Production of space in the symbol ‘Mijia shuhua chuan’: weaving dreams and heterogeneous spaces in the Chinese literati’s landscape imagination

This paper investigates the cultural symbol of the ‘Mijia shuhua chuan’ (Mi Family’s Boat of Calligraphy and Paintings), tracing its origins to the Song dynasty literati Mi Fu’s practice of using boats as mobile spaces for artistic creation and appreciation. The study explores how this symbol evolved into a multifaceted spatial metaphor, deeply embedded in the landscape imagination of Chinese literati. By analysing historical texts, poetry, and garden designs, the paper reveals how the ‘Mijia shuhua chuan’ became a site for weaving dreams, where the boundaries between reality, representation, and imagination were fluidly negotiated. The symbol’s extension from actual boats to boat-shaped garden structures, seals, and art collections demonstrates its adaptability and enduring significance in literati culture. Drawing on Michel Foucault’s theory of heterotopia, the paper argues that the ‘Mijia shuhua chuan’ exemplifies a unique form of spatial production, characterized by its fluidity and nested heterogeneity. This symbol not only reflects the literati’s artistic and philosophical engagement with nature but also serves as a conceptual framework for understanding their idealised living spaces. Through this exploration, the paper sheds light on the broader spatial, cultural, and artistic practices of Chinese literati in traditional China.