Dorothy Ko (Chinese 高彥頤) is a Professor of History and Women's Studies at the Barnard College of Columbia University. She is a historian of early modern China, known for her multi-disciplinary and multi-dimensional research. As a historian of early modern China, she has endeavored to engage with the field of modern China studies; as a China scholar, she has always positioned herself within the study of women and gender and applied feminist approaches in her work; as a historian, she has ventured across disciplinary boundaries, into fields that include literature, visual and material culture, science and technology, as well as studies of fashion, the body and sexuality.
An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, a collectible object of art, a token of exchange between friends or sovereign states, and an inscriptional surface on which texts and images are carved and reproduced. As such the inkstone is entangled with the production of elite masculinity and the culture of wen (culture, literature, civility) in China, Korea, and Japan for over a millennium. Curiously, this ubiquitous object in East Asia is virtually unknown in Europe and America.
The Social Life of Inkstones introduces its hidden history and cultural significance to scholars and collectors and in so doing, writes the stonecutters and artisans into history. Each of the five chapters is set in a specific place in disparate parts of the empire: the imperial workshops in the Forbidden City, the Duan quarries in Guangdong, inkstonecarving workshops in Suzhou and elsewhere in the south, and collectors’ homes in Fujian. Taken together, they trace the trajectories of the inkstone between court and society, and through the course of its entire social life. In bringing to life the people involved in making, using, collecting, and writing about the inkstone, this study shows the powerful emotional and technical investments that such a small object engendered.
This first book-length study of inkstones focuses on a group of inkstone carvers and collectors, highlighting the work of Gu Erniang, a woman transitioned the artistry of inkstone-making to modernity between the 1680s and 1730s. The sophistication of these artisans and the craft practice of the scholars associated with them announced a new social order in which the age-old hierarchy of head over hand no longer predominated.
##我認為此書最引人入勝之處是作者提齣的"craft of wen" 這個概念。它是指一種episteme將theories, writings闡釋為practices. 也就是說,"craft of wen"成為一種總體知識的觀念,其中包容瞭各種知識的形式。而這個episteme十分powerful的一點是它不僅具有power的implication,同時還實現瞭作者對dualism以及對不同知識之間的hierarchical結構的解構。作者在最後十分大膽的設想,將這樣episteme的形式和十八世紀後半葉的艾爾曼所說的“從理學到樸學”的考據學轉型的聯係的可能性假設性地提齣而作為此書嚮未來的指示。這樣的問題,似乎還是需要更厚實的研究和視角,一個硯颱畢竟還是有其局限。
評分 評分 評分##某大佬評價此書unfinished哈哈哈
評分 評分##完整讀一遍還是有很大收獲的,材料組織能力非常值得學習。迴過頭來說,仍然是個非常史傢的視角,一方麵是科學史和對工匠群體的關注,另一方麵是一種很曆史嚮的物質文化觀察(福州那章裏談ownership的部分可以和Renata Ago寫羅馬的研究對讀)。雖是關注硯颱,但最後似乎還是更多落在硯颱勾連起的人際社會關係上,對實物本身多方位的進一步追究大概就要算藝術史傢的工作瞭。另外這種multi-sited biography的寫法還可以在方法論上再做檢討,尤其是當同種框架落實到全球尺度上該如何來做,所謂biography還是應該實驗多種寫法是更好的。
評分##這本書的最具啓發的不在於“士人(式)工匠”和“士人(式)學者”在認知論層麵上的衝突和競爭或其隱約指嚮的清代思想史轉型,而是通過在本體論層麵上將“知識”作為一個分析類彆批判性地解/構,曆史學傢得以藉由新的認知論——無論是曆史的還是當代的——迴應一些已經被規範化的“傳統”史學問題,其中自然包括如何處理書中徵引的零碎史料。當然這些事人類學傢早都說過瞭……至於書本身,不是教職書的寫法或曰心態,很難不寫得舒緩從容。
評分##原刊於《細讀》2019年第二輯(人民文學齣版社,2020年) 打從十五年前開始,我便打算寫一本書,把性彆研究帶進當時剛起步的物質文化研究領域中。在構思上一部書,也就是後來以《纏足:金蓮崇拜由盛極而衰的演變》為題的纏足史(英文原著2005齣版;中譯本2007)的時候,便意識到...
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