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Journal articles on the topic 'Dinasties Ming i Qing'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

ZIMA, Matej. "Izvori temeljnih principov vede fengshui skozi pojem korelativne kozmologije." Asian Studies 4, no. 2 (2016): 201–28. http://dx.doi.org/10.4312/as.2016.4.2.201-228.

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V članku obravnavam osnovne prvine kitajske vede fengshui 风水, ki se je razvila iz specifično kitajskih tehnično-magičnih praks. Zahodni tehničnih viri se pri raziskavi vede feng shui kažejo kot nezadostni, zato se posvečam klasičnim kitajskim izvorom te vede. Tem sledim zlasti skozi prevladujoči diskurz korelativne kozmologije iz dinastije Han, ko nastane tudi predhodnica vede fengshui – veda kanyu 堪舆. Fengshui v obdobju Šestih dinastij ter dinastijah Sui, Tang in Song doživi svoj razcvet, zlasti pa se takrat začne pojavljati prva prava fengshui literatura, ki jo v okviru »izumljanja tradicije« proizvajajo konfucijanski izobraženci. V dinastijah Yuan in Ming, ki tem tokovom bolj ali manj sledita, se fengshui že popularizira in postane del množične kulture. V dinastiji Qing poleg obravnavanja kulturnega pojava vede fengshui znotraj leposlovja opazimo tudi prve spremembe njenih praks, ki so plod zahodnih znanosti.

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2

Priangani, Ade, Kunkunrat Kunkunrat, and Rangga MS Saputra. "CHINA�S DEBT TRAP PADA BELT AND ROAD INITIATIVE (BRI) MELALUI MODEL TRIBUTARY SYSTEM ALA DINASTI MING-QING DALAM PEMBANGUNAN INFRASTRUKTUR DI TIMOR LESTE." Jurnal Academia Praja 4, no. 2 (2021): 317–32. http://dx.doi.org/10.36859/jap.v4i2.519.

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Sejak reformasi China yang dilakukan oleh Deng Xiaoping pada tahun 1978 dan dilanjutkan oleh Xi Jinping yang lebih aktif pada tahun 2013, dengan membentuk jalur ekonomi sutra baru Belt and Road Initiative (BRI) dengan tujuan menciptakan kerjasama dan interdependensi serta harmoni pada tatanan kawasan Asia-Pasifik dan Global. Landasan BRI ini adalah salah satu bentuk romantisasi sejarah pada masa dinasti Han dengan jalur ekonomi sutra lama. Akan Tetapi kepentingan BRI terhadap negara-negara partner menjadi ancaman tersendiri dengan adanya �Debt trap� atau jebakan Utang yang dilakukan oleh China alih-alih bantuan infrastuktur. Sehigga BRI adalah salah satu model �Tributary system� gaya baru ala Dinasti Ming-Qing yang dimana jebakan utang adalah salah satu pengabdian diri pada China sebagai negara inti. Hasil analisis menjelaskan bahwa pengaruh terhadap Timor Leste menjadi ancaman dengan meningkatnya utang sebesar 13 persen pada tahun 2016, namun dibantah oleh Timor Leste dan China sendiri yang dimana jebakan utang adalah konstruksi subjektivitas dari kekhawatiran AS dan sekutu terhadap dominasi China.

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3

Rowe, William T. "Ming-Qing Guilds." MING QING YANJIU 1, no. 1 (1992): 47—ins01. http://dx.doi.org/10.1163/24684791-90000319.

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4

Lee, Jun Gab. "Qing and Liuqiu in Ming-Qing transition period." Journal of Ming-Qing Historical Studies 39 (April 30, 2013): 77–120. http://dx.doi.org/10.31329/jmhs.2013.04.39.77.

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5

Pang, Nai-Ming. "Textual Criticisms of the Daxiyang During the Ming-Qing the Ming and Qing Dynasties." JOURNAL OF ASIAN HISTORICAL STUDIES 140 (September 30, 2017): 415–51. http://dx.doi.org/10.17856/jahs.2017.09.140.415.

