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.
##作者在琢硯名傢顧二娘——一位身世莫名卻流芳後世的傳奇女子的引導下,進入中國傳統書寫工具硯颱的研究領域,傾十餘年之力,利用傳世文獻/文物分析和田野調查,通過北京紫禁城、肇慶黃崗村、蘇州專諸巷、福州光祿坊等多場景轉化,生動地勾勒齣一方硯颱從選料、琢製、題銘、流傳...
評分 評分 評分 評分##鬆花石 vs 端石
評分 評分##craft of wen, materiality of body. 在反思一點,對形式分析的利用可以導嚮風格序列的建立(方聞)、可以揭示“愉悅感”的建構方式(喬迅)、或是展現宗教思想與實踐的轉嚮(金珍我)。但在作者這裏,對形式的描述與感官的喚起缺乏更為明確的錨點:個人很喜歡她對劉源造硯的分析,很好地展現齣清初宮廷對機巧的崇尚,但在顧二娘相關的分析中,由於現存材料極度稀薄,精細的分析也隻能淪作散兵遊勇。作者似乎想要通過對硯颱的仔細觀察與描述來展現齣這一時期人們對物質性及技藝的關注,進而試圖為艾爾曼的“理學到樸學”演進找到更早的潛流。然而,小小的硯颱是否能直接承受如此之重的轉嚮——如何彌閤感官與思想間的鴻溝,對古代身體經驗的當代重構是否也成為瞭一種霸權?觀察與體驗很重要,但這僅僅是第一步。
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