DOCSLIB.ORG

Response: "Picture Idea" and Its Cultural Dynamics in Northern Song China Eugene Y

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Response: INIKRV EN i IDN.S: E. WA\(. the folds of their robes, withholding the mtidra that migbt 1!)96); and A.John Hay, "Siiiface and the Chinese Painter: The Discov- clarify their meaning. By moving away from direct confron- ery of Surface." Arfhive.s of Asian Ail SS (1985): 95-123. tation with the viewer, both paintings also blur the distinction 6. Sturman, "The Donkey Rider as Icon," 44-M. 7. The Six Laws appear in the o]>ening passages of Xie He's Guhuapin hi between icon and narrative, demanding that die timele.ssne.ss (Record of die Classifies lion of .Ancient Paintings). .\II historians of of the sacred .somehow be fitted into a biiman temporality. Chinese an liavc grappled with ihem, and James Caliill, who sees all This is essentially what A Solitaiy Temple does, and, as Jonathan six as four-<:haracier phrases and as coitplcis with parallel stnictures. has provided a valuable di.scu.ssion and tianslation ol them in "The Six Hay amply demonstrates, this mediation and the many others it Uws and How to Read Them," An OrienUdu 4 (19fil): 372-KI. That Li effects simnltancoiLsly are fiu" from simple and far from stable. Cheng and Wang Shiyuan knew Xie He"s Six Laws is almost certain. Not only was his Ciihuripiu In well read in the Northern Song but al.so his laws were repeated, with some small changes, in the late Tang painter Jing Hao's treatise ISiffiji (Record of Bru.sli Melho<ls), in fiu Ruoxu's Tuhiiii jifinuirti zhi, and elsewhere. Patricia Berger, (Lssociate professor of Chinese art at the Univcr.sity of 8. Dong You. Gunrigrhuan fmiiliri. jiitiri 6.8a-~b. Irans. Susan Bush. The Chi- California, Berkeley, specializes in the Buddhist art of China, Mon- m'se tJlmiti on I'/iinling: Su Shih < 1037-1101) to Tung Ck'i-fh'ang f/555- golia, and Tibet. Her most recent hook u Empire of Emptiness: 1636), Harvard-Yenching Institute Studies, 27 (Cambridge, Ma.ss.: Har- vard Universily Press, 1971), 5:5, emphasis mitie, based ow Zhang Buddhist Art and Political Autbority in Qing Cbina (Ihixiersity Junheng, ed., Shiyunn roHg\hii {Wticheng: Privately primed, 1916). of Hawai'i Pre.ss, 2003} [Depaiiment of Histoiy of Art, 416 Doe 9. Dong You, Gumigrhnan hunliii. jiitiii 4.fib, irans. Bush. Tlif Chinese t.iie- Library, University of California, Berkeley, Calif. 94720-6020, rnti on Painling, 54. [email protected] I. 10. The fourth-centun' Buddbist layniiin atid painting theoiist /ong Iling, a proponent of "land.-icjpe Buddhism." strongly believed tbat ibe land- scape iLself, and paintings of it, were ajjpropriace objects of Btiddbist coiueiupliuion. See Leon Hurvitv., "Tsnng Ping's C:omment.s on Land- Notes scape Painling," Artihta Asi/u-'y^, nos. '2-A (1970): 14<i-.16. 11. On Buddhist relics and tlieir matetial and ritttal framing, see Robert t. Mi Fii, Huashi (Shanghai: Commercial Press, 1937), 14. Sbaif, "On the Alltue of Buddhist Relics," lirftre.sentniion.'i 66 (Spring 2. Ibid., 13-14. 1999): 75-99. 3. Ricliiird Barnhart, Mania^e of lhe Lord of the River: A Lost Landscape by 12. See Dimbuang .Academy, ZkonggiiD shihv: Anxi Yulin .shiku (Beijing: Tung Yuan, .\riibus .Asiac Siipplcincntum, 27 (A.scc»na, Swil/,.; Artibu.s Wenwu Press, 1997), pis. L5H-7O. They can also l)e seen on ,\HTstor's Asiac. 1970); and Peter C. Slurman, "The Donkey Rider as Icon: Li Mellon International Dunhtiang Project, under Cave 2 (www. Clieiig uru! F.arlv Chinese Landscape Paiiiling," Anihits Aainebb, nos. artstor.org. James atul Lucy Lo Photogra|)b Arcbives, ttos. yl<2-l and 1-2 (1995): 4;i-97. yl-c2-2). This pair of murals draws on earlier paintiitgs at tbe Dun- httang sile. the most celebrated of which is in Clave 61 (dated to the 4. See, for example, Liu Tao-chu'un, Evatuatiims of Sung DytuLsty Painlfrs of mid-tenth century), where the fteld (if enlightened activity of the Rmojvn: Liu Tan-rh'un's "SuTig-rh'ew mirig-hua p'ing." trans. Charles I.iich- bodbisattva Manjusri is .siiuilarly depicted as the acttial landscape of man (Leiden: E.J. Brill. 