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6

Chen, Kun, Dan Lu, Zimin Jin, Miao Su, and Jing Jin. "Song Brocade in the Ming and Qing Dynasties." Clothing and Textiles Research Journal 38, no. 4 (2020): 285–97. http://dx.doi.org/10.1177/0887302x20932657.

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Song brocade is Chinese traditional brocade that originated in the Song dynasty but flourished in the Ming and Qing dynasties. Its delicate patterns, graceful colors, and exquisite techniques show the unique craftsmanship of ancient China. The fabric structure, pattern, and weaving technique had changed greatly because of the social environment, cultural customs, and other factors during the Ming and Qing dynasties. This article proposed a new series of classification for Song brocade patterns in Ming and Qing dynasties and recurred the fabric weave of Song brocade in Ming and Qing dynasties. Besides, the research provided a concise English-language description of historical background, varieties, and specifications based primarily on Chinese-language research publications.

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7

Nyanchen, Zhen. "THE USE AND ARTISTIC FEATURES OF XUANZI POLYCHROME PAINTING IN THE MING AND QING DYNASTIES." Scientific and analytical journal Burganov House. The space of culture 16, no. 3 (2020): 134–44. http://dx.doi.org/10.36340//2071-6818-2020-16-3-134-144.

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In the field of the pictorial decoration of Chinese architecture, the decor of the period of the Ming and Qing dynasties is considered the most outstanding since, at that time, the technique was perfect, and the methods of decoration were rich in their diversity, which was not possible in previous eras. The polychrome painting of official buildings during the Ming and Qing dynasties’ reign is quite different from the Song dynasty’s polychrome painting. The transition from the Song dynasty’s polychrome painting to the Ming and Qing dynasties’ polychrome painting was completed during the Yuan dynasty’s reign. Due to the decrease of dougong in size in the Ming dynasty, polychrome painting began to be placed on beams. Xuanzi polychrome painting, which originated from painting beams under the Yuan dynasty, became the primary type. By the Qing dynasty, Hexi polychrome painting and Suzhou polychrome painting, which evolved from the folk polychrome painting of the Jiangnan region of the Ming dynasty, appeared. The Xuanzi type was one of the three main polychrome painting types in the Qing dynasty. It was fully developed compared to the Hexi type as it was used more widely. The article explains the development of the artistic features of the various decorative parts of Xuanzi polychrome painting during the Ming and Qing dynasties, the characteristics of each gradation, and the method of distinguishing it, as well as its place of application.

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8

Pease, Jonathan, and Timothy Brook. "Geographical Sources of Ming-Qing History." Chinese Literature: Essays, Articles, Reviews (CLEAR) 12 (December 1990): 144. http://dx.doi.org/10.2307/495234.

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9

Takao, Ishibashi. "Ming-Qing Studies in Japan: 1984." Chinese Studies in History 22, no. 1-2 (1989): 29–41. http://dx.doi.org/10.2753/csh0009-463322010229.

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10

Tsuyoshi, Katayama. "Ming-Qing Studies in Japan: 1983." Chinese Studies in History 22, no. 1-2 (1989): 5–15. http://dx.doi.org/10.2753/csh0009-46332201025.

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11

Akifumi, Norimatsu. "Ming-Qing Studies in Japan: 1985." Chinese Studies in History 22, no. 1-2 (1989): 56–65. http://dx.doi.org/10.2753/csh0009-463322010256.

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12

Fumitoshi, Sato. "Ming-Qing Studies in Japan: 1986." Chinese Studies in History 22, no. 1-2 (1989): 79–90. http://dx.doi.org/10.2753/csh0009-463322010279.

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13

Heijdra, Martin. "GEOGRAPHICAL SOURCES OF MING-QING HISTORY." Ming Studies 1990, no. 1 (1990): 65–69. http://dx.doi.org/10.1179/014703790788763884.

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14

Fumitoshi, Sato, and Joshua A. Fogel. "Ming-Qing Studies in Japan: 1986." Late Imperial China 10, no. 1 (1989): 108–24. http://dx.doi.org/10.1353/late.1989.0006.

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15

Iwai, Shigeki, and Mark Elliott. "Ming-Qing Studies in Japan: 1988." Late Imperial China 12, no. 1 (1991): 100–114. http://dx.doi.org/10.1353/late.1991.0005.

