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dc.contributor.advisorHaufler, Marsha
dc.contributor.authorGiuffrida, Noelle
dc.date.accessioned2009-05-31T21:55:57Z
dc.date.available2009-05-31T21:55:57Z
dc.date.issued2008-02-29
dc.date.submitted2008
dc.identifier.otherhttp://dissertations.umi.com/ku:2372
dc.identifier.urihttp://hdl.handle.net/1808/5234
dc.description.abstractZhenwu, the Perfected Warrior, emerged as an anthropomorphic deity in the early Northern Song (960-1126) and reached the peak of his popularity in the Ming (1368-1644). Prior to this time he was known as Xuanwu, the Dark Warrior, and appeared as a tortoise entwined with a snake. Widely varying representations of this Daoist god, one of the most prominent in the Daoist pantheon, coexisted throughout the Song and later history of his cult. Different images fashioned to serve different audiences reveal the wide social range of Zhenwu believers and shifting beliefs about the god's powers. Literary evidence combines with the ubiquitous pictorial and three-dimensional images to demonstrate Zhenwu's pervasive presence in the religious and cultural landscape. A scripture, sets of ritual scrolls, pictorial stele, cave temple, and an album depicting a corps of thunder marshals affiliate Zhenwu with the Daoist Thunder Department and with certain of its members, notably the Four Saints (si sheng). Zhenwu also appears in Daoist and Buddhist assembly paintings, murals and scroll sets, linked to performances of the huanglu zhai [purgation rite of the yellow register] and the shuilu fahui [rite for deliverance of creatures of water and land]. Fervent Yuan and Ming imperial patronage of the god's home, Mt. Wudang, gives evidence of Zhenwu's emergence as an independent deity with a cadre of assistant martial divinities. Many Ming statues represent his role as a tutelary god and his participation in the pantheon of Chinese popular religion. Ming illustrations of his hagiography in a woodblock-printed collection of stories, a canonical Daoist scripture, a painted album, a complex piece of sculpture, and an edition of the vernacular novel Beiyou ji [Journey to the North] indicate the appeal of specific episodes of his life story and show how they were adapted for different audiences. Through interdisciplinary analysis of the literary, historical, social, and religious contexts of key Zhenwu images, this case study demonstrates the extent to which Daoist imagery permeated the visual culture of late imperial China.
dc.format.extent482 pages
dc.language.isoEN
dc.publisherUniversity of Kansas
dc.rightsThis item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author.
dc.subjectArt history
dc.subjectZhenwu
dc.subjectDaoism
dc.subjectYuan
dc.subjectMing
dc.subjectXuantian shangdi
dc.titleRepresenting the Daoist God Zhenwu, the Perfected Warrior, in Late Imperial China
dc.typeDissertation
dc.contributor.cmtememberEichman, Shawn
dc.contributor.cmtememberFowler, Sherry
dc.contributor.cmtememberMcNair, Amy
dc.contributor.cmtememberStevenson, Daniel
dc.thesis.degreeDisciplineHistory of Art
dc.thesis.degreeLevelPH.D.
kusw.oastatusna
kusw.oapolicyThis item does not meet KU Open Access policy criteria.
kusw.bibid6599421
dc.rights.accessrightsopenAccess


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