During The Ming And Qing Dynasties The Coasts Of Image Research

This thesis is aimed at studying pictural representation of the Leifeng Pagoda. The Leifeng Pagoda sits on the Southern side of Hangzhou’s West Lake. Built in the WuYue Kingdom by Emperor Qian Shu, this Buddhist pagoda has bred the birth of endless paintings, poems, and folklore. Beginning with the emergence of "Tens Scenes of West Lake" in the Southern Song dynasty, the Leifeng Pagoda has been a main symbol of West Lake scenery in traditional chinese paintings.Focusing on the prime of Leifeng Pagoda imagery, this paper specifically looks at paintings and images throughout the Ming and Qing dynasties, specifically in the Jiangnan region.Through this thesis, I hope to explore the rich history of the Leifeng Pagoda, following its changes and stages throughout history, understanding its patterns in traditional chinese paintings, traditional poetry and writing, and lastly the relation with folklore. In combining the connections of these topics, it is my hope to fully understand the implication of the Leifeng Pagoda in the eyes of the public, both those in the court and those outside of it.Despite being displayed in landscape paintings, the Leifeng Pagoda eventually developed into a symbol both for the literati and common masses alike. Famous Ming literary figure Li Liufang even further went to label the Leifeng Pagoda as a "drunkard old man", in reflection an image of himself and his hardships. Around this same time, the Leifeng Pagoda also gradually became the home of folklore, particularly the Legend of the White Snake. Through this connection, the Pagoda transformed from being just a simple Buddhist Pagoda to a symbol of mystery and legends.