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288:. Clients came from as far as Thailand to purchase her work. As a painter, Ma Shouzhen is well known for landscapes, orchids, and bamboo imagery combined with calligraphy. Her brush work is delicate, and the images have either colors lightly applied or monochromatic ink. Her preferred painting formats include fan, hand-scrolls, and hanging scrolls. Ma was known for using the double outline technique, in which the edges of her leaves and blossoms are outlined with thin lines. This approach can be traced to
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the Qing
Dynasty. The "Shiqu Baoji Chubian(石渠宝笈初编)" contains a fake copy of Ma Shouzhen's "Painted Orchid Scroll(画兰卷)". But the Qing court also collected authentic paintings by Ma Shouzhen. The "Flower Scroll(花卉卷)" in the Wuxi Museum collection is an old collection of the Qing Dynasty court and is also recorded in the "Shiqu Baoji". Emperor Qianlong of the Qing Dynasty also viewed Ma Shouzhen's paintings and stamped the oval seal of "the treasures previewed by Emperor Qianlong(乾隆御览之宝)" on her paintings.
267:. Wang recollected that this was in celebration for his 70th birthday (though scholar Zhao Mi notes this as unlikely due to the commercial requirements of a theatrical tour). Not long after this, Ma fell ill. Though her letters to Wang begging him to visit her survive, it is unknown if he did so. Wang wrote twelve eulogies of Ma after her death as well as a biography,
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composing poems to the moon, so the bridge was called the Moon
Playing Bridge. After the fall of the Ming Dynasty, people later wrote poems, and Changban Bridge was the original Moon Playing Bridge. In modern times,the Confucius Temple in Nanjing has been renovated and some pavilions from the Ming and Qing Dynasties have been restored. During the
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Along with painting, Ma was skilled in writing poetry and composing dramas, however, some of her dramas have been lost over time. Ma was involved in the theater as a performer, troupe owner, and playwright. She was the only female troupe owner in late Ming theatre. She is the only recorded courtesan
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Wang wrote an account of their meeting. He recounted that they met when Ma was sued by a young literatus for bad treatment. The court clerk went to arrest her as Wang was visiting, and made a deal for her freedom for his calligraphy. Ma fell in love and proposed to Wang, but he refused, reporting he
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The "Moon
Playing Bridge" in the Ming Dynasty was located in the south of Qinhuai River in Confucius Temple. Next to the bridge was Ma Shouzhen's residence. On the night of the Mid-Autumn Festival, scholars gathered at the bridge to play the sheng and xiao, recalling the moon watching at Niuzhu and
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During the Qing
Dynasty, famous actors in the Liyuan of the Capital adapted the story of Ma Shouzhen's painting of orchids into a drama and presented the paintings in the drama to guests. Therefore, a large number of forgeries appeared in the name of Ma Shouzhen, and they even entered the court of
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had been ghostwritten. The play is about love and betrayal in three lives. In the first, Wang Kui betrays courtesan
Guiying, who had supported his study, by marrying another after. In the second life, the courtesan Su Qing (Guiying) abandons student Feng Kui (Wang Kui). In their third life, they
218:(1535–1612). The poets would write poems inspired by her or for her, describing Ma as beautiful with a warm and welcoming personality. During their visits, Ma Shouzhen joined them in making paintings, poems, and plays. She also hosted parties on her multi-leveled house-boat with the
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values. In contrast to the women of the gentry, who were often discouraged from cultivating talent lest it undermine their virtue as wives and mothers, Yijis were educated in painting, poetry, and music. In addition, they owned property and participated in the public scene.
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Ailianju Art Talk: Two
Heroines in the Late Ming Dynasty Painting World - Ma Shouzhen and Xue Susu(爱莲居艺谭 晚明画坛双女侠——马守真与薛素素); Publish:Chinese Painting and Calligraphy Art(书画艺术) Journal 2009 Issue 05; Author: Xiao Ping(萧平); Page Number: 57-58
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which ridiculed a sexually active older couple. The play was quickly banned due to being immoral, but the book gained popularity. However, some modern scholars believe that Ma and Wang were not actually the inspiration for the play.
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Ma
Shouzhen and Wang Zhideng were sexual and business partners. They shared a loving relationship with one another, and there are instances in which the two openly expressed their affection for each other.
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296:. The only paintings by Ma Shouzhen that survive today are her ink landscapes, orchids, and bamboo. Since she was a social person, many of her paintings may have been given away at parties.
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Ma died peacefully in her residence in
Nanjing in 1604. As a courtesan who had desired to enter a gentry family, Ma was often ridiculed, continuing after her death.
