Lecture Notes, by James Cahill
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Tenth-Century Painting Before Song Taizong's Reign
Tenth-Century Painting before Song Taizong’s Reign: A Macrohistorical View Jonathan Hay 1 285 TENT H CENT URY CHINA AND BEYOND 2 longue durée artistic 3 Formats 286 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN Tangchao minghua lu 4 5 It 6 287 TENT H CENT URY CHINA AND BEYOND 7 The Handscroll Lady Guoguo on a Spring Outing Ladies Preparing Newly Woven Silk Pasturing Horses Palace Ban- quet Lofty Scholars Female Transcendents in the Lang Gar- 288 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN den Nymph of the Luo River8 9 10 Oxen 11 Examining Books 12 13 Along the River at First Snow 14 15 Waiting for the Ferry 16 The Hanging Scroll 17 18 19 289 TENT H CENT URY CHINA AND BEYOND Sparrows and Flowers of the Four Seasons Spring MountainsAutumn Mountains 20 The Feng and Shan 21 tuzhou 22 23 24 25 26 27 28 290 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 29 30 31 32 Blue Magpie and Thorny Shrubs Xiaoyi Stealing the Lanting Scroll 33 291 TENT H CENT URY CHINA AND BEYOND 34 35 36 Screens 37 38 The Lofty Scholar Liang Boluan 39 Autumn Mountains at Dusk 292 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 40Layered Mountains and Dense Forests41 Reading the Stele by Pitted Rocks 42 It has Court Ladies Pinning Flowers in Their Hair 43 44 The Emperor Minghuang’s Journey to Shu River Boats and a Riverside Mansion 45 46 47tuzhang 48 Villagers Celebrating the Dragonboat Festival 49 Travelers in Snow-Covered Mountains and 50 . -
Natural History Connects Medical Concepts and Painting Theories In
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Natural history connects medical concepts and painting theories in China Sara Madeleine Henderson Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henderson, Sara Madeleine, "Natural history connects medical concepts and painting theories in China" (2007). LSU Master's Theses. 1932. https://digitalcommons.lsu.edu/gradschool_theses/1932 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. NATURAL HISTORY CONNECTS MEDICAL CONCEPTS AND PAINTING THEORIES IN CHINA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Sara Madeleine Henderson B.A., Smith College, 2001 August 2007 Dedicated to Aunt Jan. Janice Rubenstein Sachse, 1908 - 1998 ii Preface When I was three years old my great-aunt, Janice Rubenstein Sachse, told me that I was an artist. I believed her then and since, I have enjoyed pursuing that goal. She taught me the basics of seeing lines in nature; lines formed on the contact of shadow and light, as well as organic shapes. We also practiced blind contour drawing1. I took this exercise very seriously then, and I have reflected upon these moments of observation as I write this paper. -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 12D: Sōgen‐ga Sōgenga, the title Iʹve given to this next section, is simply the Japanese pronunciation of Song Yuan hua 宋元畫/ 宋元画, or Song and Yuan painting. But Iʹve used it loosely for the kind of Song and Yuan paintings preserved mainly in Japan, many representing types unknown in China, and what we call Chan painting is prominent among them. I gave a seminar at U.C. Berkeley under this title, and then organized an exhibition of the same title, made up of paintings of this kind as kept in our University Art Museum, along with examples borrowed from dealers in Japan. It was a small and quiet exhibition that didnʹt get much publicity, didnʹt cost much (we had a $5,000 grant from the Society for Asian Art in San Francisco), and produced only a very modest catalog. But Iʹm still devoted to this kind of painting, which I know well from many years of making the rounds of Japanese collectors and dealers, so Iʹve devoted this section of my last lecture to it. So if this section is seen by any multimillionaire who wants to build a collection of these paintings, and maybe a museum of them, get in touch with me for some introductions and advice. For the rest of you, just enjoy them and try to pay more attention to them in the future. -
Zen As a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries
Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries by Meng Ying Fan A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by Meng Ying Fan 2020 Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries Meng Ying Fan Master of Arts Department of East Asia Studies University of Toronto 2020 Abstract This essay explores the impact of Chan/Zen on the art of landscape painting in China and Japan via literary/visual materials from the twelfth to sixteenth centuries. By rethinking the aesthetic significance of “Zen painting” beyond the art and literary genres, this essay investigates how the Chan/Zen culture transformed the aesthetic attitudes and technical manifestations of picturing the landscapes, which are related to the philosophical thinking in mind. Furthermore, this essay emphasizes the problems of the “pattern” in Muromachi landscape painting to criticize the arguments made by D.T. Suzuki and his colleagues in the field of Zen and Japanese art culture. Finally, this essay studies the cultural interaction of Zen painting between China and Japan, taking the traveling landscape images of Eight Views of Xiaoxiang by Muqi and Yujian from China to Japan as a case. By comparing the different opinions about the artists in the two regions, this essay decodes the universality and localizations of the images of Chan/Zen. ii Acknowledgements I would like to express my deepest gratefulness to Professor Johanna Liu, my supervisor and mentor, whose expertise in Chinese aesthetics and art theories has led me to pursue my MA in East Asian studies. -
