Imagining a Universal Empire: a Study of the Illustrations of the Tributary States of the Myriad Regions Attributed to Li Gonglin
In: Journal of Chinese HumanitiesSearch for other papers by 葛兆光 in
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Abstract
This article is not concerned with the history of aesthetics but, rather, is an exercise in intellectual history. “Illustrations of Tributary States” [Zhigong tu 職貢圖] as a type of art reveals a Chinese tradition of artistic representations of foreign emissaries paying tribute at the imperial court. This tradition is usually seen as going back to the “Illustrations of Tributary States,” painted by Emperor Yuan in the Liang dynasty 梁元帝 [r. 552-554] in the first half of the sixth century. This series of paintings not only had a lasting influence on aesthetic history but also gave rise to a highly distinctive intellectual tradition in the development of Chinese thought: images of foreign emissaries were used to convey the Celestial Empire’s sense of pride and self-confidence, with representations of strange customs from foreign countries serving as a foil for the image of China as a radiant universal empire at the center of the world. The tradition of “Illustrations of Tributary States” was still very much alive during the time of the Song dynasty [960-1279], when China had to compete with equally powerful neighboring states, the empire’s territory had been significantly diminished, and the Chinese population had become ethnically more homogeneous. In this article, the “Illustrations of the Tributary States of the Myriad Regions” [Wanfang zhigong tu 萬方職貢圖] attributed to Li Gonglin 李公麟 [ca. 1049-1106] and created during the period between the Xining 熙寧 [1068-1077] and Yuanfeng 元豐 [1078-1085] reigns of the Shenzong emperor 神宗 [r. 1067-1085] of the Song dynasty, is used as a case study for investigating the actual tributary relations between the Northern Song [960-1127] state and its neighboring countries. In doing so, I demonstrate that while certain parts of the “Illustrations of the Tributary States of the Myriad Regions” are historically accurate, a considerable portion of the content is the combined product of historical remembrance and the imagination of empire. In the international environment of the Song empire, China was captivated by the dream of being a universal empire envied by its “barbarian” neighbors. Particularly worth emphasizing is the fact that the artistic tradition of painting “Illustrations of Tributary States” as well as the accompanying idea of China as a universal empire continued well into the Qing [1644-1911] period, reflecting the historical longevity and lasting influence of the traditional conception of the relationship between China and the world.
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Imagining a Universal Empire: a Study of the Illustrations of the Tributary States of the Myriad Regions Attributed to Li Gonglin
In: Journal of Chinese HumanitiesSearch for other papers by 葛兆光 in
Current site
Google Scholar
PubMed
Abstract
This article is not concerned with the history of aesthetics but, rather, is an exercise in intellectual history. “Illustrations of Tributary States” [Zhigong tu 職貢圖] as a type of art reveals a Chinese tradition of artistic representations of foreign emissaries paying tribute at the imperial court. This tradition is usually seen as going back to the “Illustrations of Tributary States,” painted by Emperor Yuan in the Liang dynasty 梁元帝 [r. 552-554] in the first half of the sixth century. This series of paintings not only had a lasting influence on aesthetic history but also gave rise to a highly distinctive intellectual tradition in the development of Chinese thought: images of foreign emissaries were used to convey the Celestial Empire’s sense of pride and self-confidence, with representations of strange customs from foreign countries serving as a foil for the image of China as a radiant universal empire at the center of the world. The tradition of “Illustrations of Tributary States” was still very much alive during the time of the Song dynasty [960-1279], when China had to compete with equally powerful neighboring states, the empire’s territory had been significantly diminished, and the Chinese population had become ethnically more homogeneous. In this article, the “Illustrations of the Tributary States of the Myriad Regions” [Wanfang zhigong tu 萬方職貢圖] attributed to Li Gonglin 李公麟 [ca. 1049-1106] and created during the period between the Xining 熙寧 [1068-1077] and Yuanfeng 元豐 [1078-1085] reigns of the Shenzong emperor 神宗 [r. 1067-1085] of the Song dynasty, is used as a case study for investigating the actual tributary relations between the Northern Song [960-1127] state and its neighboring countries. In doing so, I demonstrate that while certain parts of the “Illustrations of the Tributary States of the Myriad Regions” are historically accurate, a considerable portion of the content is the combined product of historical remembrance and the imagination of empire. In the international environment of the Song empire, China was captivated by the dream of being a universal empire envied by its “barbarian” neighbors. Particularly worth emphasizing is the fact that the artistic tradition of painting “Illustrations of Tributary States” as well as the accompanying idea of China as a universal empire continued well into the Qing [1644-1911] period, reflecting the historical longevity and lasting influence of the traditional conception of the relationship between China and the world.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 99 | 0 | 0 |
| Full Text Views | 802 | 255 | 16 |
| PDF Views & Downloads | 949 | 185 | 5 |
