The sacred landscape of imperial China was dotted with Buddhist monasteries, Daoist temples, shrines to local deities, and the altars of the mandarinate. Prominent among the official shrines were the temples in every capital throughout the empire devoted to the veneration of Confucius. Twice a year members of the educated elite and officials in each area gathered to offer sacrifices to Confucius, his disciples, and the major scholars of the Confucian tradition.

The worship of Confucius is one of the least understood aspects of Confucianism, even though the temple and the cult were highly visible signs of Confucianism's existence in imperial China. To many modern observers of traditional China, the temple cult is difficult to reconcile with the image of Confucianism as an ethical, humanistic, rational philosophy. The nine essays in this book are an attempt to recover the meaning and significance of the religious side of Confucianism. Among other subjects, the authors analyze the social, cultural, and political meaning attached to the cult; its history; the legends, images, and rituals associated with the worship of Confucius; the power of the descendants of Confucius, the main temple in the birthplace of Confucius; and the contemporary fate of temples to Confucius.

This collection of essays reveals the Ming court as an arena of competition and negotiation, where a large cast of actors pursued individual and corporate ends, personal agency shaped protocol and style, and diverse people, goods, and tastes converged. Rather than observing an immutable set of traditions, court culture underwent frequent reinterpretation and rearticulation, processes driven by immediate personal imperatives, mediated through social, political, and cultural interaction.

The essays address several common themes. First, they rethink previous notions of imperial isolation, instead stressing the court's myriad ties both to local Beijing society and to the empire as a whole. Second, the court was far from monolithic or static. Palace women, monks, craftsmen, educators, moralists, warriors, eunuchs, foreign envoys, and others strove to advance their interests and forge advantageous relations with the emperor and one another. Finally, these case studies illustrate the importance of individual agency. The founder's legacy may have formed the warp of court practices and tastes, but the weft varied considerably. Reflecting the complexity of the court, the essays represent a variety of perspectives and disciplines--from intellectual, cultural, military, and political to art history and musicology.

The Aura of Confucius is a ground-breaking study that reconstructs the remarkable history of Kongzhai, a shrine founded on the belief that Confucius' descendants buried the sage's robe and cap a millennium after his death and far from his home in Qufu, Shandong. Improbably located on the outskirts of modern Shanghai, Kongzhai featured architecture, visual images, and physical artifacts that created a 'Little Queli,' a surrogate for the temple, cemetery, and Kong descendants' mansion in Qufu. Centered on the Tomb of the Robe and Cap, with a Sage Hall noteworthy for displaying sculptural icons and not just inscribed tablets, Kongzhai attracted scholarly pilgrims who came to experience Confucius's beneficent aura. Although Kongzhai gained recognition from the Kangxi emperor, its fortunes declined with modernization, and it was finally destroyed during the Cultural Revolution. Unlike other sites, Kongzhai has not been rebuilt and its history is officially forgotten, despite the Confucian revival in contemporary China.

Mirror of Morality takes an interdisciplinary look at an important form of pictorial art produced during two millennia of Chinese imperial rule. Ideas about individual morality and state ideology were based on the ancient teachings of Confucius with modifications by later interpreters and government institutions. Throughout the imperial period, members of the elite made, sponsored, and inscribed or used illustrations of themes taken from history, literature, and recent events to promote desired conduct among various social groups. This dimension of Chinese art history has never before been broadly covered or investigated in historical context. The first half of the study examines the nature of narrative illustration in China and traces the evolution of its functions, conventions, and rhetorical strategies from the second century BCE through the eleventh century. Under the stimulus of Buddhism, sophisticated techniques developed for representing stories in visual form. While tracing changes in the social functions and cultural positions of narrative illustration, the second half of the book argues that narrative illustration continued to play a vital role in elite visual culture.