Publications Program

Overturning the long-held assumption that the Xuanhe Catalogue of Paintings was the work of the Northern Song emperor Huizong (r. 1100–1126), Amy McNair argues that it was compiled instead under the direction of Liang Shicheng. Liang, a high-ranking eunuch official who sought to raise his social status from that of despised menial to educated elite, had privileged access to the emperor and palace. McNair’s study, based on her translation and extensive analysis of the text of the Xuanhe Catalogue of Paintings, offers a definitive argument for the authorship of this major landmark in Chinese painting criticism and clarifies why and how it was compiled.The Painting Master’s Shame describes the remarkable circumstances of the period around 1120, when the catalogue was written. The political struggles over the New Policies, the promotion of the “scholar amateur” ideal in painting criticism and practice, and the rise of eunuch court officials as a powerful class converged to allow those officials the unprecedented opportunity to enhance their prestige through scholarly activities and politics. McNair analyzes the catalogue’s central polemical narrative—the humiliation of the high-ranking minister mistakenly called by the lowly title “Painting Master”—as the key to understanding Liang Shicheng’s methods and motives.

The long seventeenth century in China was a period of tremendous commercial expansion, and no literary genre was better equipped to articulate its possibilities than southern drama. As a form and a practice, southern drama was in the business of world-building—both in its structural imperative to depict and reconcile the social whole and in its creation of entire economies dependent on its publication and performance. However, the early modern commercial world repelled rather than engaged most playwrights, who consigned its totems—the merchant and his money—to the margins as sources of political suspicion and cultural anxiety.In The Cornucopian Stage, Ariel Fox examines a body of influential yet understudied plays by a circle of Suzhou playwrights who enlisted the theatrical imaginary to very different ends. In plays about long-distance traders and small-time peddlers, impossible bargains and broken contracts, strings of cash and storehouses of silver, the Suzhou circle placed commercial forms not only at center stage but at the center of a new world coming into being. Here, Fox argues, the economic character of early modern selfhood is recast as fundamentally productive—as the basis for new subject positions, new kinds of communities, and new modes of art.

Practitioners of any of the paths of self-cultivation available in ancient and medieval China engaged daily in practices meant to bring their bodies and minds under firm control. They took on regimens to discipline their comportment, speech, breathing, diet, senses, desires, sexuality, even their dreams. Yet, compared with waking life, dreams are incongruous, unpredictable—in a word, strange. How, then, did these regimes of self-fashioning grapple with dreaming, a lawless yet ubiquitous domain of individual experience? In Dreaming and Self-Cultivation in China, 300 BCE – 800 CE, Robert Ford Campany examines how dreaming was addressed in texts produced and circulated by practitioners of Daoist, Buddhist, Confucian, and other self-cultivational disciplines. Working through a wide range of scriptures, essays, treatises, biographies, commentaries, fictive dialogues, diary records, interpretive keys, and ritual instructions, Campany uncovers a set of discrete paradigms by which dreams were viewed and responded to by practitioners. He shows how these paradigms underlay texts of diverse religious and ideological persuasions that are usually treated in mutual isolation. The result is a provocative meditation on the relationship between individuals’ nocturnal experiences and one culture’s persistent attempts to discipline, interpret, and incorporate them into waking practice.

Literary History in and beyond China: Reading Text and World explores the idea of literary history across the long span of the Chinese tradition. Although much scholarship on Chinese literature may be characterized as doing the work of literary history, there has been little theoretical engagement with received literary historical categories and assumptions, with how literary historical judgments are formed, and with what it means to do literary history in the first place. The present collection of essays addresses these questions from perspectives emerging both from within the tradition and from without, examining the anthological histories that shape the concept of a particular genre, the interpretive positions that impel our aesthetic judgments, the conceptual categories that determine how literary history is framed, and the history of literary historiography itself. As such, the essays collectively consider what it means to think through the framework of literary history, what literary history affords or omits, and what needs to be theorized in terms of literary history’s constraints and possibilities.

What happens when historiography–the way historical events are committed to writing–shapes historical events as they occur? How do we read biography when it is truly “life-writing,” its subjects fully engaged with the historiographical rhetoric that would record their words and deeds?The Threshold, a study of the culture of historiography in early medieval China, explores these questions through the lens of the History of Liu-Song, a dynastic history compiled in 488 and covering the first three-quarters of the fifth century. Rhetoric courses through early medieval historiography, from the way the historian framed history for his readers to the political machinations contained within the historical narratives, from the active use of rhetorical techniques to the passive effect that embedded discourses exercised on historian, historical actor, and reader alike. Tracing these varied strands of historical argumentation, Zeb Raft shows how history was constructed through rhetorical elements including the narration of officialdom, the anecdote, and, above all, the historical document. The portrait that emerges is of an epideictic historiography where praise was mixed with irony and achievement diluted with ambivalence, and where the most secure positions lay on the threshold of political power and historical interpretation.

