Qing Dynasty up to 1840

2014 ◽  
Author(s):  
Leif Littrup
Keyword(s):  
Cultural History ◽  
Qing Dynasty ◽  
Ming Dynasty ◽  
Living Standards ◽  
Organizational Complexity ◽  
Chinese Tradition ◽  
The Qing Dynasty ◽  
Chinese Studies ◽  
The World ◽  
History Of

The territory of the Qing dynasty was in 1840 still at its maximum, roughly 25 percent larger than the present Chinese territory and more than double the size of the previous Ming dynasty. The history of the Qing dynasty is about this expansion and how Han Chinese tradition and institutions interacted with a leadership dominated by ethnic or organizational minorities, the Manchus and other bannermen. It was a time of change in society and government that belies the still heard claim that it was an immobile empire both internally and in a world context. This article focuses mainly on government and political history; it touches on social and cultural history, but these are dealt with more extensively in other articles in the Oxford Bibliographies in Chinese Studies. The population probably doubled in the period, and many people may have experienced rising or at least adequate living standards. There were few technological breakthroughs in production, but rational application and expansion of existing methods to more land in combination with other economic measures secured a rise in production, at least until around 1800, aided by a government apparatus with qualifications and flexibility to solve problems that arose. The ethnic or organizational complexity of government administration may have helped to create a strong administration, but state finances were never strong enough to evade corruption and its threats to society. Foreigners arrived as before, Qing subjects went abroad, and the integration of China in the world and the world economy before the European powers started to intrude on Qing territory, both on the coast and the continental borders, is now accepted by most historians although it is always possible to find rhetoric, rules, and actions that, seen in isolation, may support the impression of an isolating empire.

William Temple’s ‘Sharawadji’ and the poetics of world literature

2020 ◽  
pp. 70-88
Author(s):  
O. I. Polovinkina
Keyword(s):  
Cultural History ◽  
World Literature ◽  
English Literature ◽  
Chinese Tradition ◽  
Cultural Phenomenon ◽  
The World ◽  
History Of ◽  
Augustan Age ◽  
New Tradition

The article examines the ‘active presence’ (D. Damrosch) of the Chinese garden in the literary and cultural history of the English Augustan Age. Special attention is paid to W. Temple’s role as an intermediary in the comprehension of a foreign cultural phenomenon; interpretations of his description of the Chinese garden generated an entirely new tradition in the English literature of the early 18th c. J. Addison identified the Chinese garden with the idea of harmony, making it part and parcel of Neoclassical aesthetics. Pope followed the same logic. In his essay, Castell brings together the classical and the Chinese traditions, where the former does not act as an approving authority, rather it is the Chinese tradition that helps give it a more nuanced description. Quite a few English country homes display a combination of Neoclassical principles and elements of the Chinese garden, the new landscaping style summarized by Pope. Augustans’ Chinese garden draws on two national worldviews, but just like the world ‘sharawadji’ introduced byTemple, it belongs to the realm of imagination, at the crossroads of languages and cultures, none of which can fully claim it as their own.

Manchuria in Modern East Asia, 1600s–1949

2017 ◽  
Author(s):  
Dan Shao
Keyword(s):  
Qing Dynasty ◽  
Ming Dynasty ◽  
Republic Of China ◽  
The Qing Dynasty ◽  
The Social ◽  
History Of ◽  
The Republic ◽  
Social Orders ◽  
The Relationship ◽  
Japan And China

Manchuria is an English geographical term that, in the past three centuries or so, has referred to the region that approximately overlaps the region of Northeast China (Liaoning, Jilin, and Heilongjiang provinces) in the People’s Republic of China. A scholar’s choice of using or rejecting this term might be associated with their understandings of the historical changes in the territoriality of this region. From the 17th century to the mid-20th century, different powers contested over this region, including different tribes of the Jurchens, before the Manchus founded the Qing Dynasty; Ming Dynasty and Qing Dynasty; the Russians and Japanese; the Republic of China Government and Warlord regime; Japan and China; as well as the Communist Party of China and the Nationalist Party of China. All these contestations redefined the relationship between this region and China Proper, reshaping the social orders, communal identities, and statehood of the local peoples. Located at the nexus of the modern history of multiple ethnic groups and states, studies of modern Manchuria often require scholars to take transnational approaches, or at the least to adopt cross-border perspectives.

