- •Abstract
- •Involved in recognizing nianhua as a living entity.
- •Innovating the Auspicious: Mianzhu’s Door Deity Markets….………..………………… 25
- •List of figures
- •Glossary
- •Acknowledgements
- •In Sichuan, I am ever grateful to my mentor Liu Zhumei, an accomplished artist
- •Is far more complicated than a restaging of traditional practices.7
- •Variety of works appears on doorways as door deities and spring couplets, including
- •3,250,000 In 1736 and to an impressive 21,400,000 recorded in the 1812 state census.34
- •In Mianzhu reached a high level of development, with over one hundred large workshops
- •53 Anthropologist Stefan Landesberger has studied how printed images tied to the “Mao cult” of the
- •Nianhua as a Living Archive?
- •In recent years however, the disciplines of anthropology and art history both
- •In response to Asad’s argument, Catherine Bell contends that ritual practices
- •Visual symbolism of nianhua, the central issue of its ephemerality has largely gone
- •Involvement of state agencies in collecting, exhibiting, and commodifying nianhua has
- •Performing Engaged Research
- •Chapter Breakdown
- •Including the ritual significance of many historic nianhua.
- •Harnessing the Seasonal Nianhua Market
- •Variety of printed works (fig. 21). A curious crowd is gathered around the stand to
- •Instead of focusing on objects or practices in isolation, the notion of an agentic
- •Reunion and Regeneration: Nianhua and the Lunar New Year
- •In Mianzhu, I observed a less structured approach to celebrating the Lunar New
- •Images of Chairman Mao and communist soldiers were circulated and consumed during
- •Variety to choose from and the images are not expensive. They also get more
- •Lineage-making Strategies for Reclaiming Authority in the Nianhua Marketplace
- •Imposition of European concepts of “descent,” especially in the concept of zongwhich
- •Wang Family Lineage
- •It is significant that Wang chose to share his lineage documents before taking out
- •In contrast to the carvers, printers, and those trained in the final stages of coloring
- •In the other hand, a blessed citron fruit known as a Buddha’s hand . All three figures
- •In examining Wang’s sketches and lineage documents alongside his finished
- •The Northern School of Mianzhu Nianhua
- •Industry as apprentices and hired hands. While year-round designers such as the Wang
- •Various kinship terms of zu and zong used by Wang Xingru in reference to his position in
- •The Southern School of Mianzhu Nianhua
- •Conclusion
- •Including art historian Catherine Pagani’s study of Chinese popular prints based on the
- •The Medicine King: Performative Gestures and the Art of Storytelling
- •I will begin with a critique of a storytelling session that vividly captures how an
- •In her hair. It got stuck in the crevice between his teeth. [Bares his teeth and
- •2006 With Han Gang, we met with Chen Xingcai’s eldest grandson Chen Gang, who was
- •In the oral culture of nianhua. For instance, Wang Shucun has commented on orally
- •Transformations Between Theater and Print
- •Recovering Narrative Density in Greeting Spring
- •Conclusion
- •Mianzhu Nianhua Museum: Putting the Past in its Place
- •In summary form by the leading researcher Shi Weian. According to Shi, the team
- •In framing the historical context of nianhua, the museum displays directly reflect
- •Contesting Heritage: Nianhua Makers Stake Their Claims
- •Mianzhu’s Nianhua Village and the Rise of Intangible Heritage Tourism
- •In its murals. On the other hand, it presents nianhua’s intangible heritage as a temporal
- •Village and its murals. Reflecting the propagandistic messages of “social harmony”
- •Is also the character for “earth” (tu ), a rather derogatory word often used to describe an
- •Racing for the Intangible: the Nianhua Festival as Performative Statecraft
- •Is carefully depicted to reflect age, class status, and/or a clearly defined role in the
- •The High-end Heritage Industry: Replicas and Remakes
- •In contrast to the painting term linmo, which allows for a degree of interpretation
- •Conclusion
- •Chapter Five: Conclusion
- •An Industry Based on Innovation
- •In Chapter Two, I stressed this point by examining the innovative practices
- •In this study, I selected interview excerpts that best demonstrated the performative
- •Vested interests in keeping the tangible and intangible aspects of nianhua distinct. Instead
- •Interests.
- •Demystifying the Auspicious
- •Impossible to tease out the continuities and changes of the nianhua industry. Indeed both
- •Future Directions and Post-Earthquake Reconstruction
- •Figures
- •Bibliography
- •Xisu ji qi xiandai kaifa” [The modern
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