8 There were several categories of people defined in legal terms or regarded as debas (.).7 On this subject, see in particular KuhnВ Philip A., 1990, Soulstealers: The Chinese (.).6 For some examples of Ming dynasty cases in which outside beggars were accused of these crim (.).5 WolfВ ArthurВ P., 1978, вЂњGods, Ghosts and AncestorsвЂќ, in ArthurВ P.В Wolf, ed., Studies in Chin (.).4 WolfВ ArthurВ P., 1978, вЂњGods, Ghosts and AncestorsвЂќ, in Arthur P.Il sвЂ™agira Г©galement dвЂ™explorer de quelle maniГЁre ces choix iconographiques ont faГ§onnГ© le regard du public sur les identitГ©s multiples de cesВ gueux. LвЂ™analyse de quelques-uns de ces personnages sвЂ™attachera Г mettre en Г©vidence la signification de ces motifs iconographiques et les raisons possibles de leur appropriation par le peintre. Ces figures aux corps abГ®mГ©s, malades, loqueteux, prГ©sentent souvent une combinaison de traits humains et dГ©moniaques. Il est fort probable que Zhou Chen, auteur du cГ©lГЁbre rouleau Mendiants et personnages de rue, rГ©alisГ© en 1516 Г Suzhou, se soit inspirГ© de tels chemineaux vus Г lвЂ™occasion de ces processions rituelles dans sa ville natale. Ceux-ci se dГ©guisaient en fantГґmes et dГ©mons pour exГ©cuter des danses rituelles dвЂ™expulsion liГ©es aux cГ©lГ©brations du Nouvel An. Les communautГ©s locales organisaient ainsi des rituels dвЂ™exorcisme des esprits malfaisants, auxquels prenaient part des mendiants ou des familles de mendiants ( gaihu) dans la rГ©gion de Suzhou. Les uns et les autres Г©taient considГ©rГ©s comme des ГЄtres Г la marge et dangereux, susceptibles de faire du mal si on les ignorait. Through a closer examination of some of the characters, it is the aim of this article to consider the reasons for their fiendish aspect and to explore how their iconographical features shaped audiencesвЂ™ understanding of their overlapping identities.Д®n Chine, les mendiants et autres figures dГ©classГ©es et marginales ont longtemps Г©tГ© associГ©s aux fantГґmes et aux dГ©mons. Providing an inventory of wretchedness, degradation and physical affliction, his figures are indeed often shown with a combination of human and demonic visual features. Zhou ChenвЂ™s now famous Beggars and Street Characters, painted in Suzhou in 1516, might have been informed by contemporary practices surrounding ritual expulsions of this kind. In particular, at the end of the lunar year, beggars and the local poor dressed up like ghosts and demons and executed exorcism dances to drive out threatening malevolent forces and start the new year afresh. In order to expel or cope with ghosts and malevolent spirits, local communities staged a wide range of apotropaic or prophylactic ritual performances, which often involved street beggars or beggar households ( gaihu) in the Suzhou area. Both were considered marginal beings, dangerous and capable of harm and disruption if ignored. In China, beggars and other marginal and displaced figures with no clear social place or identity have long been associated with ghosts an demons.

Da bei zhou gods