Theater of the dead: a social turn in Chinese funerary art, 1000-1400 PDF
Preview Theater of the dead: a social turn in Chinese funerary art, 1000-1400
THEATER OF THE DEAD T H E A T E R O F T H E D E A D A SOCIAL TURN IN CHINESE FUNERARY ART, 1000–1400 JEEHEE HONG UNIVERSITY OF HAWAI‘I PRESS HONOLULU © 2016 UNIVERSITY OF HAWAI‘I PRESS All rights reserved Printed in the United States of Amer i ca 21 20 19 18 17 16 6 5 4 3 2 1 Library of Congress Cataloging- in- Publication Data Hong, Jeehee, author. Theater of the dead : a social turn in Chinese funerary art, 1000–1400 / Jeehee Hong. pages cm Includes bibliographical references and index. ISBN 978-0-8248-5537-6 (cloth : alk. paper) 1. Sarcophagi, Chinese— Themes, motives. 2. Sarcophagi— Decoration— China. 3. Tombs— Decoration— China. 4. Funeral rites and ceremonies, Ancient— China. 5. Theater in art. I. Title. NB1810.H66 2016 726'.8095—d c23 2015034531 Illustrations in this book were funded in part or in w hole by a grant from the Meiss/Mellon Author’s Book Award of the College Art Association. Publication of this book has been assisted by grants from the following organizations: ASSOCIATION FOR ASIAN STUDIES FURTHERMORE: A PROGRAM OF THE J. M. KAPLAN FUND MILLARD MEISS PUBLICATION FUND OF THE COLLEGE ART ASSOCIATION MM University of Hawai‘i Press books are printed on acid- free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by Julie Matsuo- Chun CONTENTS Acknowl edgments vii PRELUDE: Theater in Two Worlds 1 1 THEATER AND FUNERAL 16 2 THEATER FOR THE DEAD 43 3 THEATER OF THE DEAD 71 4 THEATER, BODY, AND PASSAGE 105 POSTLUDE: A Social Turn in Chinese Funerary Art 136 Appendix 147 Notes 151 Glossary 197 Bibliography 201 Index 227 ACK NOWL EDGM ENTS It took many turns and years for this book to materialize. I am deeply grateful for numerous teachers, friends, and colleagues who guided me through at vari ous phases. At the inception of this proj ect at the University of Chicago, Wu Hung be- lieved in the potential from the beginning, and mentored me in shaping many un- sorted intellectual interests into a tangible work that became the foundation of this book. Judith Zeitlin introduced me to an exciting new field of study— Chinese drama— and made it pos si ble for me to work with a corpus of lit er a ture with which I had never been familiar. Ping Foong provided many invaluable suggestions, leading to common interests that promise to bring productive intellectual exchanges in the future. Rebecca Zorach’s unbounded interest in visual issues outside of her areas of research— which are already immense— were great resources at the outset of this proj ect. During several research trips in China, roughly from 2005 to 2014, I received indispensable help from local scholars. Zhang Qingjie in Shanxi Provincial Institute of Archaeology, Tian Jianwen in the Museum of Jin- dynasty Tombs in Jishan, Wang vii viii AC KNOW LEDG MENTS Jinxian in Changzhi Municipal Museum, and Yang Linzhong at Provincial Archaeo- logical Institute for Southeast Shanxi generously assisted me with accessing tombs and temples, and shared their first- hand knowledge of the sites and materials, with- out which my research and writing of this book would have been simply impossible. Yan Baoquan and Wang Fucai of the Department of Chinese Lit er a ture in Shanxi Normal University in Linfen kindly shared their thoughts and information about materials exhibited in the Museum of Chinese Theater located at the university. A group of gradu ate students at the Department of Archaeology in Zhengzhou Univer- sity helped me facilitate my regional trips; I thank them for their warm hospitality and discussions over nice local beers. Dong Rui of the Department of Art in Henan Uni- versity assisted me with acquiring photographs of several objects at the Henan Pro- vincial Museum. In Beijing, Wang Guixiang of the Department of Architecture in Tsing hua University helped me to clarify certain issues that went beyond my im- mediate areas of research. Two years in the Department of Art History at Dartmouth College as an Andrew W. Mellon Postdoctoral Fellow provided me with essential time and support for re- shaping and polishing the proj ect. I want to express my appreciation to Allen Hock- ley and Adrian Randolph for their enduring support during the pro cess. Over the years, I have been extremely fortunate to have excellent friends eager to discuss issues and questions raised in the book manuscript with both sincere critiques and reassurances— often along with gastronomic comfort. I thank Bonnie Cheng, Wen- shing Chou, Karl Debreczeny, Kristina Dy- Lyacco, Rivi Handler- Spitz, Christina Normore, Iiyama Tomoyasu, Li Qingquan, Julia Orell, Peggy Wang, Wasana Wongsurawat, Yudong Wang, and Zheng Yan for their generosity of spirit and bril- liant insights. Special thanks to Jeffrey Moser, Julia Orell, Peggy Wang, and Yudong Wang for meticulously reading parts of the manuscript and offering feedback. At the early stages of writing, Stephen Frankel’s editorial assistance was indispensable. At the final stage of the preparation for the image preproduction, helping hands from many diff er ent parts of Amer i ca and China were vital. Michael Hatch, Stephanie Su, Jin Xu, and Zhiyan Yang provided image reproductions on short notice. Liu Jie and Sun Bo helped to track down image sources in China. I feel very lucky to have been surrounded by a caring community at Syracuse University who made the last stages of writing more enjoyable. Norman Kutcher, Romita Ray, and all of my colleagues at the Department of Art and Music Histories deserve special credit for fostering such a steady and productive intellectual envi- ronment. The final revisions of this book were supported by an American Research in the Humanities in China Fellowship from the American Council of Learned Society. Subvention grants from vari ous sources made it pos si ble for me to reproduce im- ages in this book: the office of the Dean of Humanities at Syracuse University, the Association for Asian Studies First Book Subvention, Furthermore: A Program of the J. M. Kaplan Fund, and the College Art Association’s Millard Meiss Publication Fund and Meiss/Mellon Author’s Book Award. I am im mensely grateful to those who literally made it pos si ble for this book to exist. I appreciate Patricia Crosby at the University of Hawai‘i Press for her early AC KNOW LEDG MENTS ix interest and my editors Stephanie Chun and Brian Ostrander for their patience and hard work at vari ous stages of the publication. Meticulous copyedits by Brian Bend- lin shaped the book into its present form. Finally, my deepest thanks go to every member of my family near and far who have always wholeheartedly encouraged me and expressed happiness for what I do. I dedicate this book to them.
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