Papers by Ya-chen (Maya) Ma
New History 新史學, 2019
Fanglue (Official Campaign Histories) was invented by the Kangxi court and was thenceforth compil... more Fanglue (Official Campaign Histories) was invented by the Kangxi court and was thenceforth compiled until the end of the Qing dynasty. Fanglue was an archival collection of correspondence between the emperor and his generals concerning the conduct of wars and postwar reconstruction and has been cited by scholars as historical documents. Recent scholarship, however, has gradually broken away from the documentary perspective, identifies how archives and records were sometimes heavily edited in fanglue, and interprets the compilation within the larger context of Qing military culture. Nonetheless, in order to understand the meaning of the Kangxi invention and his followers’ compilations, we need to analyze the origins of the special format of fanglue, the context in which fanglue appeared, and its effects. Although one scholar has pointed out that fanglue might have followed the war memorials compiled in the Ming dynasty, this connection and its meaning need to be further explored. In fact, the compilation of the war memorials was so popular that they were not only the records of an official or a specific war but also an important medium for self-expression among officials. The popularity of the war memorials also affected their position in historical writings. This article discusses the development of Ming memorials, explores their changes during the Kangxi reign, analyses their relationship to the compilation of the Kangxi fanglue, and concludes with the evolution of the Qianlong fanglue. The approach of longue durée allows us to trace and compare the relationship between memorials and fanglue in order to reinvestigate the meaning and development of fanglue, as well as the character of the Manchu culture of martial prowess.
方略為清代康熙朝新創的官修史書,乾隆朝以降一直到光緒朝相繼都有修纂,經常是現代史家援引的史料來源。近來學界逐漸跳脫傳統視方略為史料的角度,一方面意識到方略作為官修史書的特殊性,以及其中對官方文書的選擇性編輯;另一方面也以清帝國的尚武文化,來說明清廷之所以新創此獨特的官修史書。然而,若將此二方面合而思之,清宮之所以新創此特別體例的官修史書,與提倡軍事文化的具體關係為何仍有待解釋,而須進一步考察其特殊體例的由來,確認其之所以出現的脈絡,並分析其所造成的效應,才能綜論康熙創發方略、且為乾隆等之後清帝傳承的意義。雖已有學者指出清代方略很可能受到明代關於特定戰事依照時序編輯的奏議集之影響,但其中的關聯與意義還有待釐清。事實上明代到康熙朝戰事相關奏議集相當盛行,不僅只是對個人為官或特定戰爭的紀錄,更成為官員之間自我表述的重要媒介,並影響到此類文本定位的變化。本文先探討明代個人戰事相關奏議集的發展,接著討論康熙時期官員戰事相關奏議集的變化,最後論析前二者與康熙宮廷方略編纂的關係,餘論則說明乾隆朝方略的轉變與定位。希冀透過溯源與對照,重新理解康熙皇權新創方略的意義和發展,以及和明朝個人戰事相關奏議集與官員文化的關係,並由此再觀察滿洲尚武文化的特色。
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
學界對清宮製作的皇家園林圖繪多所研究,但主要以個別皇苑為中
心,將不同媒材的圖像一起討論。然而,若跳脫個別行宮的框架,何
以歷代院畫中比例有限、更從未是宮廷出版題材的皇家園林,卻成為
乾隆宮廷一... more 學界對清宮製作的皇家園林圖繪多所研究,但主要以個別皇苑為中
心,將不同媒材的圖像一起討論。然而,若跳脫個別行宮的框架,何
以歷代院畫中比例有限、更從未是宮廷出版題材的皇家園林,卻成為
乾隆宮廷一再刊印的主題?尤其木版印刷的皇苑圖繪集中在避暑山
莊、圓明園和盤山靜寄山莊,園景的選擇也與繪畫不盡相同,值得深
究其出版的意義。過去研究已指出清朝皇家園林如避暑山莊與滿清統
治息息相關,本文則主要從製作的角度,思考刊印皇苑圖繪與滿清皇
權的關係。首先討論乾隆初期對康熙《御製避暑山莊詩》的承襲和調
整,接下來論述靜寄山莊相關圖繪和文字轉為刊印於《欽定盤山志》
的脈絡,最後探索避暑山莊等行宮圖及圖說在《欽定熱河志》的意義。
Scholars have studied multi-media images of individual imperial gardens
commissioned by the Qing court. However, beyond the framework of individual gardens, we may ponder why imperial gardens, a subject matter that had seldom appeared in court paintings and never in publications of previous dynasties, were repeatedly turned into a publication theme by the Qianlong court. In particular, it is worth noting that the printed images focused only on three gardens: Bishu
shanzhuang (Mountain Retreat for Escaping the Summer Heat), Yuanming yuan (The Garden of Perfect Brightness), and Panshan jingji shanzhuang (Peaceful Abode Mountain Retreat, Coiled Mountain) and sometimes chose scenes different from those in the paintings, a fact that demands further research on the meaning of these publications. Past scholarship has pointed out that Qing imperial gardens such as Mountain Retreat for Escaping the Summer Heat were closely related to
the Manchu sovereign. This article explores the relationship between the printed images of the imperial gardens and the imperial prerogative from the perspective of the production of publications. I first discuss how the Qianlong emperor followed and adapted the Kangxi canon Yuzhi bishu shanzhuang shi (Imperial Poems of Mountain Retreat for Escaping the Summer Heat), then analyze the context in which the images and texts of Peaceful Abode Mountain Retreat were printed in Qinding Panshan zhi (Imperially Authorized Gazetteer of Coiled Mountain), and explore the meaning of the images of travel palaces such as Mountain Retreat for Escaping the Summer Heat as well as their entries in Qinding Rehe zhi (Imperial Authorized Gazetteer of Jehol).
