Making Chinese Art Accessible to Western Users: a Brief Report from AAT-Taiwan Project
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Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Zhang Dai's Biographical Portraits
Mortal Ancestors, Immortal Images: Zhang Dai’s Biographical Portraits Duncan M. Campbell, Australian National University Nobody looking at paintings and who sees a picture of the Three Sovereigns and the Five Emperors fails to be moved to respect and veneration, or, on the other hand, to sadness and regret when seeing pictures of the last rulers of the Three Dynasties. Looking at traitorous ministers or rebel leaders sets one’s teeth grinding whereas, on sight of men of integrity or of great wisdom, one forgets to eat, on sight of loyal ministers dying for their cause one is moved to defend one’s own integrity … From this consideration does one understand that it is illustrations and paintings that serve to hold up a mirror to our past in order to provide warnings for our future course of action. （觀畫者見三皇五帝莫不仰戴見三季異主莫不悲惋見篡臣賊嗣莫不切齒見高節 妙士莫不忘食見忠臣死難莫不抗節…是知存乎鑒戒者圖畫也) Cao Zhi 曹植 (192–232), quoted in Zhang Yanyuan 張彥遠 (9th Century), Lidai minghua ji 歷代名畫記 [A Record of Famous Paintings Down Through the Ages] In keeping with the name it took for itself (ming 明, brilliant, luminous, illustrious), the Ming dynasty (1368–1644) was a moment of extraordinary development in the visual cultures of the traditional Chinese world (Clunas 1997; 2007).1 On the one hand, this period of Chinese history saw internal developments in various aspects of preexisting visual culture; on the other, through developments in xylography and commercial publishing in particular, but also through the commoditization of the objects of culture generally, the period also saw a rapid increase in the dissemination and circulation of 1 Clunas writes: ‘The visual is central in Ming life; this is true whether it is the moral lecturer Feng Congwu (1556–?1627) using in his impassioned discourses a chart showing a fork in the road, one path leading to good and one path to evil, or in the importance in elite life of dreams as “visions,” one might say as “visual culture,” since they made visible, to the dreamer at least, cultural assumptions about fame and success’ (2007: 13). -
The Analects of Confucius
The analecTs of confucius An Online Teaching Translation 2015 (Version 2.21) R. Eno © 2003, 2012, 2015 Robert Eno This online translation is made freely available for use in not for profit educational settings and for personal use. For other purposes, apart from fair use, copyright is not waived. Open access to this translation is provided, without charge, at http://hdl.handle.net/2022/23420 Also available as open access translations of the Four Books Mencius: An Online Teaching Translation http://hdl.handle.net/2022/23421 Mencius: Translation, Notes, and Commentary http://hdl.handle.net/2022/23423 The Great Learning and The Doctrine of the Mean: An Online Teaching Translation http://hdl.handle.net/2022/23422 The Great Learning and The Doctrine of the Mean: Translation, Notes, and Commentary http://hdl.handle.net/2022/23424 CONTENTS INTRODUCTION i MAPS x BOOK I 1 BOOK II 5 BOOK III 9 BOOK IV 14 BOOK V 18 BOOK VI 24 BOOK VII 30 BOOK VIII 36 BOOK IX 40 BOOK X 46 BOOK XI 52 BOOK XII 59 BOOK XIII 66 BOOK XIV 73 BOOK XV 82 BOOK XVI 89 BOOK XVII 94 BOOK XVIII 100 BOOK XIX 104 BOOK XX 109 Appendix 1: Major Disciples 112 Appendix 2: Glossary 116 Appendix 3: Analysis of Book VIII 122 Appendix 4: Manuscript Evidence 131 About the title page The title page illustration reproduces a leaf from a medieval hand copy of the Analects, dated 890 CE, recovered from an archaeological dig at Dunhuang, in the Western desert regions of China. The manuscript has been determined to be a school boy’s hand copy, complete with errors, and it reproduces not only the text (which appears in large characters), but also an early commentary (small, double-column characters). -
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. -
Chinese Bird-And-Flower Wallpaper from Painting to Decorative Arts
CHINESE BIRD-AND-FLOWER WALLPAPER FROM PAINTING TO DECORATIVE ARTS A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Yixin Xu December 2020 © 2020 Yixin Xu ABSTRACT This thesis investigates what remains of the Chinese bird-and-flower wallpaper export in Britain today in an attempt to answer the long-existing question of how these wallpapers, as one of the most successful and unique global products in the 18th century, have changed from a type of oriental painting to a Western interior decoration style. Apart from the summary and literature review, this thesis is divided into six parts. The first part introduces the “Chinoiserie” trend popular in Britain in the 18th century and how bird-and-flower wallpapers entered the UK market, while the second part traces the oriental source of inspiration of the Chinese bird-and-flower wallpaper export, known as Chinese bird-and-flower painting. The third part investigates how the emerging assembly line painting workshop in Canton, China, where most export wallpapers were produced, promoted the birth of this unprecedented global commodity, and the fourth part analyzes the impact of the enthusiasm for oriental plants in Britain on the market demand for Chinese bird-and-flower wallpapers and discusses the relationship between bird-and-flower wallpapers and the export of botanical paintings. The fifth part examines how Chinese painters created large decorative art based on traditional art under the influence of Western customers from the perspective of artistic style, proving that both Chinese producers and Western consumers contributed to the birth of bird-and- flower wallpapers. -
