The Bidirectional Adaptation of Ricci’s Image in the Late Ming Dynasty and Its Methodological Significance

Matteo Ricci's image in late Ming China is not the product of unilateral cultural adaptation, but the result of a bilateral interpretation of Chinese and Western cultures. Matteo Ricci’s entry into China as a Western monk was based on advice from Chinese officials and was directly inspired by the experience of the early Jesuits in Japan, which was actually expedient. Upon his arrival in Shaozhou, Matteo Ricci took the initiative to change the attire of Confucian scholars and at the same time tried to write books in Chinese, thus constructing his image of a “Western Confucian.” This, too, was suggested by the Chinese literati and, of course, approved by the Jesuits. The selfimage that Ricci intended to create was literally that of a monster, a freak or freakish person. This image contains the connotations of Christian theology and astronomical calendar, and in fact, is also the product of a dialogue between Ricci and Catholic Chinese literati. Chinese orthodox Confucians and Buddhists regard Matteo Ricci as a demon, their writing of “otherization” highlighting Matteo’s self-image as non-Confucian and non-Buddhist. The image of Ricci, as a cultural symbol representing the “rites of Matteo Ricci,” still has important methodological significance in the context of contemporary cultural exchanges and mutual learning between China and the West.