| As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716--97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women's public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. The works recorded memorable moments of the lives of these women, and their circulation promoted the scholarly personas of the paintings' figures beyond their immediate families. The inscriptions also recorded the positive reception of this coterie of intellectuals and were endorsements of their unconventional behavior. Thirteen Female Disciples survives in the form of at least four versions, testifying to the fame and popularity of the painting's theme and the figures depicted in it. |