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16

Susumu, Yamamoto, and Mark Elliott. "Ming-Qing Studies In Japan: 1992." Late Imperial China 14, no. 2 (1993): 78–95. http://dx.doi.org/10.1353/late.1993.0012.

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17

Zheng, Jie, and Jin Ping Wang. "Brief Analysis of Settlement Patterns in Taiyuan County in Ming Dynasty." Applied Mechanics and Materials 477-478 (December 2013): 1152–55. http://dx.doi.org/10.4028/www.scientific.net/amm.477-478.1152.

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Ming Taiyuan County ,as the main component of Jinyang City relics, is the bond of cultural evolution from ancient to modern times. The ancient county pattern still exists from which can clearly see overall appearance of culture development in the Taiyuan area after the Ming and Qing Dynasties. It is of great significance for the study of the history of Ming and Qing Dynasty in Taiyuan area. This paper analyzes the historical background, settlement patterns, layout of streets and lanes of the Ming Taiyuan County, and summarizes the characteristics of the value of ancient town.

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18

Yap, C. T., and Younan Hua. "Principal Component Analysis of Chinese Porcelains from the Five Dynasties to the Qing Dynasty." Zeitschrift für Naturforschung A 47, no. 10 (1992): 1029–33. http://dx.doi.org/10.1515/zna-1992-1004.

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AbstractThis is a study of the possibility of identifying antique Chinese porcelains according to the period or dynasty, using major and minor chemical components (SiO2 , Al2O3 , Fe2O3 , K2O, Na2O, CaO and MgO) from the body of the porcelain. Principal component analysis is applied to published data on 66 pieces of Chinese procelains made in Jingdezhen during the Five Dynasties and the Song, Yuan, Ming and Qing Dynasties. It is shown that porcelains made during the Five Dynasties and the Yuan (or Ming) and Qing Dynasties can be segregated completely without any overlap. However, there is appreciable overlap between the Five Dynasties and the Song Dynasty, some overlap between the Song and Ming Dynasties and also between the Yuan and Ming Dynasties. Interestingly, Qing procelains are well separated from all the others. The percentage of silica in the porcelain body decreases and that of alumina increases with recentness with the exception of the Yuan and Ming Dynasties, where this trend is reversed.

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19

Medley, Margaret. "The Ming - Qing Transition in chinese Porcelain." Arts asiatiques 42, no. 1 (1987): 65–76. http://dx.doi.org/10.3406/arasi.1987.1217.

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20

Rowe, William T. "Violence in Ming-Qing China : An Overview." Crime, Histoire & Sociétés 18, no. 2 (2014): 85–98. http://dx.doi.org/10.4000/chs.1490.

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21

Widmer, Ellen. "Ming Qing Anhui funü wenxue zhushu jikao." NAN NÜ 13, no. 1 (2011): 153–54. http://dx.doi.org/10.1163/156852611x559376.

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22

Mizoguchi, Yūzō. "The Ming–Qing transition as turning point." Inter-Asia Cultural Studies 17, no. 4 (2016): 526–73. http://dx.doi.org/10.1080/14649373.2016.1242190.

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23

von Glahn, Richard. "Modalities of the Fiscal State in Imperial China." Journal of Chinese History 4, no. 1 (2019): 1–29. http://dx.doi.org/10.1017/jch.2019.15.

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AbstractIn the past two decades, increasing attention has been paid to the significance of the fiscal capacity of the premodern state to promote or retard economic growth. In particular, scholarship on economic history has stressed the positive impact the emergence of the “fiscal state” had in enhancing economic growth in early modern Europe. Comparative studies have contrasted the administrative efficiency of the emerging European fiscal state with contemporary Asian empires (the Ottomans, Mughals, and the Ming and Qing empires in China). But the Ming-Qing state represents only one version of Chinese state formation under the Chinese empire. This article identifies four basic types of fiscal state that appeared between the Qin unification and the Ming-Qing era, analyzes their ideological foundations, and assesses their implications for economic growth.