Puccini's La Bohème

2020 ◽  
Author(s):  
Alexandra Wilson
Keyword(s):  
Cultural History ◽  
Cultural Contexts ◽  
Music Drama ◽  
Political Debates ◽  
The World ◽  
History Of ◽  
La Boheme ◽  
The Aesthetic ◽  
The Many ◽  
The City

La bohème is one of the most frequently performed operas in the world. But how did it come to be so adored? Drawing on an extremely broad range of sources, Alexandra Wilson traces the opera’s rise to global fame. Although the work has been subjected to many hostile critiques, it swiftly achieved popular success through stage performances, recordings, and filmed versions. Wilson demonstrates how La bohème acquired even greater cultural influence as its music and dramatic themes began to be incorporated into pop songs, film soundtracks, musicals, and more. In this cultural history of Puccini’s opera, Wilson offers a fresh reading of a familiar work. La bohème was strikingly modern for the 1890s, she argues, in its approach to musical and dramatic realism and in flouting many of the conventions of the Italian operatic tradition. Considering the work within the context of the aesthetic, social, and political debates of its time, Wilson explores Puccini’s treatment of themes including gender, poverty, and nostalgia. She pays particular attention to La bohème’s representation of Paris, arguing that the opera was not only influenced by romantic mythologies surrounding the city but also helped shape them. Wilson concludes with a consideration of the many and varied approaches directors have taken to the staging of Puccini’s opera, including some that have reinvented the opera for a new age. This book is essential reading for anyone who has seen La bohème and wants to know more about its music, drama, and cultural contexts.

FROM THE HISTORY OF THE FORMATION OF THE IMPERIAL ACADEMY OF PAINTING IN CHINA

2021 ◽  
Vol 1 (3) ◽  
pp. 83-93
Author(s):  
N. G. Surayeva ◽  
Keyword(s):  
Qing Dynasty ◽  
Shang Dynasty ◽  
The Qing Dynasty ◽  
Western Han Dynasty ◽  
Stage Of Development ◽  
Imperial Court ◽  
The Reformation ◽  
The Status ◽  
History Of ◽  
Imperial Academy

Court painting in China has evolved over the millennia. With the advent of each new dynasty, the artistic institution at the emperor's court changed its location and name, and so did the status of artists. Fine art and its genre content depended entirely on the emperors' preferences. This article attempts to present a holistic picture of the reformation of the artistic structure at the imperial court at different historical stages, from the Shang dynasty (1600–1046 BC) to the reign of the Qing dynasty (1616–1911). The work presents the artistic structure of China and identifies its leading representatives at each stage of development. The first information about the Imperial Academy of Painting dates back to the period of the Western Han Dynasty (206 BC – 25 AD), when the Shangfang Department was mentioned. During the last Qing dynasty, the court structure of painting was a complex mechanism, with artists working in the Art Department (Huayuanchu), the Ruiguan and Qixiangong workshops.

A Cultural History Of Color in the Renaissance

2020 ◽  
Keyword(s):  
Cultural History ◽  
Performing Arts ◽  
Material World ◽  
Color Terms ◽  
Global Circulation ◽  
The World ◽  
Color Technology ◽  
History Of ◽  
Psychology Literature

A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, conflict, and transformation. Innovations in color production transformed the material world of the Renaissance, especially in ceramics, cloth, and paint. Collectors across Europe prized colorful objects such as feathers and gemstones as material illustrations of foreign lands. The advances in technology and the increasing global circulation of colors led to new color terms enriching language. Color shapes an individual’s experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Volume 3 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

A Cultural History of Color in the Age of Industry

2021 ◽  
Keyword(s):  
Cultural History ◽  
Performing Arts ◽  
New Technologies ◽  
Steam Power ◽  
Industrial Manufacturing ◽  
The World ◽  
Color Technology ◽  
History Of ◽  
Color Printing ◽  
Psychology Literature

Volume 5 A Cultural History of Color in the Age of Industry covers the period 1800 to 1920, when the world embraced color like never before. Inventions, such as steam power, lithography, photography, electricity, motor cars, aviation, and cheaper color printing, all contributed to a new exuberance about color. Available pigments and colored products – made possible by new technologies, industrial manufacturing, commercialization, and urbanization – also greatly increased, as did illustrated printed literature for the mass market. Color, both literally and metaphorically, was splashed around, and became an expressive tool for artists, designers, and writers. Color shapes an individual’s experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Volume 5 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf

A Cultural History of Objects in the Modern Age

2021 ◽  
Keyword(s):  
Cultural History ◽  
21St Century ◽  
Global Changes ◽  
New Materials ◽  
The West ◽  
Post Colonial ◽  
Everyday Objects ◽  
Modern Age ◽  
The World ◽  
History Of

A Cultural History of Objects in the Modern Age covers the period 1900 to today, a time marked by massive global changes in production, transportation, and information-sharing in a post-colonial world. New materials and inventions – from plastics to the digital to biotechnology – have created unprecedented scales of disruption, shifting and blurring the categories and meanings of the object. If the 20th Century demonstrated that humans can be treated like things whilst things can become ever more human, where will the 21st Century take us? The 6 volume set of the Cultural History of Objects examines how objects have been created, used, interpreted and set loose in the world over the last 2500 years. Over this time, the West has developed particular attitudes to the material world, at the centre of which is the idea of the object. The themes covered in each volume are objecthood; technology; economic objects; everyday objects; art; architecture; bodily objects; object worlds.

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