Jing Zhu, Ph.D. (2018), University of Edinburgh, is CCKF postdoctoral fellow of history at the University of Warwick.

• ContentsAcknowledgementsList of FiguresIntroduction: The Chinese Imperial Model in the Southwest Borderland: Gender, Visuality and Transitions1 Observational Practices: Detractor, Defender and Truth 2 Ethnographic Illustrations in Chinese History: Long Tradition, Multiple Genres and Various Pictorial Practices 3 Ways of Seeing: a Visual Grammar of Gender, the Power of Representation4 Empire, Visuality and Structure of Feelings: Engendering the Ethnic Minorities in China’s Southwest Borderland5 Imperial Context: Native Chieftain System, Gaitu Guiliu and Miao Rebellions6 Wartime China: the Reproduction of Borderland Images 7 Chapter Organisation1 Gender Inversion and the Power of Representation: Imagining and Visualising Ethnic Minority Women’s Masculinity1 Women in Power: the Fancy of Images of “Nüguan 女官 (Female Government Official)”2 Interpreting “Nanyi Nülao 男逸女勞 (Men Relax, While Women Work)” as “Nangui Nüjian 男貴女賤 (Men are Exalted, while Women are Humble)”: Defaming Women’s Work through Space3 The Most Respected Women in China: Refashioning Images of Non-Han Women at Work in Republican China4 China’s Domestic Feminists?: Reinterpreting Non-Han Gender Roles 5 The Essentialness of Work: “Women Question” and Family Status6 Concluding Remarks2 Dancing in the Moonlight: Fashioning Sexuality of Non-Han People1 Naked Female Bodies: Images of the Duanqun Miao and Shuibai Yi2 Chuzi Shuangfu 處子孀婦 (the Virgin and the Widow): Copulation and Chastity 3 Dancing under the Moonlight: Marriage Customs, Rites and Sexual Regulation 4 Encountering Sexuality: Enlightenment Plans and the Diversity of Representation5 Refashioning Moon Dancing: The Freedom of Lian’ai 戀愛 (love) 6 A Romantic Land with Freedom: Ze’ou 擇偶 (Choice), Lihun 離婚 (Divorce) and Taohun 逃婚 (Escape before the Wedding Night)7 Freedom, Xing 性 and Women’s Desire8 Concluding Remarks3 Yiguan Zhuangmao衣冠狀貌 (Clothes, Hat, and Physical Body): Materialising and Symbolising Human Variations1 Delineating a Typical Non-Han Face in the Southwest: Black Skin, Deep Eyes, White Teeth and Hooked Nose2 Highlighting Xianzu 跣足 (Bare Feet)3 The Hierarchy of Dressing: the Representation of the Non-Han Subject in Simple and Casual Clothes 4 Republican Anthropometric Photography: New Styles and the Ambiguity of Racial Differences5 Conceptualising and Visualising an Ethnographic Body: the Implications in China6 Ambiguous Attitudes: How Should the Statistics of Body Measurements be Interpreted?7 Shengzhuang 盛裝 (Festival Costumes): New Ways of Visualising the Non-Han8 Collecting, Exhibiting and Preserving Non-Han Material Culture 9 Concluding Remarks 4 Imperial Images? Rethinking Miao albums and Ethnographic photography1 Zhengqi Haoyi爭奇好異(Competing over Eccentricity and Chasing Exoticism): the Anxiety of Pleasure 2 Multiple Viewers: the Growing Market for Popular Ethnography3 Making Ethnographic Truth? The Paradox of Copying and the Participation of Artists in the Market Place 4 Resurrection in Republican China: Collection, Preservation, Reproduction and New Styles5 Beyond Identity: Commercial Ethnographic Photography 6 Concluding RemarksConclusionAppendix: Table of Miao Albums with Collection Date and Original CollectorBibliographyIndex

Jing Zhu, Ph.D. (2018), University of Edinburgh, is CCKF postdoctoral fellow of history at the University of Warwick.