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24

Dong, Youqiang, Miaole Hou, Biao Xu, Yihao Li, and Yuhang Ji. "Ming and Qing Dynasty Official-Style Architecture Roof Types Classification Based on the 3D Point Cloud." ISPRS International Journal of Geo-Information 10, no. 10 (2021): 650. http://dx.doi.org/10.3390/ijgi10100650.

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The Ming and Qing Dynasty type of official-style architecture roof can provide plenty of prior knowledge relating to the structure and size of these works of architecture, and plays an important role in the fields of 3D modeling, semantic recognition and culture inheriting. In this paper, we take the 3D point cloud as the data source, and an automatic classification method for the roof type of Ming and Qing Dynasty official-style architecture based on the hierarchical semantic network is illustrated. To classify the roofs into the correct categories, the characteristics of different roof types are analyzed and features including SoRs, DfFtR, DoPP and NoREs are first selected; subsequently, the corresponding feature extraction methods are proposed; thirdly, aiming at the structure of the ridges, a matching graph relying on the attributed relational graph of the ridges is given; based on the former work, a hierarchical semantic network is proposed and the thresholds are determined with the help of the construction rules of the Ming and Qing Dynasty official-style architecture. In order to fully verify the efficiency of our proposed method, various types of Ming and Qing Dynasty official-style architecture roof are identified, and the experimental results show that all structures are classified correctly.

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25

Hardie, Alison. "Political Drama in the Ming-Qing Transition: A Study of Four Plays." MING QING YANJIU 17, no. 01 (2012): 1–34. http://dx.doi.org/10.1163/24684791-01701002.

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In the late Ming dynasty, a new genre of drama arose, which presented on stage recent political events, featuring real historical persons; this genre continued across the Ming-Qing transition. The earliest and one of the best known examples is The Cry of the Phoenix (Ming feng ji), dramatising the conflict between corrupt minister Yan Song (1481-1568) and upright official Yang Jisheng (1516-1555), and probably written by someone in the literary circle of Wang Shizhen (1526-1590). The genre reached its apogee in Kong Shangren’s (1648-1718) The Peach Blossom Fan (Taohua shan). Around the Ming-Qing transition, in the Chongzhen and Shunzhi reigns, a considerable number of plays focused on the conflict during the preceding Tianqi reign between the Eastern Grove (Donglin) faction and the chief eunuch Wei Zhongxian (1568-1627). Eleven plays on this subject are known, of which three survive: Fan Shiyan’s Eunuch Wei Grinds Down the Loyal (Wei jian mo zhong ji), the Clear-Whistling Scholar’s (Qingxiaosheng) A Happy Encounter with Spring (Xi feng chun), and Li Yu’s 李玉 A Roster of the Pure and Loyal (Qing zhong pu). Basing my argument on an examination of these plays and of another play by Li Yu, Reunion across Ten Thousand Miles (Wan li yuan), also based on contemporary events, I suggest that the lively version of events given by these political dramas both reflected and helped to develop and spread the popularly accepted view of late-Ming and Southern Ming factional conflict leading to the fall of the Ming dynasty. According to this view, broadly following the Eastern Grove and Revival Society (Fushe) narrative, the decline and fall of the Ming dynasty was the fault of corrupt officials and evil palace eunuchs who misled the Emperor and were bravely resisted by righteous and incorruptible officials who fell as martyrs to their unprincipled opponents. This simplistic view, endorsed to a great extent in the official Ming History (Ming shi), which was mostly written by former Eastern Grove and Revival Society adherents, has persisted in the popular mind to the present day. I also argue that, after the establishment of the Qing, political drama could serve as a vehicle for the covert expression of Ming loyalism.

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26

N., W. H., and Chang Chi-kao (Zhang Ji Gao). "Ming-Ch'ing hsiao-shuo tz'u-tien (Ming Qing xiao shuo ci dian)." Chinese Literature: Essays, Articles, Reviews (CLEAR) 17 (December 1995): 197. http://dx.doi.org/10.2307/495588.

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27

Gao, Weixia, and Yuliang Guo. "Analysis of Image Historical Data of Wooden Sculptures of Su-style Furniture in Ming and Qing Dynasties." E3S Web of Conferences 179 (2020): 02117. http://dx.doi.org/10.1051/e3sconf/202017902117.