Bookmarks Related papers MentionsView impact
Military Achievement and Official Accomplishment: Ming Images of Warfare and the Visual Culture o... more Military Achievement and Official Accomplishment: Ming Images of Warfare and the Visual Culture of Officialdom
Ma, Ya-chen
Associate Professor, Institute of History, National Tsing Hua University
Records concerning images of warfare are abundant in the Ming literati’s anthologies, and some have survived to this day. Most Ming images of warfare depict contemporary battles, an uncommon theme either in traditional literati paintings or in counterfeit antique pictures produced by commercial workshops, and therefore had their unique demands, expressions, and networks of circulation. Such images, set apart from “elegant” or “vulgar” pictures that current scholarship is preoccupied with, then provide us with a different perspective from which to understand Ming visual culture. Why were images of warfare popular in the Ming dynasty? What were their contents? What were the modes of production and of visual culture to which they belonged? Interestingly, many such Ming images focus on one particular individual’s military achievement, whereas Qing Qianlong pictures usually represent wars against various enemies without focusing on any specific figure. Did this Ming feature have to do with the fact that the protagonists in Ming pictorial narratives of war include both military and civil officials? In what context did the images of warfare appear under the Ming? This article will clarify issues related to images of warfare, discuss the relationship between their popularity and the visual culture of officials, analyze their development through case studies of woodblock prints, and conclude with a brief discussion of these images’ influence.
Bookmarks Related papers MentionsView impact
The reconstruction of Chinese imperial palaces and gardens usually relies on historical texts and... more The reconstruction of Chinese imperial palaces and gardens usually relies on historical texts and archaeological findings as most of the architecture does not survive. Qing (1644-1911) palaces and gardens, however, are less problematic due to well-preserved sites and contemporaneous images made by the court. Although most Chinese images of contemporary imperial gardens do not describe them in detail, Qing representations of imperial gardens often contain dozens of comprehensive views printed both as independent volumes and as part of gazetteers. Such a deviation from the tradition of Chinese court art should be understood as a deliberate invention. Why do Qing images of imperial gardens have no parallel in Chinese art? As the first production of the Qing series, Kangxi Yuzhi Bishu shanzhuang shi (Imperial Poems on Mountain Estate for Escaping the Summer Heat) must be the starting point of any investigation. This paper examines the creation of Kangxi Yuzhi Bishu shanzhuang shi: after an overview of the cultural meanings of garden imagery in late imperial China, this paper will discuss how the Kangxi scenes appropriated and transformed the pictorial tradition of gardens to construct the ideal imperial garden and to reflect the emperor’s sage rule.
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Records concerning images of warfare are abundant in the Ming literati’s anthologies, and some ha... more Records concerning images of warfare are abundant in the Ming literati’s anthologies, and some have survived to this day. Most Ming images of warfare depict contemporary battles, an uncommon theme either in traditional literati paintings or in counterfeit antique pictures produced by commercial workshops, and therefore had their unique demands, expressions, and networks of circulation. Such images, set apart from “elegant” or “vulgar” pictures that current scholarship is preoccupied with, then provide us with a different perspective from which to understand Ming visual culture. Why were images of warfare popular in the Ming dynasty? What were their contents? What were the modes of production and of visual culture to which they belonged? Interestingly, many such Ming images focus on one particular individual’s military achievement, whereas Qing Qianlong pictures usually represent wars against various enemies without focusing on any specific figure. Did this Ming feature have to do with the fact that the protagonists in Ming pictorial narratives of war include both military and civil officials? In what context did the images of warfare appear under the Ming? This article will clarify issues related to images of warfare, discuss the relationship between their popularity and the visual culture of officials, analyze their development through case studies of woodblock prints, and conclude with a brief discussion of these images’ influence.
