Thesis (M.A.)--University of Wisconsin--Madison, 1972. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph.D.)--Michigan State University, 2002. / Adviser: Linda Cooke Johnson. Includes bibliographical references.

Thesis (M.A.)--Guo li zheng zhi da xue, 1981. / Reproduced from typescript on double leaves. Cover title. Includes bibliographical references.

吳秀華. / "2004年8月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 116-127). / 附中英文摘要. / "2004 nian 8 yue". / Wu Xiuhua. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (leaves 116-127). / Fu Zhong Ying wen zhai yao. / 論文提要 --- p.i´ؤiii / 緒論 --- p.1´ؤ13 / Chapter 第一章 --- 滿族形象與意識的建構 --- p.14 一41 / Chapter 第一節 --- 滿族源流 --- p.14-18 / Chapter 第二節 --- 滿族特色及意識的定義 --- p.18´ؤ20 / Chapter 一. --- 何謂滿族特色 --- p.18-19 / Chapter 二. --- 何謂滿族意識 --- p.19一20 / Chapter 第三節 --- 滿族形象 --- p.20´ؤ41 / Chapter 一. --- 髮式、首飾及服飾 --- p.20-23 / Chapter 二. --- 民俗 --- p.23-24 / Chapter 三. --- 語言文字 --- p.24´ؤ25 / Chapter 四. --- 宗教信仰 --- p.25-28 / Chapter 1. --- 祖先崇拜´ؤ´ؤ滿洲“三仙女´ح始祖神話 --- p.25´ؤ26 / Chapter 2. --- 圖騰崇拜´ؤ´ؤ鴉鵲敬奉習俗 --- p.26´ؤ27 / Chapter 3. --- 原始宗教信仰´ؤ´ؤ薩滿教 --- p.27´ؤ28 / Chapter 五. --- 民族性格 --- p.28-30 / Chapter 1. --- 基本含義 --- p.28´ؤ29 / Chapter 2. --- 性格特徵´ؤ´ؤ驍勇¯‘ة武、海納百川 --- p.29´ؤ30 / Chapter 第四節 --- 滿族意識的建構 --- p.30-41 / Chapter 一. --- 八旗制度的形成及特色 --- p.31-32 / Chapter 二. --- 維護滿族意識的政策 --- p.33´ؤ34 / Chapter 第二章 --- 滿族特色®t畫中的體現 --- p.42´ؤ65 / Chapter 第一節 --- 題材內容 --- p.42´ؤ45 / Chapter ´ؤ. --- 一.塞外山川、花鳥走獸 --- p.42-43 / Chapter 二. --- 人物事件、風俗 --- p.43-45 / Chapter 第二節 --- 宗教思想 --- p.45´ؤ54 / Chapter 一. --- 原始宗教 --- p.45´ؤ49 / Chapter 二. --- 儒道釋 --- p.49一54 / Chapter 第三節 --- 滿族元素 --- p.54´ؤ57 / Chapter 一. --- 服飾 --- p.54´ؤ55 / Chapter 二. --- 款識 --- p.55一56 / Chapter 三. --- 民族性格 --- p.56-57 / Chapter 第四節 --- 審美意趣 --- p.58-61 / Chapter 第三章 --- 滿族意識在繪畫中的體現 --- p.66-104 / Chapter 第一節 --- 畫家身分 --- p.67-68 / Chapter 一. --- 旗人 --- p.68-75 / Chapter 1. --- 滿洲八旗 --- p.68-73 / Chapter 2. --- 蒙古八旗 --- p.73´ؤ74 / Chapter 3. --- 漢軍八旗 --- p.74-75 / Chapter 二. --- 非旗人 --- p.76 / Chapter 1. --- 宮廷畫師 --- p.76´ؤ78 / Chapter 2. --- 詞臣畫家 --- p.78´ؤ80 / Chapter 第二節 --- 紀實畫 --- p.80´ؤ88 / Chapter 一. --- 記事 --- p.81 / Chapter 1. --- 出巡迴鑾 --- p.81-82 / Chapter 2. --- 戰爭 --- p.82´ؤ83 / Chapter 3. --- 祭祀 --- p.83 / Chapter 4. --- 筵宴 --- p.83´ؤ84 / Chapter 5. --- 典禮 --- p.84 / Chapter 6. --- 其他 --- p.84 / Chapter 二. --- 記人 --- p.84 / Chapter 1. --- 御容畫 --- p.85 / Chapter 2. --- 皇子公主像 --- p.85 / Chapter 3. --- 后妃像 --- p.85´ؤ87 / Chapter 4. --- 文武功臣像 --- p.87 / Chapter 5. --- 太監內官像 --- p.87 / Chapter 第三節 --- 繪畫功能 --- p.89´ؤ95 / Chapter 一. --- 歌功頌德 --- p.89-90 / Chapter 二. --- 教化 --- p.91一94 / Chapter 三. --- 裝飾宮廷或自娛 --- p.94 / Chapter 四. --- 保存 --- p.94-95 / 結語 --- p.105´ؤ107 / 附錄 附錄一清代宮廷繪畫的相關展覽及著作一覽表 --- p.108´ؤ111 / 附錄二滿族源流表 --- p.112 / 附錄三西方學者在滿族史硏究上不同觀點和硏究成果簡表 --- p.113-115 / 參考書目 --- p.116´ؤ127 / 圖版目錄 --- p.128´ؤ133 / 圖版 --- p.1´ؤ104 / 緒論圖版 / 第一章圖版 / 第二章圖版 / 第三章圖版 / 第四章圖版 / 結語圖版