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In the Ming and Qing dynasties, the image materials of woodcarving furniture in Suzhou area are as important as the actual furniture, which are also valuable material information on the living customs of Suzhou in the Ming and Qing dynasties. From the perspective of imageology, this article analyzes the shape, category, style and other representative works of Su-style furniture’s woodcarving visual image, hoping to provide a reference for the research and design of regional furniture carving.

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28

Xu, Sufeng. "Domesticating Romantic Love during the High Qing Classical Revival." Nan Nü 15, no. 2 (2013): 219–64. http://dx.doi.org/10.1163/15685268-0152p0002.

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This study examines the Heming ji (Collection of singing in harmony), which comprises the sometimes surprisingly intimate poetic exchanges between the woman intellectual Wang Zhaoyuan (1763-1851) and her husband Hao Yixing (1757-1829), both renowned in their lifetimes as classical “evidential research” (kaozheng) scholars. The paper seeks to demonstrate the transformation of the cult of qing (romantic love) in the High Qing period. It argues that, as the centrality of courtesans in literati culture died out with the Ming-Qing dynastic transition, gentry women came to represent the positive cultural values of qing through the increasingly fashionable idea and practice of companionate marriage. In this process, the cult of qing that characterized the subversive late Ming literati culture, of which courtesan culture was an important part, was not obliterated by the High Qing classical revival as is often assumed; rather, it was domesticated, ritualized, transformed into conjugal love, and arguably, integrated into the High Qing “familistic moralism.” The paper also explores how the concept of qing, in the narrow sense of love between man and woman, was expanded into this couple’s shared passion and ambition to serve the state and empire.

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29

Yuanzhou Wang. "Envoys and Prostitutes in Ming and Qing Dynasty." EWHA SAHAK YEONGU ll, no. 50 (2015): 141–74. http://dx.doi.org/10.37091/ewhist.2015..50.005.

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30

Yau, Ka-Fai, and Zuyan Zhou. "Androgyny in Late Ming and Early Qing Literature." Chinese Literature: Essays, Articles, Reviews (CLEAR) 25 (December 2003): 213. http://dx.doi.org/10.2307/3594296.

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31

IWAKI, Eiki. "Ming and Qing Dynasty Interpretation of Diamond Sutra." JOURNAL OF INDIAN AND BUDDHIST STUDIES (INDOGAKU BUKKYOGAKU KENKYU) 48, no. 1 (1999): 212–17. http://dx.doi.org/10.4259/ibk.48.212.

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32

Cahill, James. "Paintings Done for Women in Ming-Qing China?" NAN NÜ 8, no. 1 (2006): 1–54. http://dx.doi.org/10.1163/156852606777374637.

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AbstractAn eight-leaf album of scenes of women in domestic settings, painted by a seventeenth-century Suzhou artist, opens the question of whether we can identify a body of Ming-Qing paintings arguably addressed to an audience and clientele of women. These would include hanging-scroll representations of women meant for hanging in their rooms, and handscroll depictions of stories and subjects of special interest to them, combining narrative paintings with texts, for private looking and reading. These are quite separate from the more prestigious name-artist works valued within the male world of collecting and connoisseurship; the question of "genuineness" may be irrelevant to them.

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33

Zhu, Wanshu. "Scenic Depictions of Huizhou in Ming–Qing Literature." Journal of Chinese Humanities 2, no. 1 (2016): 55–76. http://dx.doi.org/10.1163/23521341-12340026.

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In the Ming through the Qing Dynasties, literary works captured Huizhou through scenic depictions of its mountains and rivers, villages, wealth, literary families, and portrayals of the local people. In these works, Huizhou men are described as virtuous, literary, and gallant while Huizhou women are often seen as knowledgeable, worldly, and industrious characters upholding the values of feudal society. By exploring such depictions of Huizhou, this article considers the way in which literary depictions correspond to historical reality, how scenes depicted in literature accord with the specific and various characteristics of a region, and the inextricable ties between scenic depictions in literature (wenxue tujing 文學圖景) and regional literature (diyu wenxue 地域文學).

