise. Her provocative look at the influence of manuscript culture on literary perceptions transcends its immediate subject and has special resonance today, when the transition from print to electronic media is shaking the literary world in a way not unlike the transition from handwritten to print media in medieval China.

During China's last dynasty, the Qing (1644-1911), the empire's remote, bleak, and politically insignificant Southwest rose to become a strategically vital area. This study of the imperial government's handling of the southwestern frontier illuminates issues of considerable importance in Chinese history and foreign relations: Sichuan's rise as a key strategic area in relation to the complicated struggle between the Zunghar Mongols and China over Tibet, Sichuan's neighbor to the west, and consequent developments in governance and taxation of the area.

Through analysis of government documents, gazetteers, and private accounts, Yingcong Dai explores the intersections of political and social history, arguing that imperial strategy toward the southwestern frontier was pivotal in changing Sichuan's socioeconomic landscape. Government policies resulted in light taxation, immigration into Sichuan, and a military market for local products, thus altering Sichuan but ironically contributing toward the eventual demise of the Qing.

Dai's detailed, objective analysis of China's historical relationship with Tibet will be useful for readers seeking to understand debates concerning Tibet's sovereignty, Tibetan theocratic government, and the political dimension of the system of incarnate Tibetan lamas (of which the Dalai Lama is one).

In this seventeenth-century Chinese novel, Han Xiangzi, best known as one of the Eight Immortals, seeks and achieves immortality and then devotes himself to converting his materialistic, politically ambitious Confucian uncle—Han Yu, a real historical figure—to Daoism. Written in lively vernacular prose interspersed with poems and songs, the novel takes its readers across China, to the heavens, and into the underworld. Readers listen to debates among Confucians, Daoists, and Buddhists and witness trials of faith and the performance of magical feats. In the mode of the famous religious novel Journey to the West, The Story of Han Xiangzi uses colorful characters, twists of plot, witty dialogue, and action suitable for a superhero comic book to convey its religious message—that worldly life is ephemeral and that true contentment can be found only through Daoist cultivation.

This is the first translation into any Western language of Han Xiangzi quanzhuan (literally, The Complete Story of Han Xiangzi). On one level, the novel is a delightful adventure; on another, it is serious theology. Although The Story of Han Xiangzi’s irreverent attitude toward the Confucian establishment prevented its acceptance by literary critics in imperial China, it has remained popular among Chinese readers for four centuries.

Philip Clart’s introduction outlines the Han Xiangzi story cycle, presents Yang Erzeng in his social context, assesses the literary merits and religious significance of the text, and explores the theory and practice of inner alchemy. This unabridged translation will appeal to students of Chinese literature and to general readers who enjoy international fiction, as well as to readers with an interest in Daoism.

The open access publication of this book was made possible by a grant from the James P. Geiss and Margaret Y. Hsu Foundation.

Fan Chengda (1126-1193) was a high-ranking Chinese government official in Guangxi, an experienced traveler, a keen observer, and a gifted writer. His observations on a wide range of subjects are always interesting and revealing, and constitute an important contribution to the literature on Song dynasty China’s frontier peoples. Originally written in direct, unadorned, and allusion-free classical Chinese prose, the complete and annotated English translation of Treatises of the Supervisor and Guardian of the Cinnamon Sea (Guihai yuheng zhi) captures its charm and significance.

Twenty years ago, commercial tourism in the People’s Republic of China hardly existed. Today, China has a burgeoning tourist industry, characterized by a unique style with deep roots in traditional Chinese culture. Scenic Spots is an engaging exploration of why Chinese tourists pursue certain kinds of experiences, what they make of them, and how their experiences and interpretations are shaped by the state.

Working from within a Chinese cultural framework, Pál Nyíri argues that China’s brand of tourism is distinct from the traditions of both Western bourgeois tourism, which values authenticity, and Soviet tourism, with its emphasis on rugged and selfless experience. In China, tourism development is guided by the state, and “scenic spots” (jingdian) and theme parks are used to demonstrate China’s heroic past and as tools of patriotic education and modernization – or as forms of “indoctritainment.” The tourist site is perceived as a product, and, as such, it is bounded, approved, rated, and consumed.

In a style both straightforward and provocative, Nyíri argues that the uniformity and undisguised commercialism of Chinese tourist sites are a direct result of the state’s ultimate authority to determine the meaning of landscape and to control culture. Scenic Spots serves as a lens through which to explore mechanisms of cultural control and resistance in a highly commercialized sphere of everyday life in contemporary China.