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio Guide Script
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script 400 Exhibition overview Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition. Xubaizhai was designated by the late collector of Chinese painting and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “Wu School”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”. This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists. 401．Exhibit no. 1 Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 Hanging scroll, ink and colour on paper 143 x 62.5 cm Xubaizhai Collection Shen Zhou, courtesy name Qinan, was a native of Suzhou in Jiangsu province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Huang Tingjian (1045 – 1105), while his students included Wen Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the Ming dynasty (1368 – 1644). Studying under Chen Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his paintings on the styles of Wang Fu (1362 – 1416) and the Four Masters of the Yuan dynasty (1279 – 1368), but he also extended his interest to the works of the Zhe School and incorporated its techniques into his art. -
Tao Yuanming's Perspectives on Life As Reflected in His Poems on History
Journal of chinese humanities 6 (2020) 235–258 brill.com/joch Tao Yuanming’s Perspectives on Life as Reflected in His Poems on History Zhang Yue 張月 Associate Professor of Department of Chinese Language and Literature, University of Macau, Taipa, Macau, China [email protected] Abstract Studies on Tao Yuanming have often focused on his personality, reclusive life, and pas- toral poetry. However, Tao’s extant oeuvre includes a large number of poems on history. This article aims to complement current scholarship by exploring his viewpoints on life through a close reading of his poems on history. His poems on history are a key to Tao’s perspectives with regard to the factors that decide a successful political career, the best way to cope with difficulties and frustrations, and the situations in which literati should withdraw from public life. Examining his positions reveals the connec- tions between these different aspects. These poems express Tao’s perspectives on life, as informed by his historical predecessors and philosophical beliefs, and as developed through his own life experience and efforts at poetic composition. Keywords Tao Yuanming – poems on history – perspectives on life Tao Yuanming 陶淵明 [ca. 365–427], a native of Xunyang 潯陽 (contem- porary Jiujiang 九江, Jiangxi), is one of the best-known and most-studied Chinese poets from before the Tang [618–907]. His extant corpus, comprising 125 poems and 12 prose works, is one of the few complete collections to survive from early medieval China, largely thanks to Xiao Tong 蕭統 [501–531], a prince of the Liang dynasty [502–557], who collected Tao’s works, wrote a preface, and © ZHANG YUE, 2021 | doi:10.1163/23521341-12340102 This is an open access article distributed under the terms of the CC BY 4.0Downloaded license. -
Cambridge University Press 978-1-107-02450-2 — Art and Artists in China Since 1949 Ying Yi , in Collaboration with Xiaobing Tang Index More Information
Cambridge University Press 978-1-107-02450-2 — Art and Artists in China since 1949 Ying Yi , In collaboration with Xiaobing Tang Index More Information Index Note: The artworks illustrated in this book are oil paintings unless otherwise stated. Figures 1–33 will be found in Plate section 1 (between pp. 49 and 72); Figures 34–62 in section 2 (between pp. 113 and 136); Figures 63–103 in section 3 (between pp. 199 and 238); Figures 104–161 in section 4 (between pp. 295 and 350). abstract art (Chinese) 163, 269–274, art market see commercialization of art 279 art publications (new) 86, 165–172 early 1980s 269–271 Artillery of the October Revolution 42 ’85 Movement –“China/Avant-Garde” Arts and Craft Movement 268 269–271 Attacking the Headquarters (Fig. 27) 1989 – present (post-modern) stage 273 avant-garde art (Chinese) 141, 146, 169, conceptual abstraction 273–274, 277–278 176, 181, 239, 245, 258, 264–265 expressive abstraction 273–274, 276 see also “China/Avant-Garde” material abstraction 277 exhibition schematic abstraction 245, 274 avant-garde art (Russian) 3–4 abstract art (Western) 147–148, 195–196, avant-garde art (Western) 100, 101, 267–268 see also Abstract 255–256, 257, 264 see also Modernism Expressionism; Hard-Edge / Structural Abstraction Bacon, Francis 243 Abstract Expressionism 256, 269, 274 Bao Jianfei 172 academic realism 245, 270 New Space No.1 167 academies see art academies Barbizon School 87 Ai Xinzhong 14 Bauhaus School 269 Ai Zhongxin 5 Beckmann, Max 246 amateur art/artists 35, 74–75, 106–108, Bei Dao 140 137–138, 141, -
Dangerous Liaisons Revisited