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34

Leung, Angela ki che. "Medical Instruction and Popularization in Ming-Qing China." Late Imperial China 24, no. 1 (2003): 130–52. http://dx.doi.org/10.1353/late.2003.0008.

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35

Zhou, Weichi. "The Ming and Qing Chinese biographies of Augustine." Studies in Chinese Religions 6, no. 1 (2020): 96–117. http://dx.doi.org/10.1080/23729988.2020.1763679.

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36

Ni, Shawn, and Pham Hoang Van. "High corruption income in Ming and Qing China." Journal of Development Economics 81, no. 2 (2006): 316–36. http://dx.doi.org/10.1016/j.jdeveco.2005.05.004.

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37

Park, Hong Jun. "The Drama Theory of Ming-Qing Dynasty and Liyu's Xian-qing-ou-ji." Journal of Chinese Studies 79 (February 28, 2017): 141–57. http://dx.doi.org/10.35982/jcs.79.7.

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38

Huang, Martin W. "Sentiments of Desire: Thoughts on the Cult of Qing in Ming-Qing Literature." Chinese Literature: Essays, Articles, Reviews (CLEAR) 20 (December 1998): 153. http://dx.doi.org/10.2307/495268.

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39

McMahon, Keith. "SUBLIME LOVE AND THE ETHICS OF EQUALITY IN A HOMOEROTIC NOVEL OF THE NINETEENTH CENTURY: PRECIOUS MIRROR OF BOY ACTRESSES." NAN NÜ 4, no. 1 (2002): 70–109. http://dx.doi.org/10.1163/156852602100402332.

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AbstractPrecious Mirror of Boy Actresses is the most serious piece of fiction about male love since the late Ming and the lengthiest of all in Chinese literary history. It is remarkable in its extension of the egalitarian implications of the qing aesthetic that it inherits from the late Ming and from earlier Qing literature such as Dream of the Red Chamber. In the homoerotic relationship it idealizes, lovers who are rigidly separated in terms of status nevertheless experience a sublime love which necessarily results in the liberation of the man of lower status. The novel makes unique use of the qing aesthetic's idealization of the feminine to arrive at this ethically pragmatic conclusion whereby liberation is achieved. The foregrounding of this sublime love and the qing-perfected characters who embody it, moreover, link the novel with other works of the period which portray a China that is ultimately a stable and invulnerable entity. Thus Precious Mirror's interpretation of qing carries a historical significance in spite of the novel's obliviousness of the social and political turmoil of China in the mid-nineteenth century.

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40

Chung, Yan Hon Michael. "The Introduction of European-Style Artillery and the Reform of Siege Tactics in 17th Century China—a Case Study of the Tragedy of Jiangyin (1645)." Journal of Chinese Military History 9, no. 1 (2020): 1–37. http://dx.doi.org/10.1163/22127453-bja10001.

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Abstract While the importance of European-style artillery, also called “red-barbarian cannon” by the people of the time, to the Ming-Qing transition (1618-1683) is generally recognized, much less is known about the actual performance of the weapon on the battlefield. Such a dearth of knowledge hinders historians from evaluating the extent of its impact on the Manchu conquest of China. Hoping to fill this gap, this article examines the actual performance of red-barbarian cannon through reconstructing the siege of Jiangyin (1645). Close examination of this episode reveals that, although the Qing army possessed abundant European-style artillery, the absence of appropriate and effective artillery siege tactics greatly constrained the effectiveness of these weapons in siege warfare. Hence, the importance of artillery in the early stage of the Ming-Qing transition (1618-1645) is likely to have been minimal. However, the siege of Jiangyin witnessed a reform of siege tactics in the Qing artillery corps. These newly devised siege tactics enabled the Qing army to capture the city with efficiency by fully utilizing the red-barbarian cannon. The reform greatly enhanced the siege ability of the Qing forces and paved the way for the Qing conquest of China.

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41

Elkins, James. "The endgame, and the Qing eclipse1." Journal of Contemporary Painting 6, no. 1-2 (2020): 23–48. http://dx.doi.org/10.1386/jcp_00012_7.

