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A beautifully illustrated, interdisciplinary look at the ceremonies and protocols of the dynastic court of Joseon Korea Recording State Rites in Words and Images provides an engaging and in-depth exploration of the large corpus of court statutes compiled during the Joseon dynasty of Korea. The term uigwe, commonly translated as “royal protocols,” is the name given to the collection of nearly four thousand books that were commissioned and written to document the customs, rituals, rules, protocols, and ceremonial practices of the Joseon dynasty. In this generously illustrated book, Yi Song-mi introduces readers to the rich and varied documentary tradition embodied in the uigwe, sharing invaluable insights into time-honored court customs through text and images and analyzing changes in ritual practice over time. The first comprehensive study of its kind in English, Recording State Rites in Words and Images presents groundbreaking research that opens a window on Korean history and art and will serve as an inspiration to students, scholars, and anyone interested in topics such as dynastic customs, court artists, and bookmaking. Published in association with the P. Y. and Kinmay W. Tang Center for East Asian Art at Princeton University
Word and Image in Japanese Cinema examines the complex relationship between the temporal order of linguistic narrative and the spatiality of visual spectacle, a dynamic that has played an important role in much of Japanese film. The tension between the controlling order of words and the liberating fragmentation of images has been an important force that has shaped modern culture in Japan and that has also determined the evolution of its cinema. In exploring the rift between word and image, the essays in this volume clarify the cultural imperatives that Japanese cinema reflects, as well as the ways in which the dialectic of word and image has informed the understanding and critical reception of Japanese cinema in the West.
The Board of Rites and the Making of Qing China presents a major new approach in research on the formation of the Qing empire (1636–1912) in early modern China. Focusing on the symbolic practices that structured domination and legitimized authority, the book challenges traditional understandings of state-formation, and argues that in addition to war making and institution building, the disciplining of diverse political actors, and the construction of political order through symbolic acts were essential undertakings in the making of the Qing state. Beginning in 1631 with the establishment of the key disciplinary organization, the Board of Rites, and culminating with the publication of the first administrative code in 1690, Keliher shows that the Qing political environment was premised on sets of intertwined relationships constantly performed through acts such as the New Year’s Day ceremony, greeting rites, and sumptuary regulations, or what was referred to as li in Chinese. Drawing on Chinese- and Manchu-language archival sources, this book is the first to demonstrate how Qing state-makers drew on existing practices and made up new ones to reimagine political culture and construct a system of domination that lay the basis for empire.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition. Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting. Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.
This book places Li Ji (the Book of Rites) back in the overall context of “books,” “rites” and its research history, drawing on the interrelations between myth, ritual and “materialized” symbols to do so. Further, it employs the double perspectives of “books” and “rites” to explore the sources and symbols of the capping ceremony (rites of passage), decode the prototypes of Miao and Ming Tang, and restore the discourse patterns of “people of five directions.” The book subsequently investigates the formation and function of the Yue Ling calendar and disaster ritual, so as to reveal the human cognitive encoding and metalanguage of ritual behavior involved. In the process, it demonstrates that Li Ji, its textual memories, archaeological remains and “traditional ceremony” narratives are all subject to the latent myth coding mechanism in China’s cultural system, while the “compilation” and “materialized” remains are merely forms of ritual refactoring, interpretation and exhibition, used when authority seeks the aid of ritual civilization to strengthen its legitimacy and maintain the social order.