Forming the Early Chinese Court builds on new directions in comparative studies of royal courts in the ancient world to present a pioneering study of early Chinese court culture. Rejecting divides between literary, political, and administrative texts, Luke Habberstad examines sources from the Qin, Western Han, and Xin periods (221 BCE–23 CE) for insights into court society and ritual, rank, the development of the bureaucracy, and the role of the emperor. These diverse sources show that a large, but not necessarily cohesive, body of courtiers drove the consolidation, distribution, and representation of power in court institutions. Forming the Early Chinese Court encourages us to see China’s imperial unification as a surprisingly idiosyncratic process that allowed different actors to stake claims in a world of increasing population, wealth, and power.

Forming the Early Chinese Court builds on new directions in comparative studies of royal courts in the ancient world to present a pioneering study of early Chinese court culture. Rejecting divides between literary, political, and administrative texts, Luke Habberstad examines sources from the Qin, Western Han, and Xin periods (221 BCE-23 CE) for insights into court society and ritual, rank, the development of the bureaucracy, and the role of the emperor. These diverse sources show that a large, but not necessarily cohesive, body of courtiers drove the consolidation, distribution, and representation of power in court institutions. Forming the Early Chinese Court encourages us to see China's imperial unification as a surprisingly idiosyncratic process that allowed different actors to stake claims in a world of increasing population, wealth, and power.

The studies brought together here focus upon the literary and cultural activity of the Chinese court during the Han and early medieval period. The first section concerns court literature in the Former Han and deals with the role of literature, especially poetry, at both the imperial and princely courts, including one study of the writings attributed to an imperial concubine, who used poetry to express her resentment at falling from the emperor's favour. The next section looks at a leading court writer of the Late Western Han dynasty, Yang Xiong, while the third part deals with the leading poetic genre of this period, the fu or rhapsody. These papers examine major themes such as praise, travel, dating and authenticity, and problems of translation. The volume concludes with two articles on food culture in early and medieval China.

In 221 bc the First Emperor of Qin unified the lands that would become the heart of a Chinese empire. Though forged by conquest, this vast domain depended for its political survival on a fundamental reshaping of Chinese culture. With this informative book, we are present at the creation of an ancient imperial order whose major features would endure for two millennia. The Qin and Han constitute the "classical period" of Chinese history--a role played by the Greeks and Romans in the West. Mark Edward Lewis highlights the key challenges faced by the court officials and scholars who set about governing an empire of such scale and diversity of peoples. He traces the drastic measures taken to transcend, without eliminating, these regional differences: the invention of the emperor as the divine embodiment of the state; the establishment of a common script for communication and a state-sponsored canon for the propagation of Confucian ideals; the flourishing of the great families, whose domination of local society rested on wealth, landholding, and elaborate kinship structures; the demilitarization of the interior; and the impact of non-Chinese warrior-nomads in setting the boundaries of an emerging Chinese identity. The first of a six-volume series on the history of imperial China, The Early Chinese Empires illuminates many formative events in China's long history of imperialism--events whose residual influence can still be discerned today.

In Text and Ritual in Early China, leading scholars of ancient Chinese history, literature, religion, and archaeology consider the presence and use of texts in religious and political ritual. Through balanced attention to both the received literary tradition and the wide range of recently excavated artifacts, manuscripts, and inscriptions, their combined efforts reveal the rich and multilayered interplay of textual composition and ritual performance. Drawn across disciplinary boundaries, the resulting picture illuminates two of the defining features of early Chinese culture and advances new insights into their sumptuous complexity. Beginning with a substantial introduction to the conceptual and thematic issues explored in succeeding chapters, Text and Ritual in Early China is anchored by essays on early Chinese cultural history and ritual display (Michael Nylan) and the nature of its textuality (William G. Boltz). This twofold approach sets the stage for studies of the E Jun Qi metal tallies (Lothar von Falkenhausen), the Gongyang commentary to The Spring and Autumn Annals (Joachim Gentz), the early history of The Book of Odes (Martin Kern), moral remonstration in historiography (David Schaberg), the “Liming” manuscript text unearthed at Mawangdui (Mark Csikszentmihalyi), and Eastern Han commemorative stele inscriptions (K. E. Brashier). The scholarly originality of these essays rests firmly on their authors’ control over ancient sources, newly excavated materials, and modern scholarship across all major Sinological languages. The extensive bibliography is in itself a valuable and reliable reference resource. This important work will be required reading for scholars of Chinese history, language, literature, philosophy, religion, art history, and archaeology.

"Theatrical performance occupied a central place in the emotional and political life of the Qing dynasty imperial household. For over two centuries, the Qing court poured a tremendous amount of human and material resources into institutionalizing the theatrical arts for the purposes of entertainment and edification. The emperors and empresses were ardent patrons and key players in establishing an artistic form that the court theatre called its own. They went to great lengths to cultivate a discerning taste in theatre and oversaw the artistic and managerial aspects of court theatrical activities. In the imperial theatrical spaces within and outside the Forbidden City, which were designed and built with the capacity to produce stunning visual effects, theatrical productions were staged to entertain imperial family members and to impress obeisance-paying guests from near and afar. Treating Qing dynasty court theatre as a unique site in which to examine important but uncharted realms of Chinese theatrical experience, Staging for the Emperor examines two distinct and interlocking dimensions of the Qing court theatre-the vicissitudes of the palace troupe and the multifaceted functions of court-commissioned ceremonial dramas-to highlight the diverse array of views held by individual rulers as they used theatrical means to promote their personal and political agendas. Drawing on recently discovered materials from a variety of court administrative bureaus, memoirs, diaries, and play scripts written for court ceremonial occasions, this study places the history of Qing court theatre in the broader context of Qing cultural and political history. Staging for the Emperors would appeal to readers interested in China studies and performance studies. It would also appeal to those outside the field of China studies who are interested in developing a cross-cultural perspective on the interplay between state rituals, power, identity formation, and theatrical experiences"--

The Xi'an Stele, erected in Tang China's capital in 781, describes in both Syriac and Chinese the existence of Christian communities in northern China. While scholars have so far considered the Stele exclusively in relation to the Chinese cultural and historical context, Todd Godwin here demonstrates that it can only be fully understood by reconstructing the complex connections that existed between the Church of the East, Sasanian aristocratic culture and the Tang Empire (617-907) between the fall of the Sasanian Persian Empire (225-651) and the birth of the Abbasid Caliphate (762-1258). Through close textual re-analysis of the Stele and by drawing on ancient sources in Syriac, Greek, Arabic and Chinese, Godwin demonstrates that Tang China (617-907) was a cosmopolitan milieu where multiple religious traditions, namely Buddhism, Zoroastrianism, Manichaeism and Christianity, formed zones of elite culture. Syriac Christianity in fact remained powerful in Persia throughout the period, and Christianity - not Zoroastrianism - was officially regarded by the Tang government as 'The Persian Religion'.Persian Christians at the Chinese Court uncovers the role played by Syriac Christianity in the economic and cultural integration of late Sasanian Iran and China, and is important reading for all scholars of the Church of the East, China and the Middle East in the medieval period.