1989), 56-58. 95. Wutaishan, filled with temples, pilgritns, aud miracles of tbe past and 5. Wu UrinjJ, Thr Dnnhlr Srrerri: Medium niiil Hi-jiTe\mtolion in Chinese f'/i/iil- jire.seiu tnometii. Tbis tnural originally formed tbe backdrop for a ing (Chicago: tJniversit)' of Chicago Press: London: Rfaktion Books, large sculpted image of Manjusri oti a lion, which is no longer exiant. Response: "Picture Idea" and Its Cultural Dynamics in Northern Song China Eugene Y. Wang Not all pictures are created equal. There is no guarantee that centuries of development gives short shrift lo the culttiral a painting necessarily has a "pictorial conception," Thus dynamics of tbe initial moment, that is. the elf\eiith century, spoke the Chinese theorists in the Northern Song dynasty when the notion was first proposed. How did tbe notion find (960-1127), when stich a notion became a discursive preoc- iLs consonance in pictorial practice? Insofar as the "pictorial cupation. Tbe premise is tbat a painting is considered to conception" leads us into the murky domain of mental di- display a "pictorial conception" only wben its fortnal tnecha- mensions, it brings up the question of how the pictorial and nism produces certain ineffable effects that evoke sugges- conceptual uuiverses may be brought to a level of coninien- tive moods, conceptual overtones, or extralinguistic flavors surability. To the extent that tbe literati, the exponents of the comparable to tbose inspired by poetry. Wiiat is evoked is "pictorial conception," sought to impregnate painting with thus known as the "pictorial conception" or "picture idea poetic sensibility, it remains to be seen how poetic tliiukiug (huayi)."^ The concept is now often explicated through a reshaped the pictorial medium that is inherently resistant to tnaster nanative of a general shift in taste and formal dispo- verbalization and textual closiue. Tbi.s in turn raises the sition away frotn the professional painter's deadpan verisi- qtiestion of how professi<)nal painters lesponded to tlie lite- militude toward extrapictorial conceptualism favored by the rati's aesthetics of "pictorial conception." No other painting literati. This is a half-truth. The richness of "pictorial demonstrates tbese issues better tban A Solitaiy Monastery conception" is noi necessarily proi.)<jrtional to the reduced amid Clearing Peaks {A Solitary Temple below Brightening Peaks), verisimilitude. Moreover, tbe familiar narrative tbat spans a Northern Song hanging scroll, now in the Nelson-Atkins 464 lllil.LETIN SF.PTEMBER 2007 VOLliME I,XXX1X NUMBER Musetim of Art in Kansas City, Missotni. Jonathan Hay's allegiance; the Buddhist view prompts withdrawal from social extensive study ofthc scroll has rekindled otii- interest in it, engagement. Phrased in traditional Chinese terms, one tirges and sure enotigh, we now see in this painting more dimen- "entering the world," the other, "transcending the world," To sions than we have all assumed. Hay, the format configuration amotints to a symbolic way of Ttic painting occupies a special place in the canonical reconc:iling, or "mediating," the contradictory impulses. The histoiy of Chinese pictorial scrolls, traditionally conceived as tension in the formal configuration, however, hetrays the a master narrative of great painters to whose names are impossibility of ".sutnring" the gap. attached a cluster of masterpieces. In the cases where a key This premise leads Hay to discover an intriguing formal artist represents a trend or signals a school, there is almost a drama in the painting. With admirable sensitivity, he notes categorical iinpenitive for a body of nnsignetl sin"v iving works that a "jagged downward-pi^ijerting rock face