Asian Art hires logo 15/8/05 8:34 am Page 1 ASIAN ART The newspaper for collectors, dealers, museums and galleries june 2005 £5.00/US$8/€10 The Taj Mahal and the Battle of Air Pollution THE GOVERNMENT OF India buy the more expensive ticket if they courtyard and its cloisters were added announced earlier this year that it is to want to get around the limit. Night subsequently and the complex was restrict the number of daily visitors to viewing is still permitted, but restricted fnally completed in 1653, with the the Taj Mahal in an attempt to to fve nights a month (including full tomb being the central focus of the preserve the 17th-century monument. moon). entire complex of the Taj Mahal. One of the best known buildings in Smog and heavy air pollution has It was inscribed on the World the world, and arguably India’s greatest been yellowing the Taj Mahal for Heritage List in 1983. Although the monument, makes it one of the most- many years and conservationists have Taj Trapezium Zone (TTZ), which visited tourist attractions in the world. been fghting through the courts to looks after 40 protected monuments, Millions of mostly Indian tourists visit control the levels of pollution in Agra. including three World Heritage Sites, the Taj Mahal every year and their Te Taj faces numerous threats, not Taj Mahal, Agra Fort and Fatehpur numbers are increasing steadily, as only from air pollution, but also insects, Sikri, delivered a court ban on the use domestic travel becomes easier. -
The Neolithic Ofsouthern China-Origin, Development, and Dispersal
The Neolithic ofSouthern China-Origin, Development, and Dispersal ZHANG CHI AND HSIAO-CHUN HUNG INTRODUCTION SANDWICHED BETWEEN THE YELLOW RIVER and Mainland Southeast Asia, southern China1 lies centrally within eastern Asia. This geographical area can be divided into three geomorphological terrains: the middle and lower Yangtze allu vial plain, the Lingnan (southern Nanling Mountains)-Fujian region,2 and the Yungui Plateau3 (Fig. 1). During the past 30 years, abundant archaeological dis coveries have stimulated a rethinking of the role ofsouthern China in the prehis tory of China and Southeast Asia. This article aims to outline briefly the Neolithic cultural developments in the middle and lower Yangtze alluvial plain, to discuss cultural influences over adjacent regions and, most importantly, to examine the issue of southward population dispersal during this time period. First, we give an overview of some significant prehistoric discoveries in south ern China. With the discovery of Hemudu in the mid-1970s as the divide, the history of archaeology in this region can be divided into two phases. The first phase (c. 1920s-1970s) involved extensive discovery, when archaeologists un earthed Pleistocene human remains at Yuanmou, Ziyang, Liujiang, Maba, and Changyang, and Palaeolithic industries in many caves. The major Neolithic cul tures, including Daxi, Qujialing, Shijiahe, Majiabang, Songze, Liangzhu, and Beiyinyangying in the middle and lower Yangtze, and several shell midden sites in Lingnan, were also discovered in this phase. During the systematic research phase (1970s to the present), ongoing major ex cavation at many sites contributed significantly to our understanding of prehis toric southern China. Additional early human remains at Wushan, Jianshi, Yun xian, Nanjing, and Hexian were recovered together with Palaeolithic assemblages from Yuanmou, the Baise basin, Jianshi Longgu cave, Hanzhong, the Li and Yuan valleys, Dadong and Jigongshan. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. -
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Advances in Social Science, Education and Humanities Research, volume 310 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019) The Philosophical Thoughts of the Five Elements and the Expression Techniques of Chinese Painting* Yi Li City College, Wuhan University of Science and Technology Wuhan, China Abstract—The traditional Chinese painting art has a long line drawing and ink painting. If the properties of “metal, history and is prosperous. After thousands of years, it still has wood, water, fire and soil” in the theory of the five elements a unique artistic charm. The reason why Chinese painting has are corresponding to the characteristics of the “technique of such a shocking and moving charm is because of its rich expression” in Chinese painting, the corresponding internal cultural connotation and the unique external form relationship can be as follows: means. There is a close connection between traditional Chinese philosophical thoughts and Chinese painting arts, and these “Wood”: corresponds to “boneless painting”; connections have always been the ideological orientation of “Fire”: corresponds to “freehand brushwork”; Chinese painting theory, and they have dominated the thinking mode and aesthetic concepts of Chinese painting. It can be said “Soil”: corresponds to “line drawing”; that Chinese five elements philosophy makes Chinese painting form its own unique Performance measures and expressive “Metal”: corresponds to “gongbi”; technique. We can talk about the expression techniques of “Water”: corresponds to “ink painting”. traditional Chinese painting from the perspective of China’s Five Elements Philosophy. In the following, the corresponding relationship between the attribute of “metal, wood, water, fire and soil” and the Keywords—philosophical thinking; Chinese painting; five “technique of expression” of Chinese painting is elaborated elements philosophy; the expression techniques with their mutual connection: I.