A Confucian Iconography of Cao E (Maiden Cao): Narrative Illustrations of a Female Deity in Late Imperial China.
This article examines the narrative illustrations of a female deity called Cao E (Maiden Cao), a work produced in eastern Zhejiang during the post-Taiping era. It focuses on the artistic composition and the cultural implications of this iconography. Using both textual sources and pictorial materials...
| Publicado en: | NAN NU -- Men, Women & Gender in Early & Imperial China Vol. 18; no. 1; pp. 84 - 115 |
|---|---|
| Autor principal: | |
| Formato: | Artículo |
| Publicado: |
Brill Academic Publishers
2016
|
| Materias: | |
| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=119316054&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 119316054 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13876805 C4B jtl: NAN NU -- Men, Women & Gender in Early & Imperial China issn: 13876805 maglogo: Y pubinfo: dt: 2016 vid: 18 iid: 1 pid: 639 pub: Brill Academic Publishers artinfo: ui: 119316054 10.1163/15685268-00181p04 ppf: 84 ppct: 31 formats: fmt: @attributes: type: P size: 3.7MB tig: atl: A Confucian Iconography of Cao E (Maiden Cao): Narrative Illustrations of a Female Deity in Late Imperial China. aug: au: Chen, Gilbert affil: Washington University su: Confucianism & art Goddesses in art Symbolism in art Hagiography Confucianism -- History Ming-Qing art sug: subj: Confucianism & art Goddesses in art Symbolism in art Hagiography Confucianism -- History Ming-Qing art keyword: Cao E Confucian iconography gender gods and standardization popular religion ab: This article examines the narrative illustrations of a female deity called Cao E (Maiden Cao), a work produced in eastern Zhejiang during the post-Taiping era. It focuses on the artistic composition and the cultural implications of this iconography. Using both textual sources and pictorial materials, this study investigates how this pictorial hagiography served as a forum through which a state-sanctioned local cult was visualized and perceived by a heterogeneous audience including itinerant officials, local elites, and illiterate commoners. The mixed audience had different understandings and expectations of Maiden Cao and her visual representation, among which gender-related issues were contested. The present study reveals a dynamic picture of how a seemingly orthodox work sponsored by local officials and elites could be sabotaged because of local people's expectations of Maiden Cao, and her gender identity in particular. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of NAN NU -- Men, Women & Gender in Early & Imperial China is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: NAN NU -- Men, Women & Gender in Early & Imperial China holder: Brill Academic Publishers dt: @attributes: year: 2016 holdings: @attributes: islocal: N |
|---|