Past Awards

When European missionaries arrived in East Asia in the sixteenth century, they entered ongoing conversations about cosmology and world geography. Soon after, intellectuals in Ming China, Edo Japan, and Joseon Korea selectively encompassed elements of the late Renaissance worldview, leading to the creation of new artifacts that mitigated old and new knowledge in creative ways. Simultaneously, missionaries and their collaborators transcribed, replicated, and recombined from East Asian artifacts and informed European audiences about the newly discovered lands known as the “Far East.” This book rewrites the narrative surrounding the so-called “Ricci Maps,” displacing the European missionary and “his map” as central actors that supposedly bridged a formidable civilizational divide between Europe and China. 

In The Cornucopian Stage, Ariel Fox examines a body of influential yet understudied plays by a circle of Suzhou playwrights who enlisted the theatrical imaginary to very different ends. In plays about long-distance traders and small-time peddlers, impossible bargains and broken contracts, strings of cash and storehouses of silver, the Suzhou circle placed commercial forms not only at center stage but at the center of a new world coming into being. Here, Fox argues, the economic character of early modern selfhood is recast as fundamentally productive—as the basis for new subject positions, new kinds of communities, and new modes of art.

Kelly develops a new account of the relationship between Chinese literature and material culture by examining inscribed objects from the late Ming and early to mid-Qing dynasties. He considers how the literary qualities of inscriptions interact with the visual and physical properties of the things that bear them. Kelly argues that inscribing an object became a means for authors to grapple with the materiality and technologies of writing. Facing profound social upheavals, from volatility in the marketplace to the violence of dynastic transition, writers turned to inscriptions to reflect on their investments in and dependence on the permanence of the written word.

The Mongols are famous on account of Chinggis Khan and the empire they built and ruled in the thirteenth and fourteenth centuries. Yet, what became of the Mongols after the glories of the empire? This is the history that Sagang Sechen relates in the Precious Summary, which was written in 1662, shortly after the Mongols’ submission to the Manchu Qing dynasty (1644-1912). The Precious Summary offers an unparalleled historical perspective on what happened in China and Inner Asia from the late fourteenth century to the founding of the Qing dynasty in the early seventeenth century.

Towers in the Void analyzes the contents, format, and circulation of books in the late Ming and early Qing and explores how they functioned to connect readers to one another and to the material world. Kile uses the analytic of media to consider writing and materiality together, thereby elucidating issues as varied as spatial ideology, performance practices, gender roles, and the genre of short vernacular fiction. Kile argues that Li Yu’s idiosyncratic magnum opus, Xianqing ouji (Leisure Notes) was a unique literary form that he forged by combining his expertise in a variety of fields with his interest in generic and stylistic experimentation. Although Leisure Notes has often used by historians as a core source on many topics, no one has considered this pivotal text as a composite whole.

On the eve of the sixteenth-century economic transformation and the age of exploration that was to propel China into the modern world, the scholar-official Lu Rong (1436-94) recorded his observations of contemporary society in Miscellaneous Records from the Bean Garden. Within its genre, Bean Garden is unusual in its author’s willingness to express admiration, frustration, and outrage toward his subjects. Mark Halperin has selected about a quarter of the pieces from the original work, arranging them in topical categories that provide a richly textured first-hand observation of late imperial China designed for course use with undergraduates.

As the first intellectual history of Song, Yuan, and Ming China written from a local perspective, Localizing Learning shows how literati learning in Wuzhou came to encompass examination studies, Neo-Confucian moral philosophy, historical and Classical scholarship, encyclopedic learnedness, and literary writing, and traces how debates over the relative value of moral cultivation, cultural accomplishment, and political service unfolded locally. By treating learning as the subject, it broadens our perspective, going beyond a history of ideas to investigate the social practices and networks of kinship and collegiality with which literati defined themselves in local, regional, and national contexts.

Porcelain for the Emperor explores one key to China’s extraordinary production and export of fine porcelain during the early modern period: the role of specialist officials in producing the technological knowledge and distinctive artistic forms that were essential to the cultural policies of the Chinese state in the early Qing dynasty. Through a detailed study of porcelain manufacture loosely structured around the career of the potter who supervised ceramic production for the Qing dynasty court, the book shows how these imperial technocrats engaged in fiscal management, technical experimentation, and design to organize rationalized manufacturing in a precapitalist, preindustrial society.