Women, Gender and Art in Asia, c. 1500-1900

Cover
Half Title
Title Page
Copyright Page
Dedication
Contents
List of Illustrations
Notes on Contributors
Acknowledgements
Introduction: Queens, Courtesans, and Collectors: Women’s Engagement with Art in Asia
	Women’s Agency and Art in the “Inner chambers” and Beyond
	Matrons, Art, and Power
	Women’s Work and Working Women
	Depicting the Exemplary Woman
	Gender in Liminal Spaces
	Notes
	Works Cited
PART I: Matrons, Art, and Power
	1 Mapping Holkar Identity and the Good Name of Ahilyabai
		Four Jyotirliṅga Temples
		Establishing Ahilyabai’s Political Legitimation as Pious Queen
		Conclusion
		Notes
		Works Cited
	2 Royal Matronage and a Visual Vocabulary of Indian Queenship: Ahilyabai Holkar’s Memorial Commissions
		Tumultuous Politics, Rājādharmā, and Performances ofGendered Authority in Early-modern North India
		Chatrīs and North Indian Hindu Kingship
		Conclusion: The King is Dead, Long Live the Queen!
		Notes
		Works Cited
	3 Heavenly Mistress and Bodhisattva: Visualizing the Divine Identities of Two Empresses in Ming China (1368–1644)
		Positioning Ming Empresses
		Empress Zhang as Heavenly Mistress
		Empress Dowager Li as Bodhisattva
		Conclusion
		Notes
		Works Cited
	4 A Very “Modern” Matron: Phra Rachaya Dara Rasami as Promoter and Preserver of Lan Na Culture in Early Twentieth-century Siam
		Siamese Palace Women as Performers and Producers of Elite Culture
		Dara Rasami as a “Matron” of Northern Culture within the Palace
		Adaptation and Assimilation: Siam’s Elite Moderns and Siwilai
		Dara Rasami and Exemplifying Exotic Ethnic Other-ness in Bangkok
		Dara Rasami as a Very Modern Matron of Lan Na Culture: 1914–1933
		Music, Dance-drama, and Textiles
		Dara Rasami as Modern Matron of Medicine and Agriculture
		Dara Rasami as Matron of Cultural History
		Conclusion
		Notes
		Bibliography
		Primary Sources
		English-Language Sources
		Thai-Language Sources
		Websites
PART II: Women’s Work and Working Women
	5 Imagining Du Liniang in The Peony Pavilion: Female Painters, Self-portraiture, and Paintings of Beautiful Women in Late Ming China
		Representing Du Liniang in Text and Image
		Female Painters and Identity in the Late Ming
		Conclusion
		Notes
		Works Cited
	6 Creating Art in Japan’s Imperial Buddhist Convents: Devotional Practice and Cultural Pastime
		Creating Objects as an Act of Devotion
		Paintings for Temple Ceremonies
		Private Devotional Paintings
		Commemorative Portraits
		Kannon Images Made of Incense Powder and Papier-mâché
		Myōgō, Zen Verses/Single-line Calligraphy, Sutra Transcription,and Temple Plaques
		Needlework Imagery
		Creating Art as Cultural Pastime
		Waka and Kanshi Poetry
		Card Matching Games and Picture Sugoroku
		Summary
		Notes
		Works Cited
	7 Women’s Work: Phulkari, Flora Annie Steel, and Collecting Textiles in British India
		Knowing and Collecting
		Cropping and Framing
		Women Working: Labor In and Out of the Home
		Conclusion
		Notes
		Works Cited
PART III: Depicting the Exemplary Woman
	8 Defining a Woman: The Painting of Sin Saimdang
		A Woman’s Place
		Painting in Context
		The Confucian Garden
		Becoming a Symbol
		Conclusion
		Notes
		Works Cited
		Newspaper Articles
		Exhibition Catalogues
		Books and Articles
	9 Properly Female: Illustrated Books of Morals for Women in Edo Japan
		Scholarship on Didactic Literature for Women
		Women’s Literacy and the Print Industry
		Early Edo Books on Women’s Morals
		Illustrious Women in Early Edo Books
		Onna Daigaku
		Later Edo Books for Women
		Notes
		Works Cited
	10 Absence and Presence: Representations of Human and Non-human Females in Tibetan Thangkas
		Medical Texts
		Sexual Reproduction, Tulkus, and the Absence of Women
		Male Lineage
		Pure Lands
		Conclusion
		Notes
		Works Cited
		Primary Sources
		Secondary Sources
PART IV: Gender in Liminal Spaces
	11 Reconsidering Gender Realms: The Garden as Site and Setting in Late Imperial Shanghai
		A Garden to Please
		Picturing the Grand View Garden
		Yu Garden, from Icon to Motif
		Conclusion
		Notes
		Works Cited
	12 Women Who Crossed the Cordon
		Introduction
		Asai Ryōi’s Narration of the Nuns’ Lineage
		Ki-shō-ten-ketsu Rather than Profanation Theory
		Mahapajapati: The Woman Who Made the BuddhaSay That Women Can Be Enlightened
		Kōmyō: The Empress Who Washed the Leper’s Body
		Toran-ni: The Old Hag Who Violated the Anti-female Cordon
		Kumano Bikuni: The Women in the World of Pleasure
		Fake Kumano Bikuni
		Conclusion
		Notes
		Works Cited
	13 A Multi-gendered Scandal: The Survival of the Prostitute Meme, Asazuma Boat
		Shifting Genders to the Rumor
		Gradations to the Androgyny of the Kabuki Dance
		Parody and Empowerment in Illustrated Books
		Ménage à Trois Revolt
		Gendering Art
		Notes
		Works Cited
Index