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Unrolling Histories: The Material Pr...

Wang, Ji.

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Unrolling Histories: The Material Practices and Social Life of the Handscroll Culture in Mid-Ming Suzhou.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Unrolling Histories: The Material Practices and Social Life of the Handscroll Culture in Mid-Ming Suzhou./
作者:	Wang, Ji.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	302 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
標題:	Asian literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28717984
ISBN:	9798535599250

Unrolling Histories: The Material Practices and Social Life of the Handscroll Culture in Mid-Ming Suzhou.
Wang, Ji.

Unrolling Histories: The Material Practices and Social Life of the Handscroll Culture in Mid-Ming Suzhou. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 302 p.

Source: Dissertations Abstracts International, Volume: 83-03, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2021.

This item is not available from ProQuest Dissertations & Theses.

This dissertation investigates the material and cultural practice of making poetry handscroll (shijuan), or poetry manuscripts in handscroll format, in Suzhou from 1436 to 1566. As an important part of making, the collaboration between literati and artists demonstrates the ways in which literary practice, regional identity, and social memory were integrated in the materiality of poetry handscroll. By tracing the making process through which this type of handscroll came into existence materially, socially, and historically, this dissertation provides a method of reading the three processes of inscribing, making, and viewing poetry handscroll altogether. Unlike the usual understanding of handscroll as a neutral format of painting or calligraphy, this dissertation argues for the multisensory nature, collective and communicative identity of such creation. In particular, the case studies exemplify how mid-Ming Suzhou literati used handscroll as a means of presenting ideas, seizing cultural capital, strengthening shared local identity, and recording individual and collective memories.The three sections of this dissertation, each discussing a crucial phrase of handscroll's cultural life: writing and inscribing; assembling and mounting; viewing and appreciating. Section 1 interprets poetry handscroll as a material and cultural product. Special attention is paid to the physical attributes of handscroll and how materiality both allows and constrains the ways in which writings are carried out, preserved, and perceived. Section 2 investigates the social aspect of making by discussing the interaction and collaboration amongst literati, artists, and craftsmen in the process of assembling individual pieces into final products. Combining evidence of surviving poetry handscrolls and textual sources gleaned from letters, diaries, and academic jottings, this section presents a detailed social picture of making poetry handscrolls which involves bargaining, procrastination, negotiation, and exchanges at various points of the process across social classes. Section 3 discusses poetry handscroll as multisensory objects as they interact with the audience and the physical surroundings. It discusses the ways in which the viewing practice is integrally linked to the materiality of the handscroll. It concludes by showing how Suzhou literati's narrating and fashioning of their peculiar viewing experience influenced the paradigm of appreciating poetry handscrolls.

ISBN: 9798535599250Subjects--Topical Terms:

2122707
Asian literature.
Subjects--Index Terms:

Local Identity

Unrolling Histories: The Material Practices and Social Life of the Handscroll Culture in Mid-Ming Suzhou.
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520 $a This dissertation investigates the material and cultural practice of making poetry handscroll (shijuan), or poetry manuscripts in handscroll format, in Suzhou from 1436 to 1566. As an important part of making, the collaboration between literati and artists demonstrates the ways in which literary practice, regional identity, and social memory were integrated in the materiality of poetry handscroll. By tracing the making process through which this type of handscroll came into existence materially, socially, and historically, this dissertation provides a method of reading the three processes of inscribing, making, and viewing poetry handscroll altogether. Unlike the usual understanding of handscroll as a neutral format of painting or calligraphy, this dissertation argues for the multisensory nature, collective and communicative identity of such creation. In particular, the case studies exemplify how mid-Ming Suzhou literati used handscroll as a means of presenting ideas, seizing cultural capital, strengthening shared local identity, and recording individual and collective memories.The three sections of this dissertation, each discussing a crucial phrase of handscroll's cultural life: writing and inscribing; assembling and mounting; viewing and appreciating. Section 1 interprets poetry handscroll as a material and cultural product. Special attention is paid to the physical attributes of handscroll and how materiality both allows and constrains the ways in which writings are carried out, preserved, and perceived. Section 2 investigates the social aspect of making by discussing the interaction and collaboration amongst literati, artists, and craftsmen in the process of assembling individual pieces into final products. Combining evidence of surviving poetry handscrolls and textual sources gleaned from letters, diaries, and academic jottings, this section presents a detailed social picture of making poetry handscrolls which involves bargaining, procrastination, negotiation, and exchanges at various points of the process across social classes. Section 3 discusses poetry handscroll as multisensory objects as they interact with the audience and the physical surroundings. It discusses the ways in which the viewing practice is integrally linked to the materiality of the handscroll. It concludes by showing how Suzhou literati's narrating and fashioning of their peculiar viewing experience influenced the paradigm of appreciating poetry handscrolls.
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