Keywords: images of warfare, huanji tu (images of official accomplishment), Woukou tu (Paintings of Japanese Pirates), Annan laiwei tu (Account of the Over-awing of Annan), Jiaozei tuji (Illustrated record of the suppression of the bandits)
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
During Qianlong’s fifth imperial southern inspection tour, a Zhejiang resident named Jin Deyu pre... more During Qianlong’s fifth imperial southern inspection tour, a Zhejiang resident named Jin Deyu presented the emperor with an one-hundred-leaf album titled Taiping huanle tu (The Album of Happiness in a Peaceful Age). The paintings featured figures holding various occupations as a way of showing the native products and customs of the Zhejiang region, thus representing the Qianlong reign as one of great peace. Historians have praised its detailed depiction of everyday life, while art historians have pointed out that the representations of the figures’ occupations, based on cityscapes and fengsu hua (genre paintings), held political implications. But how could various occupations symbolize a peaceful regime? How did the album differ from the so-called fengsu hua of the time which also featured figures engaging in different livelihoods? Precisely what kind of “peaceful regime” was constructed by Jin Deyu? Did he as a result of commissioning the album succeed in advancing his official career? By contextualizing Jin’s presentation of the album to the emperor and comparing the album to other related paintings, this article argues that the making and reception of Taiping huanle tu as well as its construction of “a peaceful regime” drew from Jin’s personal experience, his circle, the Zhejiang region as well as the inter-relationship between the empire, provinces and the frontiers. This case study further explores the differences among the so-called fengsu hua of late
imperial China and their meanings.
Keywords: Taiping huanle tu (The Album of Happiness in a Peaceful Age), nanxun (the imperial southern inspection tours), fengsu hua (genre paintings), xihao zhi xiang (manifestations of a peaceful regime, Jin Deyu
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Books by Ya-chen (Maya) Ma
Bookmarks Related papers MentionsView impact
Bookmarks Related papers MentionsView impact
Drafts by Ya-chen (Maya) Ma
Bookmarks Related papers MentionsView impact
Uploads
Papers by Ya-chen (Maya) Ma
方略為清代康熙朝新創的官修史書,乾隆朝以降一直到光緒朝相繼都有修纂,經常是現代史家援引的史料來源。近來學界逐漸跳脫傳統視方略為史料的角度,一方面意識到方略作為官修史書的特殊性,以及其中對官方文書的選擇性編輯;另一方面也以清帝國的尚武文化,來說明清廷之所以新創此獨特的官修史書。然而,若將此二方面合而思之,清宮之所以新創此特別體例的官修史書,與提倡軍事文化的具體關係為何仍有待解釋,而須進一步考察其特殊體例的由來,確認其之所以出現的脈絡,並分析其所造成的效應,才能綜論康熙創發方略、且為乾隆等之後清帝傳承的意義。雖已有學者指出清代方略很可能受到明代關於特定戰事依照時序編輯的奏議集之影響,但其中的關聯與意義還有待釐清。事實上明代到康熙朝戰事相關奏議集相當盛行,不僅只是對個人為官或特定戰爭的紀錄,更成為官員之間自我表述的重要媒介,並影響到此類文本定位的變化。本文先探討明代個人戰事相關奏議集的發展,接著討論康熙時期官員戰事相關奏議集的變化,最後論析前二者與康熙宮廷方略編纂的關係,餘論則說明乾隆朝方略的轉變與定位。希冀透過溯源與對照,重新理解康熙皇權新創方略的意義和發展,以及和明朝個人戰事相關奏議集與官員文化的關係,並由此再觀察滿洲尚武文化的特色。
心,將不同媒材的圖像一起討論。然而,若跳脫個別行宮的框架,何
以歷代院畫中比例有限、更從未是宮廷出版題材的皇家園林,卻成為
乾隆宮廷一再刊印的主題?尤其木版印刷的皇苑圖繪集中在避暑山
莊、圓明園和盤山靜寄山莊,園景的選擇也與繪畫不盡相同,值得深
究其出版的意義。過去研究已指出清朝皇家園林如避暑山莊與滿清統
治息息相關,本文則主要從製作的角度,思考刊印皇苑圖繪與滿清皇
權的關係。首先討論乾隆初期對康熙《御製避暑山莊詩》的承襲和調
整,接下來論述靜寄山莊相關圖繪和文字轉為刊印於《欽定盤山志》
的脈絡,最後探索避暑山莊等行宮圖及圖說在《欽定熱河志》的意義。
Scholars have studied multi-media images of individual imperial gardens
