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Qian Qianyi's Reflections on Yellow MountainTraces of a Late-Ming Hatchet and Chisel$
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Stephen McDowall

Print publication date: 2009

Print ISBN-13: 9789622090842

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622090842.001.0001

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Landscape of Brush and Ink

Landscape of Brush and Ink

Literary Tradition at Yellow Mountain

Chapter:
(p.32) 2 Landscape of Brush and Ink
Source:
Qian Qianyi's Reflections on Yellow Mountain
Author(s):

Stephen McDowall

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622090842.003.0003

Since mountains in traditional China served as both objects of worship and sites for ritualistic pilgrimage events, the image of the mountain has always been central in politics, arts, and other such competing practices. As mountains often have hills and waterways, the solid components of the landscape, mountains were often used to depict permanence and stability. Moreover, mountains have been perceived as the imperial realm's protectors and delineators. The most important of these were the mountains that comprised the Marchmounts system—Mounts Huo, Heng, Hua, Tai, Song, and Heng. As they represented the limits of the habitable world, these mountains formed the sites for the emperor's ritual tour. This chapter attempts to look at Yellow Mountain as it grew from discursive tradition through looking into the shifting meanings and fortunes of this mountain—meanings and fortunes that are dependent on textual representations.

Keywords:   Marchmounts system, traditional China, Yellow Mountain, discursive tradition, textual representation, meanings

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