looms above to be appended to his name. Foi the Noithein Song dynasty, and behind the pagoda" tbat makes the pagotla mast secni a crucial period that saw the continued ascension of land- "slightly off the central axis of the pagoda." thereby disrupt- scape [>ainting hm left ns with a disproportionat dearth of ing "the building's othei"wise perfect svmmetiy." The paint- suivi\ing works, such a linkage has gathered particular ur- er's manifest effort to sustain the strictly vertical disposition gency. Attribution based on received stylistic profiles is ac- of tlie pagoda mast and finial thtis amounts to a formal cepted in good faith in part because ofthe shared anxiet}' of response to the downwiud-pr<>jccting force. Hay then sees the scholars, past and present, to keep the pedigree coiitintious correct disposition ofthe (inlal as a sign ofthe restoration of and in use, as well as the convenience of a biographically order, which he further interprets as a "suture" thai "disturbs ordered niustei" narrative organized aromid a succession of the paiiiling's ostensible celebration of tbe alignnieul ft\' towering ligures, or rather, familiar names. It is as if nnan- Buddhism and the state with an intimation of thai align- chored from this master narrative, we would be adrift in a sea ment's fragility." of abysmal uncertainty and disorientation. Few would probably accept Hay's reading of this local ,4 Solitary MonastiTy has long fnliilled its expected role in detail. Ncvertlieless, his method in general offeis a reiresliing this regard. Traditionally attributed to Li Cheng (919-967), and stimulating way of extrapolating ideological significance a key figure in the development of C^hinese landscape paint- from the formal traits in landscape painting. Shifting our ing, the scroll became one of the placeholders to keep the attention to the inconsistencies and tensions in tlic formal name of Li Cheng art historically meaningful and stistain our texture as clues. Hay's approach clearly opens up new hori- narrative of Northern Song paiming.
Load more

Recommended publications
  • Of Ouyang Xiu's Literary Work: from the Perspective of Emotion
    The "World" of Ouyang Xiu's Literary Work: From the Perspective of Emotion By: Seong Lin Ding (Paper presented at the 4th International Conference of Literary Communication and Literary Reception held on 25-29 March 2010 in Hualien, Taiwan) The "World" of Ouyang Xiu's Literary Work: From the Perspective of Emotion Seong Lin Ding University of Malaya There are numerous researches on the biography of Ouyang Xiu; however the focus on his inner emotion is scarce. In my point of view, this aspect is actually the focal point of his life and is strongly reflected in most of his writings; from his memory of mentors and friends, his remembrance on the places visited, his writing on history, to his collections of ancient bronzes and stone tablets, his emotion is always the crucial part of his reflection and value judgment. This emotional state evolved continuously at his different period of life and different stages of writings. It was undoubtedly affected by his maturity in age and life experience but his physical, psychological and temperament conditions are the more prominent affecting factors. As a result, we can find a gap between the "Ouyang Xiu" shown in the biography and Chinese literary history compared with the "Ouyang Xiu" enshrined in his literary work. This might due to the objectivity underlined in biography and the emotional subjectivity underlined in literary works. More interestingly, the former is about reality of life and the latter is about "world" of literary works, which is not an objective reality, but was actually organized and experienced by an individual subject.
    [Show full text]
  • 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 .
    [Show full text]
  • 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.
