Pictures and Visuality in Early Modern China
内容简介
Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures.
Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
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作者简介
Craig Clunas is Senior Lecturer in the History of Art at the University of Sussex. He has published extensively on the culture of the Ming period. His books include Fruitful Sites: Garden Culture in Ming Dynasty China; Art in China; and Superfluous Things: Material Culture and Social Status in Early Modern China.
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目录
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读书文摘
在明代，这类受托所制的壁画经常与宫廷及皇家政策有关。1370年，明代开国皇帝（明太祖）下令重塑帝国境内辖制各处之城隍，命人将城隍庙中都饰以山川图绘，其意大约用以象征城隍所辖之域。这些山川图绘覆盖了墙上原有描绘冥府的壁画，以突出在明王朝的秩序重建之下城隍管理阳间的新身份。
宋代的朱熹在其被奉为规范的《家礼》中提出应依祖宗性别而区别对待： 男子生时有画像，用之犹无所谓。至于妇人，生时深居闰门，出则乘辎軿，拥蔽其面，既死，岂可使画工直入深室，掲掩面之，执笔相，画其容就？此为非礼。
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