• ContentsAcknowledgementsList of FiguresIntroduction: The Chinese Imperial Model in the Southwest Borderland: Gender, Visuality and Transitions1 Observational Practices: Detractor, Defender and Truth 2 Ethnographic Illustrations in Chinese History: Long Tradition, Multiple Genres and Various Pictorial Practices 3 Ways of Seeing: a Visual Grammar of Gender, the Power of Representation4 Empire, Visuality and Structure of Feelings: Engendering the Ethnic Minorities in China’s Southwest Borderland5 Imperial Context: Native Chieftain System, Gaitu Guiliu and Miao Rebellions6 Wartime China: the Reproduction of Borderland Images 7 Chapter Organisation1 Gender Inversion and the Power of Representation: Imagining and Visualising Ethnic Minority Women’s Masculinity1 Women in Power: the Fancy of Images of “Nüguan 女官 (Female Government Official)”2 Interpreting “Nanyi Nülao 男逸女勞 (Men Relax, While Women Work)” as “Nangui Nüjian 男貴女賤 (Men are Exalted, while Women are Humble)”: Defaming Women’s Work through Space3 The Most Respected Women in China: Refashioning Images of Non-Han Women at Work in Republican China4 China’s Domestic Feminists?: Reinterpreting Non-Han Gender Roles 5 The Essentialness of Work: “Women Question” and Family Status6 Concluding Remarks2 Dancing in the Moonlight: Fashioning Sexuality of Non-Han People1 Naked Female Bodies: Images of the Duanqun Miao and Shuibai Yi2 Chuzi Shuangfu 處子孀婦 (the Virgin and the Widow): Copulation and Chastity 3 Dancing under the Moonlight: Marriage Customs, Rites and Sexual Regulation 4 Encountering Sexuality: Enlightenment Plans and the Diversity of Representation5 Refashioning Moon Dancing: The Freedom of Lian’ai 戀愛 (love) 6 A Romantic Land with Freedom: Ze’ou 擇偶 (Choice), Lihun 離婚 (Divorce) and Taohun 逃婚 (Escape before the Wedding Night)7 Freedom, Xing 性 and Women’s Desire8 Concluding Remarks3 Yiguan Zhuangmao衣冠狀貌 (Clothes, Hat, and Physical Body): Materialising and Symbolising Human Variations1 Delineating a Typical Non-Han Face in the Southwest: Black Skin, Deep Eyes, White Teeth and Hooked Nose2 Highlighting Xianzu 跣足 (Bare Feet)3 The Hierarchy of Dressing: the Representation of the Non-Han Subject in Simple and Casual Clothes 4 Republican Anthropometric Photography: New Styles and the Ambiguity of Racial Differences5 Conceptualising and Visualising an Ethnographic Body: the Implications in China6 Ambiguous Attitudes: How Should the Statistics of Body Measurements be Interpreted?7 Shengzhuang 盛裝 (Festival Costumes): New Ways of Visualising the Non-Han8 Collecting, Exhibiting and Preserving Non-Han Material Culture 9 Concluding Remarks 4 Imperial Images? Rethinking Miao albums and Ethnographic photography1 Zhengqi Haoyi爭奇好異(Competing over Eccentricity and Chasing Exoticism): the Anxiety of Pleasure 2 Multiple Viewers: the Growing Market for Popular Ethnography3 Making Ethnographic Truth? The Paradox of Copying and the Participation of Artists in the Market Place 4 Resurrection in Republican China: Collection, Preservation, Reproduction and New Styles5 Beyond Identity: Commercial Ethnographic Photography 6 Concluding RemarksConclusionAppendix: Table of Miao Albums with Collection Date and Original CollectorBibliographyIndex

Jing Zhu, Ph.D. (2018), University of Edinburgh, is CCKF postdoctoral fellow of history at the University of Warwick.

• ContentsAcknowledgementsList of FiguresIntroduction: The Chinese Imperial Model in the Southwest Borderland: Gender, Visuality and Transitions1 Observational Practices: Detractor, Defender and Truth 2 Ethnographic Illustrations in Chinese History: Long Tradition, Multiple Genres and Various Pictorial Practices 3 Ways of Seeing: a Visual Grammar of Gender, the Power of Representation4 Empire, Visuality and Structure of Feelings: Engendering the Ethnic Minorities in China’s Southwest Borderland5 Imperial Context: Native Chieftain System, Gaitu Guiliu and Miao Rebellions6 Wartime China: the Reproduction of Borderland Images 7 Chapter Organisation1 Gender Inversion and the Power of Representation: Imagining and Visualising Ethnic Minority Women’s Masculinity1 Women in Power: the Fancy of Images of “Nüguan 女官 (Female Government Official)”2 Interpreting “Nanyi Nülao 男逸女勞 (Men Relax, While Women Work)” as “Nangui Nüjian 男貴女賤 (Men are Exalted, while Women are Humble)”: Defaming Women’s Work through Space3 The Most Respected Women in China: Refashioning Images of Non-Han Women at Work in Republican China4 China’s Domestic Feminists?: Reinterpreting Non-Han Gender Roles 5 The Essentialness of Work: “Women Question” and Family Status6 Concluding Remarks2 Dancing in the Moonlight: Fashioning Sexuality of Non-Han People1 Naked Female Bodies: Images of the Duanqun Miao and Shuibai Yi2 Chuzi Shuangfu 處子孀婦 (the Virgin and the Widow): Copulation and Chastity 3 Dancing under the Moonlight: Marriage Customs, Rites and Sexual Regulation 4 Encountering Sexuality: Enlightenment Plans and the Diversity of Representation5 Refashioning Moon Dancing: The Freedom of Lian’ai 戀愛 (love) 6 A Romantic Land with Freedom: Ze’ou 擇偶 (Choice), Lihun 離婚 (Divorce) and Taohun 逃婚 (Escape before the Wedding Night)7 Freedom, Xing 性 and Women’s Desire8 Concluding Remarks3 Yiguan Zhuangmao衣冠狀貌 (Clothes, Hat, and Physical Body): Materialising and Symbolising Human Variations1 Delineating a Typical Non-Han Face in the Southwest: Black Skin, Deep Eyes, White Teeth and Hooked Nose2 Highlighting Xianzu 跣足 (Bare Feet)3 The Hierarchy of Dressing: the Representation of the Non-Han Subject in Simple and Casual Clothes 4 Republican Anthropometric Photography: New Styles and the Ambiguity of Racial Differences5 Conceptualising and Visualising an Ethnographic Body: the Implications in China6 Ambiguous Attitudes: How Should the Statistics of Body Measurements be Interpreted?7 Shengzhuang 盛裝 (Festival Costumes): New Ways of Visualising the Non-Han8 Collecting, Exhibiting and Preserving Non-Han Material Culture 9 Concluding Remarks 4 Imperial Images? Rethinking Miao albums and Ethnographic photography1 Zhengqi Haoyi爭奇好異(Competing over Eccentricity and Chasing Exoticism): the Anxiety of Pleasure 2 Multiple Viewers: the Growing Market for Popular Ethnography3 Making Ethnographic Truth? The Paradox of Copying and the Participation of Artists in the Market Place 4 Resurrection in Republican China: Collection, Preservation, Reproduction and New Styles5 Beyond Identity: Commercial Ethnographic Photography 6 Concluding RemarksConclusionAppendix: Table of Miao Albums with Collection Date and Original CollectorBibliographyIndex