In Saying All That Can Be Said, Keith McMahon presents the first full analysis of the sexually explicit portrayals in the Ming novel Jin Ping Mei 金瓶梅 (The Plum in the Golden Vase). Countering common views of those portrayals as “just sex” or as “bad sex,” he shows that they are rich in thematic meaning and loaded with social and aesthetic purpose. McMahon places the novel in the historical context of Chinese sexual culture, from which Jin Ping Mei inherits the style of the elegant, metaphorical description of erotic pleasure, but which the anonymous author extends in an exploration of the explicit, the obscene, and the graphic. The novel uses explicit description to evaluate and comment on characters, situations, and sexual and psychic states of being. Echoing the novel’s way of taking sex as a vehicle for reading the world, McMahon celebrates the richness and exuberance of Jin Ping Mei’s language of sex, which refuses imprisonment within the boundaries of orthodox culture’s cleanly authoritative style, and which continues to inspire admiration from readers around the world. Saying All That Can Be Said will change the way we think about sexual culture in pre-modern China.

By shedding light on a long-forgotten epigraphic genre that flourished in North China under the rule of the Mongol empire, or Yuan dynasty (1271-1368), this book explores the ways the conquered Chinese people understood and represented the alien Mongol ruling principles in their own cultural tradition. This epigraphic genre, which this book collectively calls “genealogical steles,” was quite unique in the history of Chinese epigraphy, for these steles were commissioned by northern Chinese officials under Mongol rule exclusively to record a family’s extensive genealogy, instead of the biography or achievements of an individual. The evolution of these steles delineates the way Mongols thoroughly recast the local elite stratum in North China who, while thinking of themselves as the heirs of traditional Chinese elite culture, fully accommodated to the principles of Mongol imperial rule and became one of its cornerstones in eastern Eurasia. Also, the rise of this epigraphic genre demonstrates that Mongol rule fundamentally affected how northern Chinese families defined, organized, and commemorated their kinship. Because most of these inscriptions are in Classical Chinese, they appear to be part of Chinese tradition. But in fact, they reflect a massive social change in Chinese society that occurred because of Mongol rule in China.

Taiwan has been depicted as an island facing the incessant threat of forcible unification with the People’s Republic of China. Why, then, has Taiwan spent more than three decades pouring capital and talent into China?In award-winning Rival Partners, Jieh-min Wu follows the development of Taiwanese enterprises in China over twenty-five years and provides fresh insights. The geopolitical shift in Asia beginning in the 1970s and the global restructuring of value chains since the 1980s created strong incentives for Taiwanese entrepreneurs to rush into China despite high political risks and insecure property rights. Taiwanese investment, in conjunction with Hong Kong capital, laid the foundation for the world’s factory to flourish in the southern province of Guangdong, but official Chinese narratives play down Taiwan’s vital contribution. It is hard to imagine the Guangdong model without Taiwanese investment, and, without the Guangdong model, China’s rise could not have occurred.Going beyond the received wisdom of the “China miracle” and “Taiwan factor,” Wu delineates how Taiwanese businesspeople, with the cooperation of local officials, ushered global capitalism into China. By partnering with its political archrival, Taiwan has benefited enormously, while helping to cultivate an economic superpower that increasingly exerts its influence around the world.

Lineages Embedded in Temple Networks explores the key role played by elite Daoists in social and cultural life in Ming China, notably by mediating between local networks—biological lineages, territorial communities, temples, and festivals—and the state. They did this through their organization in clerical lineages—their own empire-wide networks for channeling knowledge, patronage, and resources—and by controlling central temples that were nodes of local social structures.In this book, the only comprehensive social history of local Daoism during the Ming largely based on literary sources and fieldwork, Richard G. Wang delineates the interface between local organizations (such as lineages and temple networks) and central state institutions. The first part provides the framework for viewing Daoism as a social institution in regard to both its religious lineages and its service to the state in the bureaucratic apparatus to implement state orthodoxy. The second part follows four cases to reveal the connections between clerical lineages and local networks. Wang illustrates how Daoism claimed a universal ideology and civilizing force that mediated between local organizations and central state institutions, which in turn brought meaning and legitimacy to both local society and the state.

Endymion Wilkinson’s bestselling Chinese History: A New Manual has been continuously in print for fifty years. It has achieved this unusual distinction because the author expanded its scope with each new edition. In the process it has grown from a modest research guide to Chinese imperial history into an encyclopedic, 1.7-million-word introduction to Chinese civilization and the primary and secondary resources and research problems for all periods of Chinese history. In recognition of its unique value, the Académie des Inscriptions et Belles-Lettres (France) awarded the third edition the Stanislas Julien Prize, and in 2016, Peking University Press published the entire Manual in a three-volume Chinese edition.The sixth edition of the Manual has been revised and expanded throughout to include the latest developments in digital tools and the two dozen ancillary disciplines essential for work on Chinese history. In addition, its temporal coverage has been extended to the death of Chairman Mao.In celebration of a half century of continuous publication, the enlarged sixth edition consists of two volumes. Volume 1 covers topics ranging from Language, Education, and the Arts to Science, Technology, and the Environment. Volume 2 presents primary and secondary sources chronologically by period from the Neolithic to 1976.This book is also available in paperback.