Mark E. Byington explores the formation, history, and legacy of the ancient state of Puyŏ, which existed in central Manchuria from the third century BCE until the late fifth century CE. As the earliest archaeologically attested state to arise in northeastern Asia, Puyŏ occupies an important place in the history of that region. Nevertheless, until now its history and culture have been rarely touched upon in scholarly works in any language. The present volume, utilizing recently discovered archaeological materials from Northeast China as well as a wide variety of historical records, explores the social and political processes associated with the formation and development of the Puyŏ state, and discusses how the historical legacy of Puyŏ—its historical memory—contributed to modes of statecraft of later northeast Asian states and provided a basis for a developing historiographical tradition on the Korean peninsula. Byington focuses on two major aspects of state formation: as a social process leading to the formation of a state-level polity called Puyŏ, and as a political process associated with a variety of devices intended to assure the stability and perpetuation of the inegalitarian social structures of several early states in the Korea–Manchuria region.

"The occupation of the northern half of the Chinese territories in the 1120s brought about a transformation in political communication in the south that had lasting implications for imperial Chinese history. By the late eleventh century, the Song court no longer dominated the production of information about itself and its territories. Song literati gradually consolidated their position as producers, users, and discussants of court gazettes, official records, archival compilations, dynastic histories, military geographies, and maps. This development altered the relationship between court and literati in political communication for the remainder of the imperial period. Based on a close reading of reader responses to official records and derivatives and on a mapping of literati networks, the author further proposes that the twelfth-century geopolitical crisis resulted in a lasting literati preference for imperial restoration and unified rule. Hilde De Weerdt makes an important intervention in cultural and intellectual history by examining censorship and publicity together. In addition, she reorients the debate about the social transformation and local turn of imperial Chinese elites by treating the formation of localist strategies and empire-focused political identities as parallel rather than opposite trends."

"“Autumn wind, autumn rain, fill my heart with sorrow”—these were the last words of Qiu Jin (1875–1907), written before she was beheaded for plotting to overthrow the Qing empire. Eventually, she would be celebrated as a Republican martyr and China’s first feminist, her last words committed to memory by schoolchildren. Yet during her lifetime she was often seen as eccentric, even deviant; in her death, and still more in the forced abandonment of her remains, the authorities had wanted her to disappear into historical oblivion. Burying Autumn tells the story of the enduring friendship between Qiu Jin and her sworn-sisters Wu Zhiying and Xu Zihua, who braved political persecution to give her a proper burial. Formed amidst social upheaval, their bond found its most poignant expression in Wu and Xu’s mourning for Qiu. The archives of this friendship—letters, poems, biographical sketches, steles, and hand-copied sutra—vividly display how these women understood the concrete experiences of modernity, how they articulated those experiences through traditional art forms, and how their artworks transformed the cultural traditions they invoked even while maintaining deep cultural roots. In enabling Qiu Jin to acquire historical significance, their friendship fulfilled its ultimate socially transformative potential."

Remaking the Chinese Empire examines China's development from an empire into a modern state through the lens of Sino-Korean political relations during the Qing period. Incorporating Korea into the historical narrative of the Chinese empire, it demonstrates that the Manchu regime used its relations with Chosŏn Korea to establish, legitimize, and consolidate its identity as the civilized center of the world, as a cosmopolitan empire, and as a modern sovereign state. For the Manchu regime and for the Chosŏn Dynasty, the relationship was one of mutual dependence, central to building and maintaining political legitimacy. Yuanchong Wang illuminates how this relationship served as the very model for China's foreign relations. Ultimately, this precipitated contests, conflicts, and compromises among empires and states in East Asia, Inner Asia, and Southeast Asia – in particular, in the nineteenth century when international law reached the Chinese world. By adopting a long-term and cross-border perspective on high politics at the empire's core and periphery, Wang revises our understanding of the rise and transformation of the last imperial dynasty of China. His work reveals new insights on the clashes between China's foreign relations system and its Western counterpart, imperialism and colonialism in the Chinese world, and the formation of modern sovereign states in East Asia. Most significantly, Remaking the Chinese Empire breaks free of the established, national history-oriented paradigm, establishing a new paradigm through which to observe and analyze the Korean impact on the Qing Dynasty.

