This is a study of the world of carpenters and joiners, discussing both the technical and the ritual and religious aspects of building. The heart of the book is an annotated translation of the fifteenth-century carpenter's manual Lu Ban jing. Numerous illustrations further enhance the value of this book.

This is a study of the world of carpenters and joiners, discussing both the technical and the ritual and religious aspects of building. The heart of the book is an annotated translation of the fifteenth-century carpenter's manual Lu Ban jing. Numerous illustrations further enhance the value of this book.

Drawing on the author’s extensive fieldwork in the Dong areas in southwest China, this book presents a detailed picture of the Dong’s buildings and techniques, with new insights into the Dong’s cosmology and rituals of everyday life meshed with the architecture, and the symbolic meanings. It examines how the buildings and techniques of the Dong are ordered and influenced by the local culture and context. The timber bridges and drum towers are the Dong’s most prominent architectural monuments. Usually built elaborately with multiple roofs, these bridges and drum towers were designed and maintained by the local carpenters who also built the village suspended houses, in an oral tradition carried down from father to son or to apprentice. They were funded entirely by the local people, and the bridges tend to be built in places without great pressure of traffic or another bridge already existing close by. Why does such great expense go into the Dong’s buildings with elaboration? How were they built? And what do they mean to their users and builders? This book is an anthropological study on the Dong’s architecture and technique, and it aims to contribute a discourse on the interdisciplinary research area. It is suitable for graduate and postgraduate readers.

One of the famous canal cities of the world and a former center of culture, trade, transportation, and fashion, the old town of Yangzhou evokes romantic bridges, beautiful courtesans, fine gardens, and eccentric painters. It is also remembered as a war-torn ruin after the Qing conquest and the Taiping Rebellion, and as a city in decline as trade shifted to seaports and railways. Yangzhou, A Place in Literature, the first anthology to center on a Chinese city and its local region, offers a wealth of literary, semi-literary, and oral texts representing social life over three hundred years of dramatic change between the seventeenth and twentieth centuries. The selections in this volume represent a wide range of literary forms and styles, both elite and popular, with subjects ranging from literature, history, theater, and art to the history of architecture and gardening, and of material culture at large. Readers will come across rarely found details of everyday life, the sights, smells, and sounds of the lanes and teahouses, a world of taverns, pilgrimages, communal baths, fish markets, salt merchants, acting troupes, and food in one of the wealthiest cities of imperial China. Each text has an introductory essay and rich textual notes by an expert in the relevant field. The general introduction provides an in-depth discussion of the roles of the local in historical, cultural, literary, and linguistic terms, as mirrored by the wide range of translated sources collected in this volume. The selected texts are historically and intellectually important in their own right, but the volume greatly enhances their collective value by combining them, arranging them in historical sequence, and providing a dense network of cross-references that invite comparisons and reveal contrasts in style, form, focus, and topic. With its compelling accounts of material culture, urban spaces, entertainment, and gender, Yangzhou, A Place in Literature will fascinate scholars and students alike by opening a window to the rich cultural history of Yangzhou. The volume can serve as a textbook for courses on traditional and modern Chinese literature, popular culture, the city, or social history. It will be of great interest to scholars of East Asian studies, as well as to those in a variety of comparative fields, such as urban studies, theater studies, and gender studies.

What can the history of technology contribute to our understanding of late imperial China? Most stories about technology in pre-modern China follow a well-worn plot: in about 1400 after an early ferment of creativity that made it the most technologically sophisticated civilisation in the world, China entered an era of technical lethargy and decline. But how are we to reconcile this tale, which portrays China in the Ming and Qing dynasties as a dying giant that had outgrown its own strength, with the wealth of counterevidence affirming that the country remained rich, vigorous and powerful at least until the end of the eighteenth century? Does this seeming contradiction mean that the stagnation story is simply wrong, or perhaps that technology was irrelevant to how imperial society worked? Or does it imply that historians of technology should ask better questions about what technology was, what it did and what it meant in pre-modern societies like late imperial China? In this book, Francesca Bray explores subjects such as technology and ethics, technology and gendered subjectivities (both female and male), and technology and statecraft to illuminate how material settings and practices shaped topographies of everyday experience and ideologies of government, techniques of the self and technologies of the subject. Examining technologies ranging from ploughing and weaving to drawing pictures, building a house, prescribing medicine or composing a text, this book offers a rich insight into the interplay between the micro- and macro-politics of everyday life and the workings of governmentality in late imperial China, showing that gender principles were woven into the very fabric of empire, from cosmology and ideologies of rule to the material foundations of the state and the everyday practices of the domestic sphere. This authoritative text will be welcomed by students and scholars of Chinese history, as well as those working on global history and the histories of gender, technology and agriculture. Furthermore, it will be of great use to those interested in social and cultural anthropology and material culture.

