Approaching the prison as a creative environment and imprisoned officials as creative subjects in Ming China (1368-1644), Ying Zhang introduces important themes at the intersection of premodern Chinese religion, poetry, and visual and material culture.

Iconoclastic scholar Li Zhi (1527–1602) was a central figure in the cultural world of the late Ming dynasty. His provocative and controversial words and actions shaped print culture, literary practice, attitudes toward gender, and perspectives on Buddhism and the afterlife. Although banned, his writings were never fully suppressed, because they tapped into issues of vital significance to generations of readers. His incisive remarks, along with the emotional intensity and rhetorical power with which he delivered them, made him an icon of his cultural moment and an emblem of early modern Chinese intellectual dissent. In this volume, leading China scholars demonstrate the interrelatedness of seemingly discrete aspects of Li Zhi’s thought and emphasize his far-reaching impact on his contemporaries and successors. In doing so, they challenge the myth that there was no tradition of dissidence in premodern China.

The Plum in the Golden Vase (also known as The Golden Lotus) was published in the early seventeenth century and may be the first long work of Chinese fiction written by a single (though anonymous) author. Featuring both complex structural elements and psychological and emotional realism, the novel centers on the rich merchant Ximen Qing and his household and describes the physical surroundings and material objects of a Ming Dynasty city. In part a social, political, and moral critique, the novel reflects on hierarchical power relations of family and state and the materialism of life at the time. The essays in this volume provide ideas for teaching the novel using a variety of approaches, from questions of genre, intertextuality, and the novel's reception to material culture, family and social dynamics, and power structures in sexual relations. Insights into the novel's representation of Buddhism, Chinese folk religion, legal culture, class, slavery, and obscenity are offered throughout the volume.

After overthrowing the Mongol Yuan dynasty, Zhu Yuanzhang, the founder of the Ming dynasty (1368-1644), proclaimed that he had obtained the Mandate of Heaven (Tianming), enabling establishment of a spiritual orientation and social agenda for China. Zhu, emperor during the Ming’s Hongwu reign period, launched a series of social programs to rebuild the empire and define Chinese cultural identity. To promote its reform programs, the Ming imperial court issued a series of legal documents, culminating in The Great Ming Code (Da Ming lu), which supported China’s legal system until the Ming was overthrown and also served as the basis of the legal code of the following dynasty, the Qing (1644-1911). This companion volume to Jiang Yonglin’s translation of The Great Ming Code (2005) analyzes the thought underlying the imperial legal code. Was the concept of the Mandate of Heaven merely a tool manipulated by the ruling elite to justify state power, or was it essential to their belief system and to the intellectual foundation of legal culture? What role did law play in the imperial effort to carry out the social reform programs? Jiang addresses these questions by examining the transformative role of the Code in educating the people about the Mandate of Heaven. The Code served as a cosmic instrument and moral textbook to ensure “all under Heaven” were aligned with the cosmic order. By promoting, regulating, and prohibiting categories of ritual behavior, the intent of the Code was to provide spiritual guidance to Chinese subjects, as well as to acquire political legitimacy. The Code also obligated officials to obey the supreme authority of the emperor, to observe filial behavior toward parents, to care for the welfare of the masses, and to maintain harmonious relationships with deities. This set of regulations made officials the representatives of the Son of Heaven in mediating between the spiritual and mundane worlds and in governing the human realm. This study challenges the conventional assumption that law in premodern China was used merely as an arm of the state to maintain social control and as a secular tool to exercise naked power. Based on a holistic approach, Jiang argues that the Ming ruling elite envisioned the cosmos as an integrated unit; they saw law, religion, and political power as intertwined, remarkably different from the “modern” compartmentalized worldview. In serving as a cosmic instrument to manifest the Mandate of Heaven, The Great Ming Code represented a powerful religious effort to educate the masses and transform society.

This thorough exploration of the aspects of everyday life in China during the Tang Dynasty (618-907) provides fascinating insight into a culture and time that is often misunderstood, especially by those from western cultures. Here students will find the details of what life was really like for these people. How was their society structured? How did they entertain themselves? What sorts of food did they eat? The answers to these and other questions are provided in full detail to bring this golden age of Chinese culture alive for the modern reader. Based mainly on classical translations from the Chinese themselves, each chapter addresses a specific aspect of daily living in the voices of those who lived during the time. A myriad of interesting details are provided to help readers discover, among other things, what life was like in the city, what homes and gardens were like, how the role's of men and women differed, and the many rituals in which people participated. Detailed descriptions of the clothes and materials people wore, the games they played and the cooking methods they used for specific foods provide readers with the ability to experiment on their own to recreate the time and place, so they can have a better understanding of this intriguing culture.

In this fascinating and detailed profile, Benn paints a vivid picture of life in the Tang Dynasty (618-907), traditionally regarded as the golden age of China. 40 line illustrations.