Bøger af Dorothy Ko

An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, an object of art, a token of exchange between friends or sovereign states, and a surface on which texts and images are carved. As such, the inkstone has been entangled with elite masculinity and the values of wen (culture, literature, civility) in China, Korea, and Japan for more than a millennium. However, for such a ubiquitous object in East Asia, it is virtually unknown in the Western world.Examining imperial workshops in the Forbidden City, the Duan quarries in Guangdong, the commercial workshops in Suzhou, and collectors¿ homes in Fujian, The Social Life of Inkstones traces inkstones between court and society and shows how collaboration between craftsmen and scholars created a new social order in which the traditional hierarchy of ¿head over hand¿ no longer predominated. Dorothy Ko also highlights the craftswoman Gu Erniang, through whose work the artistry of inkstone-making achieved unprecedented refinement between the 1680s and 1730sThe Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage.

An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, an object of art, a token of exchange between friends or sovereign states, and a surface on which texts and images are carved. As such, the inkstone has been entangled with elite masculinity and the values of wen (culture, literature, civility) in China, Korea, and Japan for more than a millennium. However, for such a ubiquitous object in East Asia, it is virtually unknown in the Western world.Examining imperial workshops in the Forbidden City, the Duan quarries in Guangdong, the commercial workshops in Suzhou, and collectors homes in Fujian, The Social Life of Inkstones traces inkstones between court and society and shows how collaboration between craftsmen and scholars created a new social order in which the traditional hierarchy of head over hand no longer predominated. Dorothy Ko also highlights the craftswoman Gu Erniang, through whose work the artistry of inkstone-making achieved unprecedented refinement between the 1680s and 1730s.The Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage.

Collects information about footbinding in China, using color and black-and-white photography to chronicle the history of the practice.

This work reveals the existence of a previously unknown stratum of literate women among the urban gentry in seventeenth- and eighteenth-century China.

The history of footbinding is full of contradictions and unexpected turns. The practice originated in the dance culture of China's medieval court and spread to gentry families, brothels, maid's quarters, and peasant households. Conventional views of footbinding as patriarchal oppression often neglect its complex history and the incentives of the women involved. This revisionist history, elegantly written and meticulously researched, presents a fascinating new picture of the practice from its beginnings in the tenth century to its demise in the twentieth century. Neither condemning nor defending foot-binding, Dorothy Ko debunks many myths and misconceptions about its origins, development, and eventual end, exploring in the process the entanglements of male power and female desires during the practice's thousand-year history. Cinderella's Sisters argues that rather than stemming from sexual perversion, men's desire for bound feet was connected to larger concerns such as cultural nostalgia, regional rivalries, and claims of male privilege. Nor were women hapless victims, the author contends. Ko describes how women-those who could afford it-bound their own and their daughters' feet to signal their high status and self-respect. Femininity, like the binding of feet, was associated with bodily labor and domestic work, and properly bound feet and beautifully made shoes both required exquisite skills and technical knowledge passed from generation to generation. Throughout her narrative, Ko deftly wields methods of social history, literary criticism, material culture studies, and the history of the body and fashion to illustrate how a practice that began as embodied lyricism-as a way to live as the poets imagined-ended up being an exercise in excess and folly.