Past Awards

This interdisciplinary, workshop-style conference aims to develop a deeper understanding of, and foster discussion and debate about, Ming history, global experience with empire in the early modern period, and the role of historical precedents in Chinese governance today. Papers will be presented on four panels, each built around the pre-circulation of papers and designated commentators. The conference will bring together scholars from around the world, and the best papers will be published as an edited volume or one or more special issues of recognized scholarly journals. GHF funds support travel, per diem, and accommodation for graduate student and early-career academics, and cover the costs of the keynote session.

Nine graduate students gave ten-minute presentations on their research at the Society for Ming Studies’ Annual Meeting, highlighting their primary arguments, key sources, and the ways in which their research connects to the Ming. The initiative aimed to encourage Ming research and engagement at the junior scholar level, and bring to the fore questions, research materials, and methodologies that productively challenge and enlarge the study of Ming China.

This workshop examines skills that have been overlooked in the literature of craftsmanship and artisanal knowledge. “Nonproducing” skills underscore labor and technical strategies devised to manage the unpredictable human-material interaction that arose in the course of production. The organizers aim to bring the study of skills into conversation with emerging concepts, to contextualize Ming material culture and technology in the transnational and connected history of East Asia and beyond, and to publish select papers.

An award from GHF will allow the Society for Ming Studies to expand the responsibilities of the editor of the Ming Studies journal, who is an elected and semi-permanent member of the Society for Ming Studies’ executive committee. The editor will creatively develop the journal’s digital presence, explore new publishing opportunities for the Ming Studies Monograph Series, work to cement the relationship between the academic society and the journal, and strengthen their positions as leading international venues for scholarship on all aspects of Ming China.

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. 

Place has emerged as a major focus and concept in recent scholarship on Chinese art, architecture, and material culture, and has been redefining approaches to landscape and its representation, to cities and the built environment, and to objects and their materiality. This conference connects scholars from Canada, the US, and the UK whose work foregrounds place as a critical term across different media and time periods, with a focus on the Ming-Qing period. It will result in greater awareness of how related questions are examined by colleagues and graduate students working from adjacent fields, and articulate how current research centered on “place” is changing the field of Chinese art, visual, and material culture. A selection of conference papers will be published in a thematic issue of a peer-reviewed journal.

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.