    [Show full text]
  • Ni Zan in Oxford Art Online
    Ni Zan in Oxford Art Online http://www.oxfordartonline.com.ezproxy.cul.columbia.edu/subs... Oxford Art Online Grove Art Online Ni Zan article url: http://www.oxfordartonline.com:80/subscriber/article/grove/art/T062602 Ni Zan [Ni Tsan; zi Yuanzhen; hao Yunlin] (b Wuxi, Jiangsu Province, 1301; d 1374). Chinese painter and calligrapher. He is designated one of the Four Masters of the Yuan (1279–1368), with HUANG GONGWANG, WU ZHEN and WANG MENG. Ni Zan’s family were of Xixia (Tangut) origin. His tenth-generation ancestor Shi came to China as Xixia ambassador in 1034–7 at the time of Emperor Renzong (reg 1023–63), and the family settled in Duliang (modern Anhui Province). In 1127–30, under Emperor Gaozong (reg 1127–62), Ni Zan’s fifth-generation ancestor Yi moved south with the Southern Song (1127–1279), settling at Zhituo village in Wuxi, modern Jiangsu Province, where the Ni family prospered. Ni Zan and his elder brother Ying were the sons of a concubine, Yan. Their father died when they were young, and they were raised by their eldest half-brother, Ni Zhaogui (1279–1328). Ying was mentally incompetent, and after Zhaogui’s death Ni Zan assumed responsibility for the family estate, a role ill-suited to his natural inclinations. He led a privileged and secluded home life for 20 or more years; in the mid-1340s he spent most of his time among rare books, antique paintings, calligraphy and flowers in his favourite studio, the Qingbi ge (‘Pure and secluded pavilion’). Ni Zan was an ardent admirer of the great Northern Song (1127–1279) artist and connoisseur, MI FU, and shared two of his idiosyncrasies: fastidiousness and generosity.
    [Show full text]
  • In the Liaoning Provincial Museum. by Contrast, Riverbank Stands Virtu
    133 Summer Mountains (Qi, fig. 3), in the Liaoning Provincial Museum.14 By contrast, Riverbank stands virtu­ Shih Positioning ally alone, and lacks an auxiliary body of works that will support the claim to authorship by Dong Yuan. Riverbank Therefore, even if the above analysis safely locates the painting's date in the tenth century, its authorship still appears uncertain. In attempting a thematic approach in our inquiry into the connection of this work with Dong Yuan, we should not limit ourselves solely to Dong Yuan attributions, but instead must expand our focus to include the larger context of works by Southern Tang court painters. The paintings we have already discussed in connection with the dating of Riverbank, namely, First Snow along the River and The Lofty Scholar Liang Boluan, are both by Southern Tang court painters. They are, as is Riverbank, depictions of scenes oflife in southeast China. Water is depicted in these paintings, but in addition, detailed wave patterns model the river's surface. Lofty Scholar (fig. 6) displays an especially close similarity with Riverbank. Both paintings depict reclusive life in architectural settings within a distinct space along a riverbank, a feature rarely found in early landscape painting from north China. Lofty Scholar places narrative content, the story of Lady Meng Guang and her husband Liang Hong of the Eastern Han, within a landscape setting of fantastic rock formations. 15 Riverbank's rock formations are also fantastic in shape, and similarly lack the smoothness of Wintry Groves and Layered Banks. It is also rich in its depiction of scenes of human activity, featuring such details as a herdboy on a water buffalo heading home, a kitchen where women are preparing food, and the lord of the manor relaxing in a pavilion at the river's edge, accom­ panied by his wife and child.
    [Show full text]
  • 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.