This dissertation examines a technologically specialized officialdom of Manchu called bondservants (or booi) that thrived in the eighteenth century. Through a case study of Tang Ying (1682--1756), a supervisor of the Imperial Porcelain Manufacture and a prolific playwright, I demonstrate the formation of what I call a "technocratic epistemology" across disparate fields of technical, artistic, and literary production. One of my key arguments is that bondservants differed from traditional Han scholar-officials in their practical approach to technological knowledge and their expanded literary representation of intercultural experiences in the multiethnic empire. Both contributed to the practice of statecraft that is modern in nature. In research questions and method, this project lies at the intersection of the history of technology, literature, and material culture. Tang Ying's case not only provides a vintage point for observing a technocrat's lineage, training, and career path, it also allows us to view the Qing empire from such previously little-studied vantage points as manufacture, technical knowledge, and fiscal management. This case study adopts a mobile perspective, following Tang's multiple journeys across the empire, often traversing social and ethnic boundaries. By closely analyzing Tang Ying's technical treatises, literary compositions and extant porcelains, I show a two-fold principle governing three aspects of technocratic cultural production. First, Tang Ying's illustrated treatise shows how bondservants appropriated non-textual knowledge of craftsmen and merchants into statecraft by means of writing and images. Second, Tang Ying's development of porcelain technology showcases how technocrats experimented with knowledge encoded in texts, images and tools. Third, documentary and experimental imperatives governed the literary and artistic compositions of bondservants. For Tang Ying, to document meant not only to record information but also to compartmentalize, to count, and to order information systematically. This dissertation sheds light on the central institutionalization of practical expertise in the expanding multiethnic empire of China. Trained for the projects of empire building, bondservants integrated the skills and practices of scholar-officials, artisans and merchants to give birth to a technocratic culture.

“Clothing always shows people’s personality.” said William Shakespeare. “Even we bow our heads with silence, our clothing and bearing will still reveal our past experiences.” As for a Chinese woman, Qipao reminds and even reveals her own background and roots. Qiapo is so widely recognized that people from different countries relate it to China once they see it. Such a Chinese female identity has been built for decades. Qipao has been seen as the National Costume throughout the 20th Century until nowadays. It expressed the patriotic purposes in the sense of Chinese and the rest of the world implicitly and explicitly. More importantly, it is an international symbol of Chinese femininity. The reason why Qipao can be preserved through history and time is that through the vicissitudes of the process of social and historical development, it has steadily given expression to the distinct character and individual style of the nation, making it distinctively different to the rest of the world. Qipao with its bewitching eastern charm, peerless style with its universal appeal established its unique place in the history of clothing in the world. It is an international symbol of Chinese femininity. In short, Qipao is a living heritage that has been evolving to adapt to the socio-historical circumstances of different times. This dissertation seeks to discover the process of this evolution through the tangibility and intangibility of Qipao. / published_or_final_version / Conservation / Master / Master of Science in Conservation