Ke Jiusi Wanxiang Section "figure

This thesis is intended to take the example of "Wanxianggaojie" by Ke Jiusi to explore the differences between two ethnic groups when it comes to presenting bamboo-themed paintings in the Late Yuan Dynasty, as well as what is mirrored by this difference.Bamboo is a common subject in Yuan Dynasty, especially for literati paintings. In Chinese, the character referring to the knots dotting the bamboo's item also means "integrity." Thus, bamboo is celebrated as "man of integrity" by the Chinese literati. Yuan painters preferred this subject also to commemorate Su Shi in Northern Song. Given the popularity of bamboo paintings at that time, it was very common to present them as a gift. When both the giver and the receiver were Han, both parties could understand bamboo paintings due to their shared cultural background. Such a choice of gifts was very commonplace, and bamboo paintings were often intended as a gift to pay back someone's favor. When either the giver or the receiver was not Han, problems popped out. Firstly, bamboo-themed paintings did not belong to their inherent cultural package to non-Han people including the Mongolians, Uighur and the Hui people. How were bamboo paintings received by them? Does the presenting practice involve the creation of mistaken message? Secondly, the Mongolian, Uigher and Hui people were secondary citizens during Yuan, but still superior to the Han literati, esepcially in the former terrain of Southern Song. Thus, it should also be taken into consideration the unequal relations as a primary condition.In the second year of Zhishun Era, Ke Jiusi painted "Wanxianggaojie"to an official. According to the historical documents, this Level-3 official was named Aluhui, coming from Gao Cang, belonged to the top-level citizens as Uighur, serving as the Official of Books(Mishujian). In this case, the giver and received did not only differ in ethnicity but also in status. Besides, the giver was involved in a politically-senstive issue at that moment, and wanted to deliver a complicated but intricate message to the receiver through this painting.First of all, it should be noted that the receiver had adapted to the Han culture, and had been on good terms with Ke Jiusi in a standard style common among literati, which encourages a discussion on the interations between literati from different ethnic groups in Late Yuan. Had they already developed a common behaviorial pattern and cherished common moral pursuits?Besides, "Wanxianggaojie" was not an exception. Bamboo painting was also employed by others as a gift to the receiver from a different ethnicity. The most important thing is:as a common social instrument by Han literati, does the bamboo painitng take on new meanings in the multiethnic background? This thesis is intended to argue that the Han literati tended to express their stance and status through bamboo paintings to see if other ethnic groups would acknowledge the Han culture. If the receiver accepted the painting and made a response accordinglu, then the existence of the acknowledgement is confirmed. Bamboo painitngs exemplify certain cultural connotations and hidden messages as a special social instrument. When someone from a different ethnicity, no matter the Mongolian and the Uighur, wanted to get involved, he should humble himself by studying and recognizing this socia instrument and the corresponding social patterns in the first place, which was what a successful formation of giver-receiver relationship depended on.