commissioned by the Qing court. However, beyond the framework of individual gardens, we may ponder why imperial gardens, a subject matter that had seldom appeared in court paintings and never in publications of previous dynasties, were repeatedly turned into a publication theme by the Qianlong court. In particular, it is worth noting that the printed images focused only on three gardens: Bishu
shanzhuang (Mountain Retreat for Escaping the Summer Heat), Yuanming yuan (The Garden of Perfect Brightness), and Panshan jingji shanzhuang (Peaceful Abode Mountain Retreat, Coiled Mountain) and sometimes chose scenes different from those in the paintings, a fact that demands further research on the meaning of these publications. Past scholarship has pointed out that Qing imperial gardens such as Mountain Retreat for Escaping the Summer Heat were closely related to
the Manchu sovereign. This article explores the relationship between the printed images of the imperial gardens and the imperial prerogative from the perspective of the production of publications. I first discuss how the Qianlong emperor followed and adapted the Kangxi canon Yuzhi bishu shanzhuang shi (Imperial Poems of Mountain Retreat for Escaping the Summer Heat), then analyze the context in which the images and texts of Peaceful Abode Mountain Retreat were printed in Qinding Panshan zhi (Imperially Authorized Gazetteer of Coiled Mountain), and explore the meaning of the images of travel palaces such as Mountain Retreat for Escaping the Summer Heat as well as their entries in Qinding Rehe zhi (Imperial Authorized Gazetteer of Jehol).
Ma, Ya-chen
Associate Professor, Institute of History, National Tsing Hua University
Records concerning images of warfare are abundant in the Ming literati’s anthologies, and some have survived to this day. Most Ming images of warfare depict contemporary battles, an uncommon theme either in traditional literati paintings or in counterfeit antique pictures produced by commercial workshops, and therefore had their unique demands, expressions, and networks of circulation. Such images, set apart from “elegant” or “vulgar” pictures that current scholarship is preoccupied with, then provide us with a different perspective from which to understand Ming visual culture. Why were images of warfare popular in the Ming dynasty? What were their contents? What were the modes of production and of visual culture to which they belonged? Interestingly, many such Ming images focus on one particular individual’s military achievement, whereas Qing Qianlong pictures usually represent wars against various enemies without focusing on any specific figure. Did this Ming feature have to do with the fact that the protagonists in Ming pictorial narratives of war include both military and civil officials? In what context did the images of warfare appear under the Ming? This article will clarify issues related to images of warfare, discuss the relationship between their popularity and the visual culture of officials, analyze their development through case studies of woodblock prints, and conclude with a brief discussion of these images’ influence.
Keywords: images of warfare, huanji tu (images of official accomplishment), Woukou tu (Paintings of Japanese Pirates), Annan laiwei tu (Account of the Over-awing of Annan), Jiaozei tuji (Illustrated record of the suppression of the bandits)
imperial China and their meanings.