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Presented as an archival text for the Journal of Contemporary Painting, James Elkins’ ‘The endgame, and the Qing eclipse’ is an abridged version of the the final chapter of a book-length study, Chinese Landscape Painting as Western Art History (Hong Kong University Press, 2010). Elkins demonstrates the unusual structure of the history of Chinese painting, whereby the Ming decline and Qing eclipse have no real parallels in the West. Yet, as a counter-hypothesis, he argues that Late Ming and Qing artists appear to art history as a form of postmodernism. In itself, this represents a nuanced reading of the temporalities of modern and postmodern periods (which challenges comparative approaches and indeed the fundamental structures of western art history). Crucially, the account provides ways of thinking about how Chinese landscape painting is viewed through the lens of art history, a discipline that Elkins claims is partly, but finally and decisively, western.

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42

McMahon, Keith. "The Art of the Bedchamber and Jin Ping Mei." NAN Nü 21, no. 1 (2019): 1–37. http://dx.doi.org/10.1163/15685268-00211p01.

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Abstract The ‘art of the bedchamber’ texts occupy a key place in pre-modern Chinese sexual culture, sharing that place with an even larger body of texts of later origin, the sexually explicit novels and stories of the Ming (1368-1644) and Qing (1644-1911) dynasties, and Jin Ping Mei (The plum in the golden vase) in particular. The two genres – the texts of the bedchamber arts and Ming and Qing erotic fiction – have key commonalities, especially in the governing theme that not only must a man please a woman in sex, but that she is sexually formidable, and that he must be masterful in order to please her. Both genres center on the man’s relations with multiple women. But they differ because what appears as the art of sex in Ming and Qing fiction drastically reinvents the contents and spirit of the classic art of the bedchamber, which promotes sex as the harmonizing of yin and yang for the sake of nourishing health and longevity. Sex is measured and temperate, neither rushed nor violent. The art of sex in Ming and Qing fiction instead focuses on ways in which characters make themselves sexually powerful, usually by means of drugs and/or the use of special techniques, including those that absorb vital essences from their partners. Besides detailing these points, the article will analyze specific traces of the art of the bedchamber in Jin Ping Mei, such as the practices of kissing and absorbing saliva, the adoption of positions of intercourse, and the use of sexual devices, chemicals, and aphrodisiacs.

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Macdonald, Alastair Ewan. "Loss, Nostalgia, and Hope: the Ming-Qing Transition in the Fiction of “the Hazy Crossing Ferryman of Xiaoxiang”." Ming Qing Yanjiu 23, no. 2 (2019): 135–64. http://dx.doi.org/10.1163/24684791-12340039.

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Abstract This paper examines the reactions to the trauma of the Ming-Qing dynastic transition in the novellas of a writer known only as “Xiaoxiang mijinduzhe” (The Hazy Crossing Ferryman of Xiaoxiang). His works provide an informative contrast to the more celebrated loyalist literature of the same era: they express unease at foreign rule but do not show an idealistic loyalism to the Ming. Though the Yongle period (1402–1424) of the Ming is held up as a lost golden age, the post-Yongle Ming dynasty is portrayed as an era of corruption and chaos, presided over by incompetent and/or dissolute emperors. The novellas also reflect on the lessons of the transition on a deeper level, questioning the long-standing cultural preference for the civil arts over the martial arts. While the novellas acknowledge the poignancy of the passing of an era, they also strike hopeful notes for the future under the Qing.

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Ng, Vivien W. "Ideology and Sexuality: Rape Laws in Qing China." Journal of Asian Studies 46, no. 1 (1987): 57–70. http://dx.doi.org/10.2307/2056666.

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It is generally accepted that Qing China (1644–1912) was a straitlaced, sexually repressed society. Robert H. van Gulik, for example, ended his study of sexual life in China with the fall of the Ming dynasty, in part because he believed that Chinese attitudes toward sexuality became much more repressive after the Ming, and the generalizations he made in his book were not appropriate for the Qing (1961:333–36). This dramatic change in attitude has been attributed to the resurgence of Cheng- Zhu Neo-Confucianism, with its strict view of sexual relations in general, and female sexuality in particular (Ropp 1981:120–24).

