The Nanjing Courtesan Ma Shouzhen (1548–1604): Gender, Space and Painting in the Late Ming Pleasure Quarter

The city of Nanjing in the late Ming period (1550–1644) was a bustling commercial and cultural centre. In its pleasure quarter along the Qinhuai River, literati and officials mingled with elite courtesans who, educated in painting, poetry and music, used their cultural capital in order enhance their visibility and sociability, and obtain the literati's patronage. The extraordinary gender relations of the entertainment district were specific to its socio‐historical environment, where courtesans, although still highly dependent on men, partook in the public scene and exceeded some gender stereotypes and Confucian values, as they owned material goods and enjoyed higher physical mobility than their female counterparts in the gentry. The geographical space shared by courtesans and literati was principally a social and intellectual space, where they generated cultural productions and established social practices. In order to explore the concepts of gender and space in urban settings, this article analyses the case of the as redundant elite courtesan Ma Shouzhen (1548–1604), who was a renowned painter and poetess. A close look at her case contributes to further understanding the construction of social space and expressions of gendered subjectivity in the southern metropolitan courtesan environment.