Aesthetics of Chinese Tall Buildings Author
CTBUH Research Paper ctbuh.org/papers Title: Aesthetics of Chinese Tall Buildings Author: Richard Lee, Junior Partner, C.Y. Lee & Partners Architects/Planners Subjects: Architectural/Design History, Theory & Criticism Keyword: Cultural Context Publication Date: 2019 Original Publication: 2019 Chicago 10th World Congress Proceedings - 50 Forward | 50 Back Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Richard Lee Aesthetics of Chinese Tall Buildings Abstract Richard Lee CTBUH Regional Representative Partner While Western aesthetics dominate the world at this time, the rise of the East has led China to re- C.Y. Lee & Partners Architects/ examine its Eurocentric view towards aesthetics. China has been long been a fertile laboratory Planners for foreign architects to create exciting and wild structures, but this explosion has led to an Taipei, Taiwan, China urban landscape littered with tall buildings that have little, if anything to do with the indigenous Richard Lee received a bachelor’s and master’s cultural heritage. This dilemma came to the forefront in Taiwan when it envisioned creating a degree from the University of Pennsylvania. world-class supertall building that would serve as a “coming-out” to the world stage. Instead After graduation, he worked at KPF in New York, followed by Handel Architects. In 2004, Lee moved of employing a foreign architect, they chose a native Chinese architect. Drawing from Chinese to Shanghai to join C.Y. Lee & Partners. After 2006, aesthetics and sensibilities, the resulting TAIPEI 101 showed that a building could resonate with he relocated to the main office in Taipei, where the indigenous population and culture in a deeply spiritual way, while simultaneously instilling a he was promoted to junior partner in 2016. -
At the End of the Stream: Copy in 14Th to 17Th Century China
Renaissance 3/2018 - 1 Dan Xu At the End of the Stream: Copy in 14th to 17th Century China There were no single words in Chinese equivalent to By the 14th century the three formats became the form the English word copy. By contrast, there were four preferred by artists, and remained unchallenged until distinctive types of copy: Mo (摹 ), the exact copy, was the early 1900s, when the European tradition of easel produced according to the original piece or the sketch painting came to provide an alternative.[1] The album of the original piece; Lin (临 ) denotes the imitation of was the last major painting format to develop. It ar- an original, with a certain level of resemblance; Fang rived along with the evolution of leaf-books. The album (仿 ) means the artistic copy of a certain style, vaguely was first used to preserve small paintings, later being connected with the original; and the last one, Zao (造 ), adopted by artists as a new format for original work refers to purely inventive works assigned to a certain and also as teaching resource or notebook for the master’s name. artist himself. Pictorial art in China frst emerged as patterns on In the process of the material change, it’s note- ritual vessels, then was transmitted to wall paintings worthy that Mo, the faithful copy, was involved in three and interior screens; later it was realised on horizontal slightly different ways: 1. to transmit an image from hand scrolls, vertical hanging scrolls and albums. manuscript/powder version to final work; 2. -
1 Unit 3 Topic 5 Chinese Concept of Life
© 2021 Cengage Learning Asia Pte Ltd UNIT 3 TOPIC 5 CHINESE CONCEPT OF LIFE __________________________________________________________________________ Pre-knowledge Before class, students should read Unit 4 Topic 5 and watch some videos on Confucianism, Daoism and Chan Buddhism. They should have a basic understanding of Confucianism and Daoism from previous topics. Aim and Objectives Topic 5 aims to provide students with some knowledge of the three main Chinese philosophies and the way they affect the behaviour and value systems of the Chinese. Emphasis should be put on the similarities and connections amongst these philosophies. After studying the essential ideas, students will understand Chinese culture, customs and social issues better. Teaching and Learning Activities Activity 1 Before introducing the historical background of the three main Chinese philosophies, you should help your students focus on the key points. You may ask discuss these questions through Kahoot, Quizlet or a class discussion: A. What are the main concepts of Confucianism? B. How does Confucianism affect the daily lives of the Chinese? C. What are the main concepts of Daoism? D. What aspects does Daoism influence the most in China? E. When did Chan Buddhism arrive in China? Who were its predecessors? F. What are the differences between Chan and Zen? Activity 2 Ask your students to create a chart to summarise the basic information of the three philosophies. They may include the time of its origin, its founders and main concepts, and the areas it influenced. Activity 3 Let your students divide themselves into three groups. Have each group pick one of the three philosophies, Confucianism, Daoism and Chan Buddhism. -
Painting Outside the Lines: How Daoism Shaped
