Status of Women in the Tang and Song Dynasties.  In conjunction with the backlash against Buddhism and the revival of Confucianism that began under the.

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Presentation transcript:

Status of Women in the Tang and Song Dynasties

 In conjunction with the backlash against Buddhism and the revival of Confucianism that began under the Tang and intensified under the Song, women entered a long period of cultural subordination, legal disenfranchisement, and social restriction

 Merchants spent long periods away from home, and many maintained several wives in different locations  Frequently they depended on wives to manage their homes and even their businesses in their absence

 But though women took on responsibility for the management of their husbands’ property, their own property rights suffered under legal erosion  Under Song law, a woman’s property automatically passed to her husband, and women could not remarry if their husbands divorced them or died

 The subordination of women proved compatible with Confucianism, and it became fashionable to educate girls just enough to read simplified versions of Confucian philosophy that emphasized the lowly role of women

 Modest education made these young women more desirable as companions for the sons of gentry or noble families, and as literate mothers in low ranking families aspiring to improve their status

 Only rarely did a woman of extremely high station with unusual personal determination, as well as uncommon encouragement from father and husband, manage to acquire extensive education and freedom to pursue the literary arts

 The poet Li Qingzhao (1083 – 1141) acknowledged and made fun of her unusual status as a highly celebrated female writer: Although I have studied poetry for thirty years I try to keep my mouth shut and avoid reputation Now who is this nosy gentleman talking about my poetry Like Yang Ching-chih Who spoke of Hsiang Su everywhere he went

 Her reference is to a hermit poet of the ninth century who was continually and extravagantly praised by a court official, Yang Ching-chih

 Female footbinding first appeared among slave dancers at the Tang court, but it did not become widespread until the Song period

 Women – often enslaved – entertained at Chinese courts from early times  Tang art often depicts women with slender figures, but Tang taste also admired more robust physiques  Song women, usually pale with willowy figures, popularly appeared with bound feet at court

 Though the practice of footbinding appeared in Tang times, it was not widespread until the Song, when the image of weak, housebound women unable to work became a status symbol and pushed aside the earlier enthusiasm for healthy women who participated in family business

 The bindings forced the toes under and toward the heel, so that the bones eventually broke and the woman could not walk on her own

 In noble and gentry families, footbinding began between ages five and seven  In less wealthy families, girls worked until they were older, so footbinding began only a girl’s teens

 Many literate men condemned the maiming of innocent girls and the general uselessness of footbinding

 Nevertheless, bound feet became a status symbol

 By 1200 a woman with unbound feet had become undesirable in elite circles, and mothers of elite status, or aspiring to such status, almost without exception bound their daughters’ feet

 They knew that girls with unbound feet faced rejection by society, by prospective husbands, and ultimately by their families

 Working women and the indigenous peoples of the south, where northern practices took a longer time to penetrate, did not practice footbinding  As a consequence, they enjoyed more mobility and economic independence than did elite Chinese women

 Yet in 1949, the Chinese Communist Party (CCP) would come to power

 Mao Zedong, the leader of the Chinese Communist Party, was an advocate of women’s equality

 Radical ideas such as those of Margaret Sanger, the American leader of the birth- control movement, and the feminist play A Doll’s House by the Norwegian playwright Henrik Ibsen inspired veterans of the May Fourth Movement (a movement of students protesting in front of the Forbidden City of Beijing in May 1919 after Japan’s seizure of the German enclaves in China following World War I)

 Before 1927 the Communists had organized the women who worked in Shanghai’s textile mills, the most exploited of all Chinese workers

 Later, in their mountain stronghold in Jiangxi, they organized women farmers, allowed divorce, and banned arranged marriages and footbinding

 But they did not admit women to leadership positions, the party was still run by men whose primary task was warfare due to a civil war between Communist soldiers and Nationalist forces