Mechanism of Life for the Netherworld: Transformations of Mingqi in Middle-Period China
One of the quintessential components in traditional funerary culture in China, the mingqi 明器 (spirit article) was not a mere substitute for a real object to be buried with the deceased in the tomb, but was a material manifestation of the dual perspectives of the living and the dead and the relations...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Johns Hopkins University Press
[2015]
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| In: |
Journal of Chinese religions
Year: 2015, Volume: 43, Issue: 2, Pages: 161-193 |
| Standardized Subjects / Keyword chains: | B
China
/ Hereafter
/ Cult
/ Cultic object
/ Cultural change
|
| Further subjects: | B
middle period
B Funerary Art B mingqi B Tomb B Netherworld B Socialization |
| Online Access: |
Volltext (Verlag) |
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| 245 | 1 | 0 | |a Mechanism of Life for the Netherworld |b Transformations of Mingqi in Middle-Period China |c Jeehee Hong, Syracuse University, USA |
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| 520 | |a One of the quintessential components in traditional funerary culture in China, the mingqi 明器 (spirit article) was not a mere substitute for a real object to be buried with the deceased in the tomb, but was a material manifestation of the dual perspectives of the living and the dead and the relationship between those two realms during a given time period. This article examines a major shift in the conception and practice of the mingqi that occurred during the middle period (tenthfourteenth centuries). The case studies presented in this article - ranging from simulated clay fruits to miniature furniture - reveal that the dynamics between the dual components of the classical principle of mingqi (i.e., "resembling a real object yet unusable for the living") changed in ways to conform to the new conception of the tomb space and netherworld, often interacting with parallel developments in the Buddhist visual culture. Virtually usable and ontologically complete, the new mingqi was heavily imbued with the visual mechanisms that operated in the society of the living, no longer envisioning the tomb occupant as the only subject who had full control of the space. I suggest that the common description of the tomb space of the post-Tang era as undergoing "secularization" be corrected by more accurately characterizing it as "socialization,"recognizing the infiltration of the logic of life into the burial space forged within the conceptual framework of the environs of the living. | ||
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| STD | 0 | 0 | |a Aldilà,Aldilà,Culto,Culto,Oggetto di culto,Trasformazione culturale,Mutamento culturale,Mutamento culturale |
| STE | 0 | 0 | |a 文化变迁,文化转变,来世,来世,死后,死后,祭礼,礼拜 |
| STF | 0 | 0 | |a 來世,來世,死後,死後,文化變遷,文化轉變,祭禮,禮拜 |
| STG | 0 | 0 | |a Culto,Culto,Mudança cultural,Mundo do além,Mundo do além,dos mortos,dos mortos,dos mortos (Motivo),dos mortos,Objeto cultual |
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