Printing Landmarks tells the story of the late Tokugawa period’s most distinctive form of popular geography: meisho zue. Beginning with the publication of Miyako meisho zue in 1780, these monumental books deployed lovingly detailed illustrations and informative prose to showcase famous places (meisho) in ways that transcended the limited scope, quality, and reliability of earlier guidebooks and gazetteers. Putting into spellbinding print countless landmarks of cultural significance, the makers of meisho zue created an opportunity for readers to experience places located all over the Japanese archipelago. In this groundbreaking multidisciplinary study, Robert Goree draws on diverse archival and scholarly sources to explore why meisho zue enjoyed widespread and enduring popularity. Examining their readership, compilation practices, illustration techniques, cartographic properties, ideological import, and production networks, Goree finds that the appeal of the books, far from accidental, resulted from specific choices editors and illustrators made about form, content, and process. Spanning the fields of book history, travel literature, map history, and visual culture, Printing Landmarks provides a new perspective on Tokugawa-period culture by showing how meisho zue depicted inspiring geographies in which social harmony, economic prosperity, and natural stability made for a peaceful polity.

Huang Xiangjian, a mid-seventeenth-century member of the Suzhou local elite, journeyed on foot to southwest China and recorded its sublime scenery in site-specific paintings. Elizabeth Kindall’s innovative analysis of the visual experiences and social functions Huang conveyed through his oeuvre reveals an unrecognized tradition of site paintings, here labeled geo-narratives, that recount specific journeys and create meaning in the paintings. Kindall shows how Huang created these geo-narratives by drawing upon the Suzhou place-painting tradition, as well as the encoded experiences of southwestern sites discussed in historical gazetteers and personal travel records, and the geography of the sites themselves. Ultimately these works were intended to create personas and fulfill specific social purposes among the educated class during the Ming-Qing transition. Some of Huang’s paintings of the southwest, together with his travel records, became part of a campaign to attain the socially generated title of Filial Son, whereas others served private functions. This definitive study elucidates the context for Huang Xiangjian’s painting and identifies geo-narrative as a distinct landscape-painting tradition lauded for its naturalistic immediacy, experiential topography, and dramatic narratives of moral persuasion, class identification, and biographical commemoration.

Numerous Iron-Age nomadic alliances flourished along the 5000-mile Eurasian steppe route. From Crimea to the Mongolian grassland, nomadic image-making was rooted in metonymically conveyed zoomorphic designs, creating an alternative ecological reality. The nomadic elite nucleus embraced this elaborate image system to construct collective memory in reluctant, diverse political alliances organised around shared geopolitical goals rather than ethnic ties. Largely known by the term "e;animal style"e;, this zoomorphic visual rhetoric became so ubiquitous across the Eurasian steppe network that it transcended border regions and reached the heartland of sedentary empires like China and Persia. This book shows how a shared fluency in animal-style design became a status-defining symbol and a bonding agent in opportunistic nomadic alliances, and was later adopted by their sedentary neighbours to showcase worldliness and control over the "e;Other"e;. In this study of enormous geographical scope, the author raises broader questions about the place of nomadic societies in the art-historical canon.

In this groundbreaking interdisciplinary study, Maram Epstein identifies filial piety as the dominant expression of love in Qing dynasty texts. At a time when Manchu regulations made chastity the primary metaphor for obedience and social duty, filial discourse increasingly embraced the dramatic and passionate excesses associated with late-Ming chastity narratives. Qing texts, especially those from the Jiangnan region, celebrate modes of filial piety that conflicted with the interests of the patriarchal family and the state. Analyzing filial narratives from a wide range of primary texts, including local gazetteers, autobiographical and biographical nianpu records, and fiction, Epstein shows the diversity of acts constituting exemplary filial piety. This context, Orthodox Passions argues, enables a radical rereading of the great novel of manners The Story of the Stone (ca. 1760), whose absence of filial affections and themes make it an outlier in the eighteenth-century sentimental landscape. By decentering romantic feeling as the dominant expression of love during the High Qing, Orthodox Passions calls for a new understanding of the affective landscape of late imperial China.

Evelyn Rawski presents a revisionist history of early modern China in the context of northeast Asian geopolitics and global maritime trade.