327:(1127-1279), a play about a student betraying his courtesan lover. As courtesan theatre was infrequently highlighted in Ming theatre, some male dramatists believed
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Bénézit, Emmanuel; Rawlings, Kandice; Kember, Pamela; Johnson, Richard, eds. (2012). "Ma
Shouzhen or Ma Shou-chen ; style names: Xianglan , Yuejiao".
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161:. Her first known painting is also from this year. Before this, she may have received education from a proprietor who owned her during her childhood.
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149:(1550–1644). She was a renowned painter, poet, and composer. She received the name Xianglan because her most favored paintings were of orchids.
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Ma was born in
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theater. This work included presenting onstage, tutoring performers, and touring with her troupe, which was known for northern plays.
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Laing, Ellen Johnston (1998). "Ma Shouzhen". In Lee, Lily Xiao Hong; Stefanowska, A. D.; Wiles, Sue; Ho, Clara Wing-chung (eds.).
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society, she encouraged the education and training of Yijis in the arts. In order to maintain her reputation as an elite
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685:"Ma Xianglan and Wang Zhideng Onstage and Offstage: Rethinking the Romance of a Courtesan Theatre in Ming-Qing China"
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Ma and Wang wrote letters to each other, and Ma often sent gifts to Wang Zhideng and to his wife.
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Ma and Wang collaborated in several paintings and poem. One of their famous collaborations was
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Ma published her first collection of poetry in 1591, with an introduction by Wang Zhideng.
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Ma Shouzhen (1548–1604): Gender, Space and Painting in the Late Ming Pleasure Quarter".
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141:") and pen name Yuejiao ("Lunar Beauty"), was a Chinese courtesan and artist born in
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971:"Hangrol met bamboe en orchideeën op een rots, Ma Shouzhen, ca. 1548 - ca. 1604"
777:"Attributed to Ma Shouzhen | Orchid and rock | China | Ming dynasty (1368–1644)"
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During the late Ming dynasty, elite Yijis challenged the gender stereotypes of
1008:. Indianapolis and New York: Indianapolis Museum of Art and Rizzoli. pp.
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Ma Shouzhen fashioned herself as a talented painter in the Wen circle and
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Ma's life was recorded by Wang Zhideng. Within fifty years of her death,
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Ma and Wang's relationship may have been the basis for the 1597 opera
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As Yiji matriarch, she befriended many poets and intellects such as
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Ma also served as a patron of the arts. She funded Liang Chenyu's
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Tseng, Yuho (1993). "Women Painters of the Ming Dynasty".
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Views from Jade Terrace: Chinese Women Artists 1300-1912
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Because of her fame, Ma's paintings were often copied.
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documented Wang's version of Ma's life in his poetry.
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891:. The Palace Museum. Archived from
861:. The Palace Museum. Archived from
812:"Talking about Mid-Autumn Festival"
753:Benezit dictionary of Asian artists
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457:, 1604, Yale University Art Gallery
122:; c. 1548–1604), also known by her
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271:(Biography of Courtesan Ma).
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1024:Palace Museum Collection
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399:Orchid, Bamboo, and Rock
329:The Story of three Lives
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1376:Chinese women painters
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1177:Prostitution in Macau
1158:Prostitution in China
818:on 16 September 2024.
701:10.1353/atj.2017.0007
689:Asian Theatre Journal
321:Story of Three Lives
172:. As a matriarch in
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517:Gender & History
94:Ma Xianglan, Yuejiao
378:Mid-Autumn Festival
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865:on 6 December 2015
255:(White Silk Skirt)
246:Narcissus and Rock
1406:Chinese composers
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762:978-0-19-992302-1
683:Zhao, Mi (2017).
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393:Orchid and Bamboo
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1269:Li Xiangjun
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1091:Li Xiangjun
1086:Bian Yujing
1081:Ma Xianglan
975:Rijksmuseum
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139:Xiang River
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18:Ma Xianglan
1360:Categories
1289:Sai Jinhua
1222:Courtesans
1213:Lin Hei'er
1203:Ching Shih
1111:Kou Baimen
977:(in Dutch)
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269:Maji zhuan
253:Bailianqun
212:Xue Mingyi
1314:Yu Xuanji
1279:Liu Rushi
1264:Li Shishi
1229:Bai Mudan
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709:1527-2109
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280:Painting
220:literati
32:In this
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1165:Regions
1029:Art Net
637:3250517
424:Gallery
303:Theater
143:Nanjing
131:Chinese
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1010:72-81
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633:JSTOR
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1345:Geji
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