The Temple of Confucius (Kong Temple) in Qufu is the definitive monument to the world's greatest sage. From its humble origins deep in China's past, the home of Confucius grew in size and stature under the auspices of almost every major dynasty until it was the largest and most richly endowed temple in the Ming and Qing empires. The decline of state-sponsored ritualism in the twentieth century triggered a profound identity crisis for the temple and its worshipers, yet the fragile relic survived decades of neglect, war, and revolution and is now recognized as a national treasure and a World Heritage Site. Traces of the Sage is the first comprehensive account of the history and material culture of Kong Temple. Following the temple's development through time and across space, it relates architecture to the practice of Confucianism, explains the temple's phenomenal perseverance, and explores the culture of building in China. Other chapters consider the problem of Confucian heritage conservation and development over the last hundred years—a period when the validity of Confucianism has been called into question—and the challenge of remaking Confucian heritage as a commercial enterprise. By reconstructing its "social life," the study interprets Kong Temple as an active site of transaction and negotiation and argues that meaning does not hide behind architecture but emerges from the circulation and regeneration of its spaces and materials. The most complete work on a seminal monument in Chinese history through millennia, Traces of the Sage will find a ready audience among cultural and political historians of imperial and modern China as well as students and scholars of architectural history and theory and Chinese ritual.

Chinese classical furniture is esteemed throughout the world for its beauty, functionalism, and influence on contemporary design aesthetics. Sarah Handler's stunningly illustrated volume traces Chinese hardwood furniture from its earliest origins in the Shang dynasty (c. 1500 to c. 1050 B.C.) to the present. She offers a fascinating and poetic view of Chinese furniture as functional sculpture, a fine art alongside the other Chinese arts of calligraphy, architecture, painting, and literature. Handler, a widely respected scholar of Chinese furniture, uses her knowledge of Chinese social, political, and economic history to provide a backdrop for understanding the many nuances of this art form. Drawing on literary and visual evidence from excavated materials, written texts, paintings, prints, and engravings, she discusses how people lived, their notions of hierarchy, and their perceptions of space. Her descriptions of historical developments, such as the shift from mats to chairs, evoke the psychological and sociological ramifications. The invention of a distinctive way to support and contain people and things within the household is one of China's singular contributions, says Handler. With more than three hundred exquisite illustrations, many in color, Handler's comprehensive study reveals "the magical totality of Chinese classical furniture, from its rich surfaces and shrewd proportions down to the austere soul of art that resides in the hardwood interiors." Austere Luminosity recognizes Chinese classical furniture as one of China's premier arts, unique in the furniture traditions of the world.

In this feminist history of eight centuries of private life in China, Francesca Bray inserts women into the history of technology and adds technology to the history of women. Bray takes issue with the Orientalist image that traditional Chinese women were imprisoned in the inner quarters, deprived of freedom and dignity, and so physically and morally deformed by footbinding and the tyrannies of patriarchy that they were incapable of productive work. She proposes a concept of gynotechnics, a set of everyday technologies that define women's roles, as a creative new way to explore how societies translate moral and social principles into a web of material forms and bodily practices. Bray examines three different aspects of domestic life in China, tracing their developments from 1000 to 1800 A.D. She begins with the shell of domesticity, the house, focusing on how domestic space embodied hierarchies of gender. She follows the shift in the textile industry from domestic production to commercial production. Despite increasing emphasis on women's reproductive roles, she argues, this cannot be reduced to childbearing. Female hierarchies within the family reinforced the power of wives, whose responsibilities included ritual activities and financial management as well as the education of children.

The Routledge Handbook of Religions in Asia provides a contemporary and comprehensive overview of religion in contemporary Asia. Compiled and introduced by Bryan S. Turner and Oscar Salemink, the Handbook contains specially written chapters by experts in their respective fields. The wide-ranging introduction discusses issues surrounding Orientalism and the historical development of the discipline of Religious Studies. It conveys how there have been many centuries of interaction between different religious traditions in Asia and discusses the problem of world religions and the range of concepts, such as high and low traditions, folk and formal religions, popular and orthodox developments. Individual chapters are presented in the following five sections: Asian Origins: religious formations Missions, States and Religious Competition Reform Movements and Modernity Popular Religions Religion and Globalization: social dimensions Striking a balance between offering basic information about religious cultures in Asia and addressing the complexity of employing a western terminology in societies with radically different traditions, this advanced level reference work will be essential reading for students, researchers and scholars of Asian Religions, Sociology, Anthropology, Asian Studies and Religious Studies.

The Aobo tu, the 'Illustrated Boiling of Sea Water', was completed and published by Chen Chun in 1334. It is the world's earliest extant work exclusively dealing with salt production and salt production techniques. The first part of this book focuses on the technical, fiscal, administrative, social and economic background of the Aobo tu. It also provides the reader with information on the various editions and related material. This is followed by a complete annotated translation and the reproduction of two different sets of illustrations. By combining research on various aspects of the salt industry during the Song (960-1279) and Yuan (1271-1368) periods, a better understanding of the fiscal and economic importance of this crucial sector can be gained.