    [Show full text]
  • Learning Jueju Through Chinese Painting: a Branch of Bamboo
    Worksheet Learning Jueju through Chinese Painting: A Branch of Bamboo Reading comprehension Answer the following questions based on background knowledge. Ni Zan (Chinese: 倪瓚; 1301–1374) was a Chinese painter during the Yuan and early Ming dynasties. Along with Huang Gongwang, Wu Zhen, and Wang Meng, he is one of the Four Masters of the Yuan dynasty. He is also a representative painter of the Nanzong landscape painting during the Yuan dynasty. Ni Zan’s works are mainly ink and water on paper, with light colors in between. The trees in the foreground and the regular script inscriptions in the blank spaces have almost become Ni Zan’s personal symbols. • What is Ni Zan’s identity? • What is he considered to be one of? • What are the characteristics of his works? Worksheet: Learning Jueju through Chinese Painting: A Branch of Bamboo asia.si.edu/teachingchina 1 Bamboo has been depicted in Chinese painting for more than a thousand years. Along with the pine and the plum, bamboo is a member of the Three Friends of Winter due to its ability to bear the harshest of winters. It is also one of the Four Gentlemen (the other three being the plum, the orchid, and the chrysanthemum) due to the moral virtues it represents. The hollowness of the bamboo stalk symbolizes tolerance and open-mindedness, and its flexibility and strength signify the human values of cultivation and integrity: one yields but does not break. All of these virtues make bamboo a very popular subject in Chinese painting, especially among scholar–artists. • How long has bamboo appeared in Chinese painting? • What does the “Three Friends of Winter” refer to? • What does the “Four Gentlemen” refer to? • What does bamboo symbolize? • Why has bamboo become a popular theme in Chinese painting? Worksheet: Learning Jueju through Chinese Painting: A Branch of Bamboo asia.si.edu/teachingchina 2 The poet Qian Weishan (act.
    [Show full text]
  • Song Dynasty Traditional Landscape Paintings a Two-Week Lesson Plan Unit (Based on a 55 Min Class Period)
    East Asian Lesson Plans By Rebecca R. Pope 3/7/04 [email protected] China Song Dynasty Traditional Landscape Paintings A two-week lesson plan unit (based on a 55 min class period) Purpose: To expose High School Painting Students (10 –12), to Chinese Culture and Chinese traditional landscape painting 1. How cultural differences affect painting processes? 2. What tools and techniques? 3. How is the painting created and laid out? Rationale: Teach new ideas and art concepts, while reinforcing others, through a Chinese cultural tradition. Materials: 1. Copy of the book, The Way of Chinese Painting: Its Ideas and Techniques. 2. Sze, Mai-Mai. The Way of Chinese Painting: Its Ideas and Techniques. New York, New York. Vintage Books a Division of Random House. 1959. Second Publishing. With selections from the Seventeenth-Century Mustard Seed Garden Manual. 3. Copy of the book Principals of Chinese Painting. Rowley, George. Principals of Chinese Painting. Revised Edition. Princeton, New Jersey. Princeton University Press. 1970. First Paperback Printing. (A more up to date resource could be, how to painting guide book like “Dreaming the Southern Song Landscape: The Power of Illusion in Chinese Painting”, Brill Academic Publishers, Incorporated; or “Poetry and Painting in Song China: The Subtle Art of Dissent”, Harvard University Press. Many more could found on booksellers websites.) 4. A guest speaker who is knowledgeable on contemporary Chinese Culture. (I am fortunate to have a colleague, the school librarian, Karen Wallis, who has had two extensive working trips to China setting up a library.) 5. “KWL” Worksheet- • K -representing what students already know about China and Chinese landscape painting • W- representing what they would like to learn • L- representing what they learned (note taking) 1.
    [Show full text]
  • 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.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 469 Proceedings of the 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020) "Evaluating Painters All Over the Country" Guo Xi and His Landscape Painting Min Ma1,* 1Academy of Arts & Design, Tsinghua University, Beijing, China *Corresponding author. Email: [email protected] ABSTRACT Styled Chunfu, Guo Xi was a native of Wenxian County. In the beginning, he learned from the methods of Li Cheng, yet he was rather good at expressing his own feelings, thus becoming adept at surpassing his master and creating a main school of the royal court landscape painting in the Northern Song Dynasty whose influence had lasted to later ages. Linquan Gaozhi Ji, Guo Xi's well-known theory on landscape painting, was a book emerged after the art of landscape painting in the became highly mature in the Northern Song Dynasty, which was an unprecedented peak in landscape painting and a rich treasure house in the history of landscape painting. Keywords: Guo Xi, Linquan Gaozhi, landscape painting Linquan Gaozhi Ji wrote by Guo Xi and his son I. INTRODUCTION Guo Si in 1080 was a classic book on landscape Great progress had been made in the creation of painting as the art of landscape painting became highly panoramic landscape paintings in China during the mature in the Northern Song Dynasty. The book was Northern Song Dynasty, after the innovations of Jing written in the late Northern Song Dynasty, when the art Hao, Guan Tong, Dong Yuan and Ju Ran, when a of landscape painting in China had already entered a number of influential landscape painters and exquisite relatively mature stage.
