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Volume Editor:
Centering Periphery: New Perspectives on Collecting East Asia, edited by Nataša Vampelj Suhadolnik, explores East Asian collections in "peripheral" areas of Europe and North America and their relationship with the collections of that kind in former imperial and colonial centres. Authors not only present the stories of a number of less well-known individual objects and collections, but also discuss the socioeconomic conditions, fashion trends, and evolving tastes in collecting East Asian objects in areas that were not European centres of colonial power.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
Volume Editor:
Centering Periphery: New Perspectives on Collecting East Asia, edited by Nataša Vampelj Suhadolnik, explores East Asian collections in "peripheral" areas of Europe and North America and their relationship with the collections of that kind in former imperial and colonial centres. Authors not only present the stories of a number of less well-known individual objects and collections, but also discuss the socioeconomic conditions, fashion trends, and evolving tastes in collecting East Asian objects in areas that were not European centres of colonial power.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
The introduction of writing enables new forms of literature, but these can be invisible in works that survive as manuscripts. Through looking at inscriptions of poetry on garbage and as graffiti, we can glimpse how literature spread along with writing.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
The introduction of writing enables new forms of literature, but these can be invisible in works that survive as manuscripts. Through looking at inscriptions of poetry on garbage and as graffiti, we can glimpse how literature spread along with writing.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
Series:
Sinica Leidensia, Volume: 158
After the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre?
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
Series:
Sinica Leidensia, Volume: 158
After the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre?
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
Abstract
Wu Bing’s
Abstract
Wang Yun’s
Abstract
Li Yu’s
Abstract
Ruan Dacheng’s Yanzi jian
Their Use and Materiality in China, Japan and Korea between the Mid-17th and Early 20th Century
With a multi-perspective approach and transdisciplinary methods (humanities and sciences), this book offers an in-depth and systematic study of hand-drawn and hand-coloured maps from East Asia. Map colouring provides an insight into past societies, landscapes and territories. Colour is an important key to a more precise understanding of the map’s content, purposes and uses; moreover, colours are also an important aspect of a map’s materiality. The material scientific analysis of colourants makes it possible to find out more about maps’ material nature and their production as well as the social, geographical and political context in which they were made. ‘Reading’ colours in this way gives a glimpse into the social lives of mapmakers as well as map users and reveals the complexity of the historical and social context in which maps were produced and how the maps were actually made.
Their Use and Materiality in China, Japan and Korea between the Mid-17th and Early 20th Century
With a multi-perspective approach and transdisciplinary methods (humanities and sciences), this book offers an in-depth and systematic study of hand-drawn and hand-coloured maps from East Asia. Map colouring provides an insight into past societies, landscapes and territories. Colour is an important key to a more precise understanding of the map’s content, purposes and uses; moreover, colours are also an important aspect of a map’s materiality. The material scientific analysis of colourants makes it possible to find out more about maps’ material nature and their production as well as the social, geographical and political context in which they were made. ‘Reading’ colours in this way gives a glimpse into the social lives of mapmakers as well as map users and reveals the complexity of the historical and social context in which maps were produced and how the maps were actually made.