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Vol. 28
ISSN:
1029-4759
Date:
2016-12
Softcover:200 TWD
Price:
未出版
Pages:
225
Vol.:
0
Size:
18 K
Other Ordering Methods:
SanMin
.
Agent List
Abstract:
本期收學術論文三篇:賴惠敏著〈崇慶皇太后的萬壽盛典〉、陳慧霞著〈清代宮廷婦女簪飾之流變〉、賴毓芝著〈晚清中日交流下的圖像、技術與性別:《鏡影簫聲初集》研究〉;及書評一篇:王燕撰〈評姜進,《詩與政治:二十世紀上海公共文化中的女子越劇》〉。
Contents
Foreword
Taking the ‘Material Turn’: A New Direction in Research on Women’s and Gender History in China
Dorothy Ko
PDF
Articles
The Birthday Celebration of Empress Dowager Chongqing
[Abstract]
Hui-min Lai
PDF
1
The Qianlong emperor organized grand birthday celebrations for his mother, Empress Dowager Chongqing in Qianlong 16 (1751), Qianlong 26 (1761), and Qianlong 36 (1771). Given the Qing court’s power and wealth, Qianlong was able to spend generously in decorating Beijing. First, from Xihuamen to Wanshou Temple located outside of Xizhimen, making large expenditures to renovate temples along the waterway – Huitong Temple, Zhantan Temple, Guangtong Temple, Cixian Temple, Wanshou Temple, Guanying Temple, and Shenghua (Lama) Temple. Secondly, Qianlong hired painters to produce four scrolls entitled “Chongqing huangtaihou wanshou shengdian tu” (Painting of the birthday celebration of Empress Dowager Chongqing), which presented stage performances and western architecture, showing Beijing as an important, international city. Moreover, “Luhuanhui jingtuce” was painted for e Chongqing’s seventieth birthday celebration, and “Chongqing huangtaihou wanshou tutieluo” was made forher eightieth birthday celebration. “Chongqing huangtaihou wanshou tutieluo” presented the whole royal family, five generations living in the same roof and full of happiness, thus showing that Chongqing had great fortune and numerous offspring.
The birthday celebration of Chongqing was different from the Emperor’s. Civil and military officials and commoners could freely watch the theatrical performances, instead of dropping to their knees on the roadside to meet the imperial chariot. Moreover, women could also go out to enjoy the festivities from their sedan chairs. The provincially dedicated Emerald Pavilion, Yellow Crane Tower, Lake Mirror.and so forth, were spectacular. For his mother’s birthday celebrations, the Qianlong Emperor asked the Imperial Household Departments to renovate famous temples and Beijing’s roads, as well as to organize activities for the Buddhist peace ritual.
Keyword
:Empress Dowager Chongqing, Beijing, Chongqing huangtaihou wanshoushengdian tu, women, peace ritual
The Development of Court Ladies’ Hairpins and Accessories during the Qing Dynasty
[Abstract]
Hui-hsia Chen
PDF
53
After having organized surviving hairpins and accessories of court ladies from the Qing dynasty, along with their accompanying yellow label records, in this study I analyze their stylistic development over time. The “hairpins and accessories” here refers to the headdress ornaments and hairpins used to tie the hair into the Banner style. The headdress and Banner hairstyle was a common way for Qing Manchu ladies to tie their hair. The hairpins and accessories that accompanied this hairstyle not only changed over time, but their methods of combination were also different. The emperors and those in power were the driving force behind these stylistic developments, but external conditions of craftsmanship and technique as well as the materials used likewise were elements that played a role in the changes seen in such accessories. As for imperial ladies, they may not have had the authority to have these hairpins and accessories produced, but they had the power to choose from among them. All of these variables helped to produce the graceful image of Qing court ladies. Close observation of developments in hairpins and accessories allows us to understand how the Manchus retained their customs and give us a deeper understanding of related gender issues.
Keyword
:Qing period apparel, imperial court, Manchus, headdress, Banner hairstyle, hairpins
Image, Technology, and Gender in Sino- Japanese Exchanges during the late Qing: A Study of the
Jingying xiaosheng chuji
[Abstract]
Yu-chih Lai
PDF
125
In 1887, the owner of a publishing house, the Lunhuaguan, printed illustrated biographies of famous courtesans in Shanghai entitled Jingying xiaosheng chuji (Mirror Reflections and Flute Sounds: First Collection) and mobilized a media campaign in the Shenbao newspaper to promote the publication. It had not been uncommon to publish biographies or images of famous courtesans since the flourishing of courtesan culture in the Ming and Qing periods. However, as opposed to earlier or even contemporary publications of a similar kind, which were either printed from woodblocks or using lithography, Jingying xiaosheng chuji was printed in Japan by means of copperplate engraving. It is worthnoting that the 1880s, when the book was published, was a crucial period in the publishing industry in Shanghai. It was a time that traditional woodblock printing, lithography from the West, and copperplate printing brought from Japan were waging a battle for market supremacy. This article focuses on the publication of Jingying xiaosheng chuji. It first determines who the owner of Lunhuaguan was and goes on to analyze the book’s publication and effects. Who comprised the publication team? Why did the owner decide to choose copperplate printing for the images of famous courtesans? Did his choice have anything to do with the nature of this specific genre? How was this old genre now revised by new technology received by readers at the time? Most importantly, did Japan, as the source of its printing technology, contribute to the specific style of the images in the book? This paper will explore how gender was constructed and mediated through transcultural technology, resulting in a new formation or perception of gender in the making.
Keyword
:Jingying xiaosheng chuji, copperplate printing in Shanghai, Sino-Japanese print culture, gender and technology, illustrated biographies of famous courtesans
Book Reviews
Review:
Poetics and Politics, Women’s Yue Opera in Twentieth Century Shanghai’s Public Culture
by Jin Jiang
Yan Wang
PDF
215
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