Keywords: Taiping huanle tu (The Album of Happiness in a Peaceful Age), nanxun (the imperial southern inspection tours), fengsu hua (genre paintings), xihao zhi xiang (manifestations of a peaceful regime, Jin Deyu
Books by Ya-chen (Maya) Ma
Drafts by Ya-chen (Maya) Ma
方略為清代康熙朝新創的官修史書,乾隆朝以降一直到光緒朝相繼都有修纂,經常是現代史家援引的史料來源。近來學界逐漸跳脫傳統視方略為史料的角度,一方面意識到方略作為官修史書的特殊性,以及其中對官方文書的選擇性編輯;另一方面也以清帝國的尚武文化,來說明清廷之所以新創此獨特的官修史書。然而,若將此二方面合而思之,清宮之所以新創此特別體例的官修史書,與提倡軍事文化的具體關係為何仍有待解釋,而須進一步考察其特殊體例的由來,確認其之所以出現的脈絡,並分析其所造成的效應,才能綜論康熙創發方略、且為乾隆等之後清帝傳承的意義。雖已有學者指出清代方略很可能受到明代關於特定戰事依照時序編輯的奏議集之影響,但其中的關聯與意義還有待釐清。事實上明代到康熙朝戰事相關奏議集相當盛行,不僅只是對個人為官或特定戰爭的紀錄,更成為官員之間自我表述的重要媒介,並影響到此類文本定位的變化。本文先探討明代個人戰事相關奏議集的發展,接著討論康熙時期官員戰事相關奏議集的變化,最後論析前二者與康熙宮廷方略編纂的關係,餘論則說明乾隆朝方略的轉變與定位。希冀透過溯源與對照,重新理解康熙皇權新創方略的意義和發展,以及和明朝個人戰事相關奏議集與官員文化的關係,並由此再觀察滿洲尚武文化的特色。
心,將不同媒材的圖像一起討論。然而,若跳脫個別行宮的框架,何
以歷代院畫中比例有限、更從未是宮廷出版題材的皇家園林,卻成為
乾隆宮廷一再刊印的主題?尤其木版印刷的皇苑圖繪集中在避暑山
莊、圓明園和盤山靜寄山莊,園景的選擇也與繪畫不盡相同,值得深
究其出版的意義。過去研究已指出清朝皇家園林如避暑山莊與滿清統
治息息相關,本文則主要從製作的角度,思考刊印皇苑圖繪與滿清皇
權的關係。首先討論乾隆初期對康熙《御製避暑山莊詩》的承襲和調
整,接下來論述靜寄山莊相關圖繪和文字轉為刊印於《欽定盤山志》
的脈絡,最後探索避暑山莊等行宮圖及圖說在《欽定熱河志》的意義。
Scholars have studied multi-media images of individual imperial gardens
commissioned by the Qing court. However, beyond the framework of individual gardens, we may ponder why imperial gardens, a subject matter that had seldom appeared in court paintings and never in publications of previous dynasties, were repeatedly turned into a publication theme by the Qianlong court. In particular, it is worth noting that the printed images focused only on three gardens: Bishu
shanzhuang (Mountain Retreat for Escaping the Summer Heat), Yuanming yuan (The Garden of Perfect Brightness), and Panshan jingji shanzhuang (Peaceful Abode Mountain Retreat, Coiled Mountain) and sometimes chose scenes different from those in the paintings, a fact that demands further research on the meaning of these publications. Past scholarship has pointed out that Qing imperial gardens such as Mountain Retreat for Escaping the Summer Heat were closely related to
the Manchu sovereign. This article explores the relationship between the printed images of the imperial gardens and the imperial prerogative from the perspective of the production of publications. I first discuss how the Qianlong emperor followed and adapted the Kangxi canon Yuzhi bishu shanzhuang shi (Imperial Poems of Mountain Retreat for Escaping the Summer Heat), then analyze the context in which the images and texts of Peaceful Abode Mountain Retreat were printed in Qinding Panshan zhi (Imperially Authorized Gazetteer of Coiled Mountain), and explore the meaning of the images of travel palaces such as Mountain Retreat for Escaping the Summer Heat as well as their entries in Qinding Rehe zhi (Imperial Authorized Gazetteer of Jehol).
Ma, Ya-chen
Associate Professor, Institute of History, National Tsing Hua University
Records concerning images of warfare are abundant in the Ming literati’s anthologies, and some have survived to this day. Most Ming images of warfare depict contemporary battles, an uncommon theme either in traditional literati paintings or in counterfeit antique pictures produced by commercial workshops, and therefore had their unique demands, expressions, and networks of circulation. Such images, set apart from “elegant” or “vulgar” pictures that current scholarship is preoccupied with, then provide us with a different perspective from which to understand Ming visual culture. Why were images of warfare popular in the Ming dynasty? What were their contents? What were the modes of production and of visual culture to which they belonged? Interestingly, many such Ming images focus on one particular individual’s military achievement, whereas Qing Qianlong pictures usually represent wars against various enemies without focusing on any specific figure. Did this Ming feature have to do with the fact that the protagonists in Ming pictorial narratives of war include both military and civil officials? In what context did the images of warfare appear under the Ming? This article will clarify issues related to images of warfare, discuss the relationship between their popularity and the visual culture of officials, analyze their development through case studies of woodblock prints, and conclude with a brief discussion of these images’ influence.
Keywords: images of warfare, huanji tu (images of official accomplishment), Woukou tu (Paintings of Japanese Pirates), Annan laiwei tu (Account of the Over-awing of Annan), Jiaozei tuji (Illustrated record of the suppression of the bandits)
imperial China and their meanings.
Keywords: Taiping huanle tu (The Album of Happiness in a Peaceful Age), nanxun (the imperial southern inspection tours), fengsu hua (genre paintings), xihao zhi xiang (manifestations of a peaceful regime, Jin Deyu