This collection of essays, in honour of Erik Zurcher, provides new information on various aspects of intellectual and social development in China, Japan, and Korea from approximately 1400 to 1800.

This collection of essays written by his former students and colleagues represent the many foci of interest that Erik Zürcher has shared with them during his tenure as professor at Leiden University. They include discussions of Confucian philosophy, Buddhist and Christian polemics, the spread of Jesuit literature and anti-Christian attitudes among the literati, Ming aphorisms, the Chinese pictorial of skulls and skeletons, the Ch'ien-lung Emperor's eightieth birthday celebrations, Sino-Korean relations, and the "little traditions" in Chinese historical development, secret societies and kongsi. The book demonstrates how Zürcher inspired a wide range of interests in problems of Chinese history from heterodoxy, to local development, to hsiao-shuo traditions, but always in the highest traditions of philological scholarship.

Ming porcelain is widely regarded among the world's finest cultural treasures. From ordinary household items patiently refined for imperial use, porcelain became a dynamic force in domestic consumption in China and a valuable commodity in export trade. In the modern era, it has reached unprecedented heights in art auctions and other avenues of global commerce. This book examines the impact of consumption on the evolution of porcelain and its transformation into a foreign cultural icon. The book begins with an examination of ways in which porcelain was appreciated in Ming China, followed by a discussion of encounters with Ming porcelain in several global regions including Europe and the Americas. The book also looks at the invention of the phrase and concept of 'the Ming vase' in English-speaking cultures and concludes with a history of the transformation of Ming porcelain into works of art.

This is the first book in English to offer an extensive introduction to the Tongmunsŏn (Selections of Refined Literature of Korea)—the largest and most important Korean literary collection created prior to the twentieth century—as well as translations of essays from key chapters. The Tongmunsŏn was compiled in 1478 by Sŏ Kŏjŏng (1420–1488) and other Chosŏn literati at the command of King Sŏngjong (r. 1469–1494). It was modeled after the celebrated Chinese anthology Wen Xuan and contains poetry and prose in an extensive array of styles and genres. The Translators’ Introduction begins by describing the general structure of the Tongmunsŏn and contextualizes literary output in Korea within the great sweep of East Asian literature from the eighth to the fifteenth centuries. The entire Tongmunsŏn as well as all of the essays selected for translation were written in hanmun (as opposed to Korean vernacular), which points to a close literary connection between the continent and the peninsula. The Introduction goes on to discuss the genres contained in the Tongmunsŏn and examines style as revealed through prosody. The translation of two of these genres (treatises and discourses) in four books of the Tongmunsŏn showcases prose-writing and the intellectual concerns of the age. Through their discussions of morality, nature, and the fantastic, we see Daoist, Buddhist, and Confucian themes at work in essays by some of Korea’s most distinguished writers, among them Yi Kyubo, Yi Saek, Yi Chehyŏn, and Chŏng Tojŏn. The translations also include annotations and extensive cross-references to classical allusions in the Chinese canon, making the present volume an essential addition to any East Asian literature collection.

In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China’s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas. In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of “scenic illusion paintings” (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong’s world. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/imperial-illusions

Often considered peculiarly American, lynching in fact takes place around the world. In the first book of a two-volume study, Michael J. Pfeifer collects essays that look at lynching and related forms of collective violence in Africa, Asia, and the Middle East. Understanding lynching as a transnational phenomenon rooted in political and cultural flux, the writers probe important issues from Indonesia--where a long history of public violence now twines with the Internet--to South Africa, with its notorious history of necklacing. Other scholars examine lynching in medieval Nepal, the epidemic of summary executions in late Qing-era China, the merging of state-sponsored and local collective violence during the Nanking Massacre, and the ways public anger and lynching in India relate to identity, autonomy, and territory. Contributors: Laurens Bakker, Shaiel Ben-Ephraim, Nandana Dutta, Weiting Guo, Or Honig, Frank Jacob, Michael J. Pfeifer, Yogesh Raj, and Nicholas Rush Smith.

A pioneering history that transforms our understanding of the colonial era and China's place in it China has conventionally been considered a land empire whose lack of maritime and colonial reach contributed to its economic decline after the mid-eighteenth century. Distant Shores challenges this view, showing that the economic expansion of southeastern Chinese rivaled the colonial ambitions of Europeans overseas. In a story that dawns with the Industrial Revolution and culminates in the Great Depression, Melissa Macauley explains how sojourners from an ungovernable corner of China emerged among the commercial masters of the South China Sea. She focuses on Chaozhou, a region in the great maritime province of Guangdong, whose people shared a repertoire of ritual, cultural, and economic practices. Macauley traces how Chaozhouese at home and abroad reaped many of the benefits of an overseas colonial system without establishing formal governing authority. Their power was sustained instead through a mosaic of familial, fraternal, and commercial relationships spread across the ports of Bangkok, Singapore, Saigon, Hong Kong, Shanghai, and Swatow. The picture that emerges is not one of Chinese divergence from European modernity but rather of a convergence in colonial sites that were critical to modern development and accelerating levels of capital accumulation. A magisterial work of scholarship, Distant Shores reveals how the transoceanic migration of Chaozhouese laborers and merchants across a far-flung maritime world linked the Chinese homeland to an ever-expanding frontier of settlement and economic extraction.