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Bourgon, Jérôme. "ASPECTS OF CHINESE LEGAL CULTURE – THE ARTICULATION OF WRITTEN LAW, STATE, AND SOCIETY: A REVIEW (PART TWO). PRIVATE LAW AND PRIVATE LAWYERS: A DISCUSSION ON THE “FIELDS” OF LAW." International Journal of Asian Studies 5, no. 1 (2008): 71–86. http://dx.doi.org/10.1017/s1479591407000927.

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AbstractThe International Journal of Asian Studies has published four seminal articles by Japanese scholars of the history of Chinese law (2004–2007). In the first part of his review and analysis of the series (see IJAS 4:2, 2007), Jérôme Bourgon dealt in the main with the work of Shigeo Nakamura and Osamu Takamizawa. In the present part he concludes his discussion with an examination of the remaining articles, “The Nature of Social Agreements (yue) in the Legal Order of Ming and Qing China” by Hiroaki Terada and “Litigation Masters and the Litigation System of Ming and Qing China” by Susumu Fuma.

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Cheng, Guofu. "Research on Reader’s Guides to Ming and Qing Popular Novels." Journal of Chinese Humanities 2, no. 1 (2016): 31–54. http://dx.doi.org/10.1163/23521341-12340025.

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Reader’s guides (fanli 凡例), which form a distinct genre attached to popular novels, have a great deal of research value. This article collects and counts reader’s guides to Ming and Qing popular novels, analyzes the overall characteristics of the genre, and discusses four aspects of them: (1) the historical value of reader’s guides to Mingand Qing popular novels; (2) reader’s guides and the creative method in popular novels; (3) reader’s guides and chapter headings in popular novels; and (4) reader’s guides and readers of popular novels. This study approaches this distinct genre of novels from the perspective of both examination of documents and of theoretical research; it uses theory and method to explore the creative methods and systematic structure of Ming and Qing popular novels as well as to trace the true course of popular novels’ appearance, development, and evolution.

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Lei, Xinghe. "Image and Space: Qing Yang "Eight Sights" Culture during the Ming and Qing Dynasties." International Journal of Culture and History (EJournal) 4, no. 2 (2018): 24–30. http://dx.doi.org/10.18178/ijch.2018.4.2.117.

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Vitiello, Giovanni. "Exemplary Sodomites: Chivalry and Love in Late Ming Culture." NAN NÜ 2, no. 2 (2000): 207–57. http://dx.doi.org/10.1163/156852600750072259.

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AbstractThis essay explores the ideological allegiances between the chivalric (xia) and the romantic (qing) in late Ming fiction and culture. Focusing on notions of friendship and love between men and their role in the formation of the late Ming romantic ideal, it also discusses the discourse on sodomy articulated in two treatises on male friendship by the Jesuit missionaries Matteo Ricci and Martino Martini, and the hypothesis of a late Ming homoerotic fashion.

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Wu, H. Laura. "THROUGH THE PRISM OF MALE WRITING: REPRESENTATION OF LESBIAN LOVE IN MING-QING LITERATURE." NAN NÜ 4, no. 1 (2002): 1–34. http://dx.doi.org/10.1163/156852602100402314.

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AbstractRepresentation of lesbian relations in Ming-Qing vernacular literature is foremost a male discourse. A close look into this discourse will help gauge the contemporary social stance, especially the male stance, towards lesbianism. This paper examines textual strategies and the narrative norm of portraying lesbian love and sex in twelve Ming-Qing texts. The normative pattern extracted from these texts suggests a consensus in the male position that favors suppression of lesbianism via trivializing or heterosexualizing passions and romance between women. Male writing on lesbianism thus seems to function as containment of homosexuality for the benefit of the institutions of heterosexual sex and marriage.

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Jeong, Eun-Joo. "Paintings of the Korean Envoys to Ming by Sea during the Ming-Qing Transition." Journal of Ming-Qing Historical Studies 27 (April 30, 2007): 189–228. http://dx.doi.org/10.31329/jmhs.2007.04.27.189.

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