|
 |
     |
 |
Reinventing the Past: Antiquarianism in East Asian Art and Visual Culture—Part 2 |
< Back Antiquarianism and Re-envisioning the Empire in the Late Northern Wei Katherine Tsiang Mino University of Chicago Distinct and far-reaching changes in artistic imagery are observable in the art of the late Northern Wei dynasty (386-534) that can be linked to the program of extensive reforms begun during the reign of emperor Xiaowen (r. 471-99). These reform initiatives include the restructuring of government based on classical texts and historical precedents, the adoption of traditional religious and ancestral observances, the creation of Chinese-style palace halls and temples, and the adoption of Chinese language and costumes at court. Intermarriage between Chinese and non-Chinese was encouraged. With these reforms the Northern Wei sought not merely to become more Chinese but to redefine Northern Wei rule on the basis of traditional paradigms of Chinese sovereignty. The term Hanhua, “becoming Han,” usually rendered in English as sinicization, is used to refer to these reforms and implies both becoming ethnically and culturally Chinese but also invokes Han dynasty imperial precedents. The culmination of the reforms was the move of the Northern Wei capital to Luoyang, site of the former capital of the Eastern Han (25-220), Cao Wei (220-265) and Western Jin (265-316) dynasties. At the same many of the new elements in late Northern Wei Buddhist and secular art— themes and motifs in media such as painting, stone carving, lacquer and ceramic wares—suggest knowledge of and emulation or reworking of older elements in Chinese art. While scholars have previous attributed the changes to the imitation of or influence from the Chinese-ruled southern court at Nanjing, there is much visual evidence for antique sources in late Northern Wei art. The resettlement of large groups of people from conquered regions in and around the Northern Wei capital at Pingcheng in the early part of the fifth century had brought together artisans and traditions from various parts of the North. Furthermore, the intense awareness and examination of the past that informed the political reforms of the period was also an active agent in the production of art. Two principal sources of supporting evidence are mentioned 1] art from the tomb of Sima Jinlong (dated 484) and 2] a textual work, the Shuijing zhu, the “Annotated Classic of Waterways,” by Li Daoyuan, a Northern Wei official (d. 527). The tomb contents include objects showing traditional Chinese themes, media, and treatment of materials. The painted lacquer ware and glazed ceramics refer to earlier forms of Chinese art going back to the Han dynasty. The book is a geographical survey of China organized around its rivers and overlaid on an anonymous third-century work, the Shuijing, whose scope—including both northern and southern and also far western regions—is based on the boundaries of the former Han empire. Li Daoyuan’s narrative follows the river courses in the original work but greatly expands upon the original text with descriptions of natural landscape and sites of human activity, local lore and historical events, cities, towns, bridges, steles, and ruins of the past. It is also a work of careful historical scholarship, quoting many historical sources. Li provides important details of the site of Luoyang, where old city walls, gates, watchtowers and still stood, and other remains could be seen. He records how many artistic and architectural elements were reused or revived after the relocation of the Northern Wei capital to Luoyang. |
