A Study of Daoist Immortal Mao Nü : Ming Dynasty Zhangzhou Ware Dish in the collection of the Museum of Oriental Ceramics, Osaka

Jiaqi, Mao

doi:https://doi.org/10.18910/95356

A Study of Daoist Immortal Mao Nü : Ming Dynasty Zhangzhou Ware Dish in the collection of the Museum of Oriental Ceramics, Osaka

Jiaqi, Mao

The Journal of the Asian Conference of Design History and Theory, 2024, 5, 152-160

アクセス数:124件（2026-07-27 22:34 集計）

固定URL: https://doi.org/10.18910/95356

閲覧可能ファイル

ファイル	フォーマット	利用条件	サイズ	閲覧回数	利用開始日	説明	information
acdht_05_152	pdf	なし	1.85 MB	815	2024.04.19

論文情報

ファイル出力 EndNote Basic出力 Mendeley出力

タイトル	A Study of Daoist Immortal Mao Nü : Ming Dynasty Zhangzhou Ware Dish in the collection of the Museum of Oriental Ceramics, Osaka
著者	著者名 Jiaqi, Mao
キーワード等	Daoist Immortal
	Swatow ware
	Female hermit
	Mao Nü
	Foot binding
内容	Session VII : Inheritance of Design
抄録	The Daoist immortal is one of the most popular and auspicious iconographies in Asian Art. One such figure is depicted on a Zhangzhou, or Swatow, ware from the Ming dynasty housed in the collection of the Museum of Oriental Ceramics, Osaka. A barefoot figure holding a cane and carrying a basket with an open parasol accompanied by a deer is depicted in the center of the dish. This essay testifies that the figure on the dish is the legendary Daoist Immortal Mao Nü, who served in the palace of the emperor Qin Shi Huang in the third century BC. After the fall of the dynasty, Mao Nü is said to have taken refuge in the mountains and sustained herself on pine needles, attaining not only immunity to cold and hunger but also an ethereal lightness of body. Images of Mao Nü abounded in Chinese art throughout the Ming dynasty (1368-1644), before suddenly dropping off in the Qing dynasty (1644-1912). This research argues that the main reason for this change is closely linked to the practice of foot binding. During the Qing dynasty, paintings of female feet were newly deemed inappropriate. Since bare feet were an essential feature by which Mao Nü was recognized, her image suddenly became controversial in the world of Chinese art and faded out.
出版者	The ACDHT 2023 TOKYO Executive Committee
収録物名	The Journal of the Asian Conference of Design History and Theory
巻(号)	5
ページ	152-160
刊行年月	2024-03
言語	英語
ハンドルURL	https://hdl.handle.net/11094/95356
DOI	https://doi.org/10.18910/95356
eISSN	21897166
アクセス権	open access
出版タイプ	Version of Record
カテゴリ	本学関連学会 Related Societies
カテゴリ	The Journal of the Asian Conference of Design History and Theory / No.5

資源タイプ	学術雑誌論文
ローカル資源タイプ	本学関連学会
DCMI資源タイプ	text
DCTERMS.bibliographicCitation	The Journal of the Asian Conference of Design History and Theory. 2024, 5, p. 152-160
DC.title	A Study of Daoist Immortal Mao Nü : Ming Dynasty Zhangzhou Ware Dish in the collection of the Museum of Oriental Ceramics, Osaka
DC.creator	Jiaqi, Mao
DC.publisher	The ACDHT 2023 TOKYO Executive Committee
DC.language' scheme='DCTERMS.RFC1766	英語
DC.type' scheme='DCTERMS.DCMIType	text
DCTERMS.issued' scheme='DCTERMS.W3CDTF	2024-03
DC.subject	Daoist Immortal
	Swatow ware
	Female hermit
	Mao Nü
	Foot binding
DC.description	Session VII : Inheritance of Design
DCTERMS.abstract	The Daoist immortal is one of the most popular and auspicious iconographies in Asian Art. One such figure is depicted on a Zhangzhou, or Swatow, ware from the Ming dynasty housed in the collection of the Museum of Oriental Ceramics, Osaka. A barefoot figure holding a cane and carrying a basket with an open parasol accompanied by a deer is depicted in the center of the dish. This essay testifies that the figure on the dish is the legendary Daoist Immortal Mao Nü, who served in the palace of the emperor Qin Shi Huang in the third century BC. After the fall of the dynasty, Mao Nü is said to have taken refuge in the mountains and sustained herself on pine needles, attaining not only immunity to cold and hunger but also an ethereal lightness of body. Images of Mao Nü abounded in Chinese art throughout the Ming dynasty (1368-1644), before suddenly dropping off in the Qing dynasty (1644-1912). This research argues that the main reason for this change is closely linked to the practice of foot binding. During the Qing dynasty, paintings of female feet were newly deemed inappropriate. Since bare feet were an essential feature by which Mao Nü was recognized, her image suddenly became controversial in the world of Chinese art and faded out.
DC.identifier	10.18910/95356
DC.format	95356
citation_title	A Study of Daoist Immortal Mao Nü : Ming Dynasty Zhangzhou Ware Dish in the collection of the Museum of Oriental Ceramics, Osaka
citation_author	Jiaqi, Mao
citation_publisher	The ACDHT 2023 TOKYO Executive Committee
citation_language	英語
citation_date	2024-03
citation_journal_title	The Journal of the Asian Conference of Design History and Theory
citation_volume	5
citation_firstpage	152
citation_lastpage	160
citation_public_url	https://hdl.handle.net/11094/95356
citation_doi_detail	10.18910/95356
citation_doi	https://doi.org/10.18910/95356

A Study of Daoist Immortal Mao Nü : Ming Dynasty Zhangzhou Ware Dish in the collection of the Museum of Oriental Ceramics, Osaka

閲覧可能ファイル

論文情報

論文詳細を表示