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

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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