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Shaping Collectives: New Faces of Wang Xizhi's Lanting Gathering Tradition in the Qing Dynasty (17th and 18th Centuries)
|Advisor:||黃蘭翔(Lan-shiang Huang),石守謙(Shou-chien Shih)|
Wang Xizhi,Lanting Gathering (Orchid Pavilion Gathering),Lanting Xu (Preface to the Poems Collected from the Orchid Pavilion),Lanting (Orchid Pavilion),Qing court,Li Hengte,Bi Yuan,Liubei Pavilion (Floating Cup Pavilion),qushui liushang (Floating Wine Cups on a Winding Stream),
|Publication Year :||2019|
This dissertation centers on the continuation of the Lanting Gathering (Orchid Pavilion Gathering) in and out of the Qing court during the late seventeenth century and eighteenth century. By examining how the model of the Wang Xizhi-led gathering was referred to and continued in the Qing dynasty, this dissertation explores how the making of objects came to shape a collective and what crucial roles the adjustments and changes made to the gatherings have played in continuing the Lanting tradition.
The Lanting Gathering led by Wang Xizhi has been followed and imitated in later generations for its production of Lanting Xu (Preface to the Poems Collected from the Orchid Pavilion). The making of such a poetic work—a memorial open to changes by later generations—provides an opportunity to demonstrate different cultural interests and community tastes. Both the process of making changes and the creation of tastes showcased a collective’s cultural capital (i.e., collections and painters’ resources) and scholarly interests, highlighting the unique character and thus conducing to the shaping of the collective. Importantly, this dissertation deems the spatial design, activity arrangement, and memorial creation of the continued Lanting Gatherings an organic and structural constitution, and probes the implications of these constituents.
In Chapter 2, this dissertation details the early implementation of qushui liushang (Floating Wine Cups on a Winding Stream) and xiuxi (purification ceremony) while discussing how Wang’s Lanting Gathering became a historical paradigm in the Tang dynasty. Chapter 3 focuses on the establishment of liubei (floating cup) and the making of memorials in the Qing court to explore how Kangxi and Qianlong built and adopted Liubei Pavilion (Floating Cup Pavilion) to create a sense of collectivity among the emperor, subjects, and vassal states.
Chapters 4 and 5 shift the focus to the local development of the continued Lanting Gatherings outside the court in the same period. Chapter 4 reviews the renovations of Lanting in Shaoxing during the reign of Kangxi and Qianlong in the early Qing dynasty. Moreover, it examines the process of how local officials and elites continued the Lanting Gathering to build a collective and thus collaboratively restore local glories. In Chapter 5, the author provides two examples of successful local community development, namely the continued Lanting Gatherings directed by Shaoxing prefect Li Hengte and Bi Yuan’s staff member Liu Xigu. Organized by staff members, both gatherings aptly exemplify how the making of memorials for the events fulfilled the expectation of shaping collectives. The changes made by the two gatherings to the Lanting tradition are mainly reflected on the making of memorials. Their modes of commemoration were distinct from the tradition in an innovative way. Chapter 6 discusses the cases of the continued Lanting Gathering in places such as China, Japan, Korea, and Taiwan during the nineteenth and twentieth centuries, and provides a conclusion to the dissertation.
In summary, the dissertation observes the practice of memorial making and collective shaping through the lens of gatherings to elaborate on the importance of the continued Lanting Gatherings in the Qing dynasty, a previously neglected field of study, to the development of the Lanting tradition.
|Appears in Collections:||藝術史研究所|
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