PAINTING OUTSIDE THE LINES: HOW DAOISM SHAPED CONCEPTIONS OF ARTISTIC EXCELLENCE IN MEDIEVAL CHINA, 800–1200 A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN RELIGION (ASIAN) AUGUST 2012 By Aaron Reich Thesis Committee: Poul Andersen, Chairperson James Frankel Kate Lingley Acknowledgements Though the work on this thesis was largely carried out between 2010–2012, my interest in the religious aspects of Chinese painting began several years prior. In the fall of 2007, my mentor Professor Poul Andersen introduced me to his research into the inspirational relationship between Daoist ritual and religious painting in the case of Wu Daozi, the most esteemed Tang dynasty painter of religious art. Taken by a newfound fascination with this topic, I began to explore the pioneering translations of Chinese painting texts for a graduate seminar on ritual theory, and in them I found a world of potential material ripe for analysis within the framework of religious studies. I devoted the following two years to intensive Chinese language study in Taiwan, where I had the fortuitous opportunity to make frequent visits to view the paintings on exhibit at the National Palace Museum in Taipei. Once I had acquired the ability to work through primary sources, I returned to Honolulu to continue my study of literary Chinese and begin my exploration into the texts that ultimately led to the central discoveries within this thesis. This work would not have been possible without the sincere care and unwavering support of the many individuals who helped me bring it to fruition. -
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On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture. -
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Pictures of Social Networks: Transforming Visual Representations of the Orchid Pavilion Gathering in the Tokugawa Period (1615-1868) by Kazuko Kameda-Madar B.A., The University of Hawai„i at Mānoa, 1997 M.A., The University of Hawai„i at Mānoa, 2002 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May 2011 © Kazuko Kameda-Madar, 2011 Abstract This thesis examines the cultural networks that connected people holding common ideological values in the Tokugawa period by surveying a range of visual representations of the Orchid Pavilion Gathering. It explores the Tokugawa social phenomena that gave rise to the sudden boom in the Orchid Pavilion motif and how painters of different classes, belonging to different schools, such as Kano Sansetsu, Ike Taiga, Tsukioka Settei and Kubo Shunman, came to develop variations of this theme in order to establish cultural identity and to negotiate stronger positions in the relationships of social power. Probing the social environment of artists and their patrons, I demonstrate how distinct types of Orchid Pavilion imagery were invented and reinvented to advance different political agendas. The legendary gathering at the Orchid Pavilion in China took place in 353 CE, when Wang Xizhi invited forty-one scholars to participate in an annual Spring Purification Festival. At this event, Wang Xizhi improvised a short text that has come to be known as the Preface to the Orchid Pavilion Gathering. In Japan, while the practice of the ritual gathering and the text describing it were introduced in the Nara period, its pictorial representation in the format of a stone rubbing was not imported until the early seventeenth century. -
Eight Views of the Xiao and Xiang
1 College of Arts at the University of Canterbury Art History and Theory in the School of Humanities ARTH 690 Masters Thesis Title of Thesis: The Eight Views: from its origin in the Xiao and Xiang rivers to Hiroshige. Jennifer Baker Senior Supervisor: Dr. Richard Bullen (University of Canterbury). Co-Supervisor: Dr. Rachel Payne (University of Canterbury). Thesis Start Registration Date: 01 March 2009. Thesis Completion Date: 28 February 2010. Word Count: 30, 889. 2 Abstract This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Andô Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics. -
Chan Eccentrics in the Art and Culture of Song and Yuan China
Wandering Saints: Chan Eccentrics in the Art and Culture of Song and Yuan China Paramita Paul Printed at Wöhrmann Print Service, Zutphen, the Netherlands. On the cover:Hanshan reading a scrollby Luochuang. University ArtMuseum of the University of California (after Weidner 1994: cat. no. 72). 2 Wandering Saints: Chan Eccentrics in the Art and Culture of Song and Yuan China Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof. mr. P.F. van der Heijden, volgens besluit van het College voor Promoties te verdedigen op dinsdag 3 november 2009 klokke 11.15 uur door Paramita Paul geboren te Amsterdam in 1979 3 Promotiecommissie: Promotor: Prof. dr. M. van Crevel Co-promotor: Dr. O.J. Moore Overige leden: Prof. dr. B.J. ter Haar Dr. M.J. Klokke Prof. dr. J. Murray (University of Wisconsin) Deze promotie is mogelijk gemaakt door een beurs van de Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO). 4 Acknowledgments This study would not have been possible without the support of many institutions, teachers, colleagues, friends and relatives. I would like to acknowledge the financial support of a research award fromthe Nederlandse Organisatie voor Wetenschappelijk Onderzoek (Netherlands Organisation for Scientific Research NWO). Material support came from the Leiden Institute for Area Studies (LIAS), and my thanks go to the LIAS secretaries Ilona Beumer and Wilma Trommelen. I am grateful to the Foguangshan Chan monastery, Gaoxiong, and Venerables Yifa and Huifeng for organizing the 2004 Woodenfish Project, which gave me a unique chance to experience Chan Buddhismfirst-hand. I would like to express my gratitude to Prof.