“Nannü pingdeng” (gender equality) was one of the key principles of the Chinese Communist Party’s platform before and during the Mao era. Widely celebrated in political campaigns and social policies alike, it has acquired a status in the historiography of modern and contemporary China as one of the pillars of the revolutionary programme of social transformation undertaken by the CCP. Scholarly research has long demonstrated that the promise of gender equality was only ever partially realized after 1949, yet the assumption has been that even if limited in its social implementation, the term “gender equality” signified an emancipatory aspiration shared by all. Based on long-term archival and ethnographic research in a deprived neighbourhood in central Beijing, now facing its last stages of demolition and gentrification, this talk argues that far from being shared by all, “gender equality” barely featured amongst the capital’s subalterns as a significant term in memories of everyday life during and since the Mao era. At the same time, in contrast with their mothers and grandmothers, women who grew up under Mao’s banner had access to opportunities for education and employment, limited though they were, and claimed recognition for their determination to keep their families going through long decades of scarcity and hardship. Drawing on Butler’s and Mahmoud’s arguments, this paper analyses the apparent paradox of women’s independence in income generating activities and their attachment to deeply embedded and apparently conservative ideas about women’s gender roles and relationships. Why is it that the key slogan and policy of nannü pingdeng seems to have completely passed them by? What do we understand by change and by agency?
Longtime instructor Guang-Li (David) Zhang, a graduate of the Shanghai Art Academy teaches beginner and advanced students Chinese Calligraphy in mixed lecture and workshop classes.
Lai Fong (ca. 1839–1890) was one of the most significant Chinese photographers of the nineteenth century, yet he remains a little-known figure outside of specialist circles.
Asia can be defined in many ways, geographically, culturally, and historically. As the world’s largest and most populated continent, Asia is not uniform or fixed: its boundaries shift, its people and cultures are diverse, and its histories are complex. After a transformative renovation, the Seattle Asian Art Museum—one of only a few Asian art museums in the United States—reopens with a presentation that embraces this complexity. You will not find galleries labeled by geography. Instead, works from different cultures and from ancient to contemporary times come together to tell stories about Asia in a non-linear narrative.
The Princeton University Art Museum presents an exhibiton focused on the transformation of feasting in the Song, Liao and Yuan dynasties.
Highlighting the artistic traditions of diverse cultural regions, this new installation brings together a stunning array of objects from India, Nepal, Tibet, China, Korea, Japan, Myanmar, Thailand, and Cambodia. (Exhibition dates: October 1, 2017 – October 1, 2020)
A new installation, Pure Amusements: Wealth, Leisure, and Culture in Late Imperial China features Chinese works ranging from prints to sculpture and furnishings to ceramics drawn from SAM's collection and focused on objects created for, and enjoyed during, the intentional practice of leisure. (December 24, 2016 - Ongoing)