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.
##完整读一遍还是有很大收获的,材料组织能力非常值得学习。回过头来说,仍然是个非常史家的视角,一方面是科学史和对工匠群体的关注,另一方面是一种很历史向的物质文化观察(福州那章里谈ownership的部分可以和Renata Ago写罗马的研究对读)。虽是关注砚台,但最后似乎还是更多落在砚台勾连起的人际社会关系上,对实物本身多方位的进一步追究大概就要算艺术史家的工作了。另外这种multi-sited biography的写法还可以在方法论上再做检讨,尤其是当同种框架落实到全球尺度上该如何来做,所谓biography还是应该实验多种写法是更好的。
评分中文譯本埋頭苦幹中,並將由原作者高彥頤親自操刀修訂,敬請期待!
评分##????????♀️
评分##纸张问题,看书太晃眼,不是一次美好的读书体验;作者在名噪天下以后的著作,虽时有洞见,但是一本书塞进去太多的arguments, 从material empire 到scholar status再到gender..
评分##希望快出中文版
评分##纸张问题,看书太晃眼,不是一次美好的读书体验;作者在名噪天下以后的著作,虽时有洞见,但是一本书塞进去太多的arguments, 从material empire 到scholar status再到gender..
评分##纸张问题,看书太晃眼,不是一次美好的读书体验;作者在名噪天下以后的著作,虽时有洞见,但是一本书塞进去太多的arguments, 从material empire 到scholar status再到gender..
评分##这本书的最具启发的不在于“士人(式)工匠”和“士人(式)学者”在认知论层面上的冲突和竞争或其隐约指向的清代思想史转型,而是通过在本体论层面上将“知识”作为一个分析类别批判性地解/构,历史学家得以借由新的认知论——无论是历史的还是当代的——回应一些已经被规范化的“传统”史学问题,其中自然包括如何处理书中征引的零碎史料。当然这些事人类学家早都说过了……至于书本身,不是教职书的写法或曰心态,很难不写得舒缓从容。
评分##这本书的最具启发的不在于“士人(式)工匠”和“士人(式)学者”在认知论层面上的冲突和竞争或其隐约指向的清代思想史转型,而是通过在本体论层面上将“知识”作为一个分析类别批判性地解/构,历史学家得以借由新的认知论——无论是历史的还是当代的——回应一些已经被规范化的“传统”史学问题,其中自然包括如何处理书中征引的零碎史料。当然这些事人类学家早都说过了……至于书本身,不是教职书的写法或曰心态,很难不写得舒缓从容。
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