In the fall of 2015, a stele was unearthed during restauration works at the temple to Confucius in Changshu, a city in the heart of China’s Jiangnan region. It carries the title Dili tu 地理圖 (Map of the Patterns of the Earth) and features a map-diagram of the administrative units of the Ming state, as well as a textual explanation underneath. Carved in stone to display a topological overview of imperial-administrative geography at a prominent site of learning, the stele map is the only such example dating back to the Ming period. Even so, it stands in a tradition of similar stele maps from the Song period and enjoyed a remarkable afterlife that saw its map image and text transferred onto other materials such as silk and paper and, with that, transformed into large maps as well as exquisite albums and fans. Each of these material transformations invited other modes of presentation and consultation that ultimately contributed to the emergence of an early modern geo-body of the Ming state.

This paper examines the intersection of mapping and mining in late Qing Mongolia. In the early 20th century, Khalkha Mongolia was witnessing a gold rush that attracted clandestine miners, diplomats, and geologists from neighboring areas and from afar. Even though illicit mining had been taking place in Mongolia since the 18th century, the prohibition on gold mining was lifted in 1899 as the Qing faced rebellions, fiscal crisis and foreign aggression. This led to the making of new maps that illustrated the location of mineral deposits. For example, a map of mineral deposits produced in 1900 illustrates the intersection of mapping and mining. This presentation closely examines this manuscript map, which was produced with the intent of extracting natural resources from Khalkha Mongolia. It illustrated five mining sites in Eastern Khalkha Mongolia between Küriy-e and the Russian frontier. This map had remained slipped in a packet of documents pertaining to the Urga imperial residents fond at the National Archives of Mongolia. Attached to this map was a letter detailing the location of each mine as well as an assessment of transportation from the mine to the existing road. Read together, records on Qing efforts to open gold mines and letters expressing local opposition to such projects reveals a set of tension between the top-down extractive policies and local elite. The letters related to the production of this map document antagonistic interests among representatives of the Beijing government, versus Mongol league directors as well as members of the ecclesiastical estate.

In the late 19th century, as Korea opened its borders to Western influences, scholars faced the challenge of reconciling traditional Neo-Confucian ideals with emerging international norms. This presentation explores Hwanyeong ji (Newly Edited and Titled Collection of Diagrams, 1770) by Whi Baekgyu, a local scholar from Jeonra province, whose work gained unexpected prominence during this tumultuous period. Despite its roots in traditional philosophies, the book's diagrams—originally produced in woodblock printing—were stark and monochromatic, reflecting the limitations of the medium and the aesthetic expectations of its time.
In contrast, at least five surviving manuscript versions from the late 19th to early 20th century are marked by their vibrant colors and luxurious materials, showcasing a deliberate choice by painters to enhance their visual appeal. This transformation in materiality not only makes the content more engaging but also serves as a powerful commentary on how traditional knowledge was recontextualized to meet contemporary tastes and needs.
By examining the material characteristics of Baekgyu's work, this presentation highlights the interplay between the physical form of the texts and their cultural significance during a period of rapid change. The enhanced manuscripts symbolize a cultural adaptation that seeks to connect the past with the present while offering insights into how scholars navigated their identity in an evolving world. We will explore why Baekgyu’s Hwanyeong ji resonated with 19th-century scholars and how its visual and material evolution mirrors broader themes of tradition and modernity.