Sei Jeong Chin
The Chinese media has been discussed either as a challenge to the authoritarian regime or as an instrument to consolidate state power in the recent debates concerning the impact of the Internet and the expansion of social media on China’s authoritarian rule. Both views have adopted the framework that was developed out of the liberal model of media in the West. In the liberal model, the news media should go through full-flown commercialization to achieve autonomy and independence from the state. The independence of the news media from the state is the precondition for the news media’s role as watchdog of the state and check on the government. However, the liberal model does not fit the actual historical experiences of the news media in China. Throughout the 20th century, state control of the media expanded in the context of state-building, war, and revolution. The Chinese media did not go through full-flown commercialization to the extent that the media would achieve complete independence from the state. Rather, in the context of state expansion, the media and the state became interdependent rather than antagonistic. In the state-dominated environment, the media did not necessarily seek independence from the state. Nevertheless, even without independence, the media can still play a significant political role within the limits and boundaries set by the state. This has important implications for understanding the resilience of the contemporary Chinese government.
Michael R. Drompp
The Uyghurs (Chinese Huihe迴 紇, Huihu回鶻) were a pastoral nomadic people living in the region of the Selenga and Orkhon river valleys in modern Mongolia; they spoke a Turkic language. The empire that they created on the steppe lasted for nearly a century (744–840) and played an important role, both politically and culturally, in East Asia. Centered on the Mongolian Plateau, the Uyghur Empire at its height controlled numerous other peoples within a territory that included lands to the north in the modern regions of Tuva and Buryatia, as well as some parts of the northern Tarim Basin and eastern Inner Mongolia.1 During its eventful history, the Uyghur Empire sent cavalry to help the Tang Dynasty put down the An Lushan rebellion, maintained strong political and economic ties with China, fought with the Tibetan Empire for control of important international trade routes, built cities on the steppe, celebrated its rulers’ achievements in stone stelae, and—uniquely in the world—adopted Manichaeism as its state religion. After their empire collapsed, the Uyghurs developed new polities in Gansu and the Tarim Basin that continued to exercise influence in Inner Asia.
The Uyghurs are a Turkic-speaking ethnic group, most of whom live today within the People’s Republic of China. Virtually all Uyghurs are Muslims, and most are oasis farmers, small-time traders, or craftsmen. They constitute the majority population of the Tarim Basin, a region that eventually fell under Chinese rule after the Qing conquest of 1759. Although Turkic speakers predominated in the Tarim Basin for several centuries, the modern Uyghur identity was only named and formalized in the 20th century. During that period, a succession of Chinese states gradually transformed Uyghur lands from a loosely held dependency under the Qing to a closely monitored, assimilationist, settler colony in the 21st century, ruled by a Han Chinese–dominated bureaucracy. Uyghurs inherit traditions rooted in Turko-Persianate Central Asia, elaborated in the 20th century by strong influences from Soviet Central Asia and continually adapted to a political context of shifting outsider regimes punctuated by briefly successful independence movements.
The Uyghurs comprise a Turkic-speaking and predominantly Muslim nationality of China, with communities living in the independent republics of Central Asia that date to the 19th century, and now a global diaspora. As in the case of many national histories, the consolidation of a Uyghur nation was an early 20th-century innovation, which appropriated and revived the legacy of an earlier Uyghur people in Central Asia. This imagined past was grounded in the history of a Uyghur nomadic state and its successor principalities in Gansu and the Hami-Turfan region (known to Islamic geographers as “Uyghuristan”). From the late 19th century onward, the scholarly rediscovery of a Uyghur past in Central Asia presented an attractive civilizational narrative to Muslim intellectuals across Eurasia who were interested in forms of “Turkist” racial thinking. During the First World War, Muslim émigrés from Xinjiang (Chinese Turkistan) living in Russian territory laid claim to the Uyghur legacy as part of their communal genealogy. This group of budding “Uyghurists” then took advantage of conditions created by the Russian Revolution, particularly in the 1920s, to effect a radical redefinition of the community. In the wake of 1917, Uyghurist discourse was first mobilized as a cultural rallying point for all Muslims with links to China; it was then refracted through the lens of Soviet nationalities policy and made to conform with the Stalinist template of the nation. From Soviet territory, the newly refined idea of a Uyghur nation was exported to Xinjiang through official and unofficial conduits, and in the 1930s the Uyghur identity of Xinjiang’s Muslim majority was given state recognition. Since then, Uyghur nationhood has been a pillar of Beijing’s minzu system but has also provided grounds for opposition to Beijing’s policies, which many Uyghurs feel have failed to realize the rights that should accord to them as an Uyghur nation.
Julia K. Murray
The study of visual culture in imperial China is a young and heterogeneous field that encompasses a large and shifting array of visual materials and viewing practices. Because of the many political and social changes over the course of roughly two millennia, scholars have generally focused on specific forms and shorter periods, often defined by dynasty, instead of proposing comprehensive theories or all-inclusive overviews. The most recent dynasties, Ming and Qing, have received the majority of the scholarly attention to visual culture as such, but much research on earlier periods also sheds light on the roles of the visual and visual experience. In contrast to scholarship on modern and contemporary Chinese visual culture, which typically draws upon European and American theoretical models, studies concerned with the imperial era more often use methodologies and interpretive frameworks from art history and anthropology. Major foci of interest, whose relative importance varies by period, are the imperial court and its projects to perpetuate and project imperial authority, concerns with and techniques for creating auspicious environments in earthly life and in tomb contexts, structures and practices associated with Buddhism and Daoism within religious institutions and in lay communities, uses of writing and representational images to embody the values of the Confucian-educated elite, woodblock illustration and consumerism in urban culture, rural forms of visual culture, vernacular images and erotica, and the assimilation of elements of foreign visual culture.
Hyun Jin Kim
The Xiongnu were an Inner Asian people who formed an empire, a state entity encompassing a multiethnic, multicultural, and polyglot population. The ruling elite of this empire were, for the most part, pastoralists. However, the empire also possessed a substantial agrarian base. In the late 3rd and early 2nd centuries
In the 2nd century
Over the first three decades of the 15th century, Ming China dispatched a succession of naval fleets through the Southeast Asian seas and across the Indian Ocean, reaching South Asia, the Middle East, and even the east coast of Africa. These were the largest and best-armed naval fleets in the world at that time, comprising more than 100 ships and tens of thousands of troops. Like similar overland military missions sent to Đại Việt and Yunnan in the same period; these missions were initially intended to awe foreign powers and create legitimacy for the usurping emperor, Yongle. The maritime missions were generally led by eunuch officials, the most famous of whom was Zheng He. In the 21st century the Chinese state depicts these missions as “voyages of peace and friendship” and utilizes this trope in its contemporary diplomacy. However, the Ming sources reveal that military violence was an integral aspect of the successive voyages, whilst the fact that many rulers from Southeast Asian polities were taken to China by the eunuch-led missions also suggests that some degree of coercion was employed. The missions were ended by the court in the mid-1430s over concerns about the costs and the need for such missions.