    [Show full text]
  • UC GAIA Chen Schaberg CS5.5-Text.Indd
    Idle Talk New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. Joan Judge and Hu Ying, eds., Beyond Exemplar Tales: Women’s Biography in Chinese History 2. David A. Palmer and Xun Liu, eds., Daoism in the Twentieth Century: Between Eternity and Modernity 3. Joshua A. Fogel, ed., The Role of Japan in Modern Chinese Art 4. Thomas S. Mullaney, James Leibold, Stéphane Gros, and Eric Vanden Bussche, eds., Critical Han Studies: The History, Representation, and Identity of China’s Majority 5. Jack W. Chen and David Schaberg, eds., Idle Talk: Gossip and Anecdote in Traditional China Idle Talk Gossip and Anecdote in Traditional China edited by Jack w. cheN aNd david schaberg Global, Area, and International Archive University of California Press berkeley los Angeles loNdoN The Global, Area, and International Archive (GAIA) is an initiative of the Institute of International Studies, University of California, Berkeley, in partnership with the University of California Press, the California Digital Library, and international research programs across the University of California system. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
    [Show full text]
  • CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's Name Dates R Pinyin Romanization of Artist's
    CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's name ❍ Dates ❍ Pinyin Romanization of Artist's name Artists are listed alphabetically by Wade-Giles. This list is not comprehensive; it reflects the catalogue of visual resource materials offered by AAPD. Searches are possible in either form of Romanization. To search for a specific artist, use the find mode (under Edit) from the pull-down menu. Lady Ai-lien ❍ (late 19th c.) ❍ Lady Ailian Cha Shih-piao ❍ (1615-1698) ❍ Zha Shibiao Chai Ta-K'un ❍ (d.1804) ❍ Zhai Dakun Chan Ching-feng ❍ (1520-1602) ❍ Zhan Jingfeng Chang Feng ❍ (active ca.1636-1662) ❍ Zhang Feng Chang Feng-i ❍ (1527-1613) ❍ Zhang Fengyi Chang Fu ❍ (1546-1631) ❍ Zhang Fu Chang Jui-t'u ❍ (1570-1641) ❍ Zhang Ruitu Chang Jo-ai ❍ (1713-1746) ❍ Zhang Ruoai Chang Jo-ch'eng ❍ (1722-1770) ❍ Zhang Ruocheng Chang Ning ❍ (1427-ca.1495) ❍ Zhang Ning Chang P'ei-tun ❍ (1772-1842) ❍ Zhang Peitun Chang Pi ❍ (1425-1487) ❍ Zhang Bi Chang Ta-ch'ien [Chang Dai-chien] ❍ (1899-1983) ❍ Zhang Daqian Chang Tao-wu ❍ (active late 18th c.) ❍ Zhang Daowu Chang Wu ❍ (active ca.1360) ❍ Zhang Wu Chang Yü [Chang T'ien-yu] ❍ (1283-1350, Yüan Dynasty) ❍ Zhang Yu [Zhang Tianyu] Chang Yü ❍ (1333-1385, Yüan Dynasty) ❍ Zhang Yu Chang Yu ❍ (active 15th c., Ming Dynasty) ❍ Zhang You Chang Yü-ts'ai ❍ (died 1316) ❍ Zhang Yucai Chao Chung ❍ (active 2nd half 14th c.) ❍ Zhao Zhong Chao Kuang-fu ❍ (active ca. 960-975) ❍ Zhao Guangfu Chao Ch'i ❍ (active ca.1488-1505) ❍ Zhao Qi Chao Lin ❍ (14th century) ❍ Zhao Lin Chao Ling-jang [Chao Ta-nien] ❍ (active ca.
    [Show full text]