Writings about and images of the pagoda contribute to making the pagoda into a place resembling a literary trope, a pictorial metaphor of power and belief, and a cultural icon they also enrich our understanding of how a religious place was woven into the urban fabric and contributed to cultural exchange in late imperial China and beyond. ![]() Through the study of the multiple trajectories of images of the pagoda, this article explores how religious, political, cultural, and social discourses were embedded in the complex processes of place-making. The last part of the article examines the differing cultural logic behind the naming in the early modern global context. While the pagoda was referred to as the Liuli ta (glazed pottery pagoda) in late imperial China, it was commonly known as the “Porcelain Pagoda” in post-seventeenth century Europe. This article will first examine how the cultural meanings of the pagoda were created in four contexts: imperial edicts implying the political agenda for its construction monastery gazetteers presenting it as monastic property works of literati featuring it as a landmark in the cityscape and European travelogues and encyclopedias recontextualising it as an exotic spectacle in the conceptualised landscape. The goal of this article is not to reconstruct the material details of the pagoda in history, but to inquire how it was remembered and imagined in various cultural contexts in the Ming (1368–1644) and Qing (1644–1911) periods. Completed in 1428, the pagoda was once the tallest building in the city until it was destroyed during the Taiping Rebellion (1850–1864). The ways in which disparate meanings can be assigned to a place in different times is precisely illustrated in writings and drawings about the pagoda at the Da Bao’ensi (Great Monastery of Repaying Parental Kindness) in Nanjing (Jinling). ![]() ![]() NOTES:If there is a unpack error, please update the unpack software(for example:Winrar,7-zip) to the latest version.Da Bao’ensi, Jinling fancha zhi, Liuli ta, Porcelain Pagoda, Johan Nieuhof Abstract Meanwhile, Okagawa’s guilt has torn him apart enough for him to return to China in an attempt to bring Jin-hua home with him to get medical attention, but the girl is already too far gone for his help. When Okagawa returned home, leaving Jin-hua behind, she was forced to work as a prostitute, catching both a severe case of the flu and a rather less socially acceptable condition. Unfortunately, he already had a wife in Japan, and this revelation crushed Jin-hua. Okagawa was born with a predisposition to agonizing recurrent migraines, but found happiness with Jin-hua and married her. ![]() While in China, Okagawa had met a devoutly religious girl named Jin-hua. Ryuichi Okagawa, a Japanese writer who worked as a reporter in China has been sick ever since his return home. Genre: Drama Romance Countries: Hong Kong Languages: Chinese JapaneseĪctors: Tony Leung Ka-fai Yasuko Tomita Shinobu Chihara Jessica Chow Jing Liu Xun Johnson Yuen Tak-Cheung Tou Chung-HuaĪlternate Titles: 南京的基督 nan jing de ji du 就在天旋地转间 南京の基督
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