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Zeng Jing's Informal Portraits of the Jiangnan Litera
UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
The Role of Landscape Art in Cultural and National Identity: Chinese and European Comparisons
sustainability Article The Role of Landscape Art in Cultural and National Identity: Chinese and European Comparisons Xiaojing Wen 1,* and Paul White 2 1 School of Design, Shanghai Jiaotong University, Shanghai 200240, China 2 Department of Geography, University of Sheffield, Sheffield S10 2TG, UK; P.White@sheffield.ac.uk * Correspondence: [email protected] Received: 5 June 2020; Accepted: 3 July 2020; Published: 7 July 2020 Abstract: The depiction of landscape in art has played a major role in the creation of cultural identities in both China and Europe. Landscape depiction has a history of over 1000 years in China, whilst in Europe its evolution has been more recent. Landscape art (shan shui) has remained a constant feature of Chinese culture and has changed little in style and purpose since the Song dynasty. In Europe, landscape depictions have been significant in the modern determination of cultural and national identities and have served to educate consumers about their country. Consideration is given here to Holland, England, Norway, Finland and China, demonstrating how landscape depictions served to support a certain definition of Chinese culture but have played little political role there, whilst in Europe landscape art has been produced in a variety of contexts, including providing support for nationalism and the determination of national identity. Keywords: landscape art; Chinese landscapes; European landscapes; cultural identity; national identity 1. Introduction The concept of cultural identity commonly refers to a feeling of belonging to a group in which there are a number of shared attributes which might include, among other things, knowledge, beliefs, artefacts, arts, morals, and law. -
The Literati Studio and Spatiality in Song China A
UNIVERSITY OF CALIFORNIA Los Angeles Porous Privacy: The Literati Studio and Spatiality in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Yunshuang Zhang 2017 © Copyright by Yunshuang Zhang 2017 ABSTRACT OF THE DISSERTATION Porous Privacy: The Literati Studio and Spatiality in Song China by Yunshuang Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2017 Professor Jack W. Chen, Chair My dissertation examines the distinctive significance of the studio during the Song dynasty (960–1279) through its various literary and visual representations. Simply speaking, the studio was an enclosed site specifically used for reading, writing, and art creation. Pre-Song texts have records of a few early examples of studio sites in China. However, it was during the Song dynasty that the studio became a prominent cultural space for literati. The studio became both an object of scholarly representation and the medium through which the literatus’ everyday practices were effected. In this way, the studio served as a medium for the reproduction of literati culture itself. This dissertation concentrates on the spatiality of this medium. I argue that in Song literary representations, the studio was a porous private space: on the one hand, it provided a confined space for personal practices and self-cultivation; on the other hand, the studio was open to limited public interactions and was an emblematic display of literati self-identity. The main body of this dissertation is divided into five chapters. The first chapter traces the evolution of the literary configuration of the studio till the Song dynasty, to demonstrate the pivotal role that Song literature played in the construction of the studio space. -
Ni Yun-Lin's Art of Painting and Its Cultural Value
Asian Social Science February, 2010 High Road into the Cloud --- Ni Yun-lin's Art of Painting and Its Cultural Value Qiuli Yu The Arts System of Dezhou University No.566 of Daxue Road in Decheng District, Dezhou 253023, Shandong, China Tel: 86-534-898-5612 E-mail: [email protected] Abstract Ni Yun-lin, Painter in the Yuan Dynasty, had great influences in the history of Chinese painting, especially the history of painting of man-of-letters. He stepped over the spatio-temporal limitation and guided trend of painting of man-of-letters several hundred years later. Although he was familiar with Confucianism, Buddhism and Taoism, and was endowed with a kind, sentimental and sincere heart, the abnormality of political ruling of Meng and Yuan Dynasty together with his obstinate and unruly character determined since his birth his destiny --- living in seclusion. He re-organized the value system of human being and established a virtual spiritual homeland. His art of painting was a monument which stood like a giant at the top of the world ethnic arts, with an intangible, cold, secluded and lonely style of painting. It was Ni Yun-lin who pushed the quality of painting to perfection which was most impressive. Keywords: Ni Yun-lin, Painting, Perfection, Intangible, Spiritual homeland Scholars in China were affected by Confucianism, Buddhism and Taoism, so most of them were against “rigidness”, but for “softness and leisureliness”, focusing on “literary” quality. As for art of painting, most of them held a calm and casual attitude, slow and leisurely, which was the effect of “literary”. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Porous Privacy: The Literati Studio and Spatiality in Song China Permalink https://escholarship.org/uc/item/3b71s80k Author Zhang, Yunshuang Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Porous Privacy: The Literati Studio and Spatiality in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Yunshuang Zhang 2017 © Copyright by Yunshuang Zhang 2017 ABSTRACT OF THE DISSERTATION Porous Privacy: The Literati Studio and Spatiality in Song China by Yunshuang Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2017 Professor Jack W. Chen, Chair My dissertation examines the distinctive significance of the studio during the Song dynasty (960–1279) through its various literary and visual representations. Simply speaking, the studio was an enclosed site specifically used for reading, writing, and art creation. Pre-Song texts have records of a few early examples of studio sites in China. However, it was during the Song dynasty that the studio became a prominent cultural space for literati. The studio became both an object of scholarly representation and the medium through which the literatus’ everyday practices were effected. In this way, the studio served as a medium for the reproduction of literati culture itself. This dissertation concentrates on the spatiality of this medium. I argue that in Song literary representations, the studio was a porous private space: on the one hand, it provided a confined space for personal practices and self-cultivation; on the other hand, the studio was open to limited public interactions and was an emblematic display of literati self-identity. -
By JIN LI BA, South China Teachers' University
Nl ZAN AND HIS ASSOCIATES by JIN LI B.A., South China Teachers' University, Guangzhou, The People's Republic of China, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this these as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1998 Copyright Jin Li, 1998 In presenting this thesis in partial fulfillment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia Vancouver, Canada Date: 0<£oUr \Tb, City Abstract Ni Zan (1301-1374) has been regarded as the paragon of Chinese scholar-painter since the Ming dynasty (1368-1644) by critics and scholars. He was praised as one of the four great masters of the Yuan dynasty (1279-1368). He was also an accomplished poet. His paintings are characterized by highly generalized simple compositions with minimal use of dry-ink brushstrokes. Stories and legends about his lofty personality and obsession for cleanliness were written by his contemporaries. Most of contemporary studies of Ni Zan tend to follow the conventional Chinese biographical approach, sometimes isolating the artist from his contexts. -
Chinese Art 3. the Yuan Dynasty
Chinese Art 3. The Yuan Dynasty Pinyin spelling mostly approximates to English pronunciation apart from, notably, Q = “ch” in cheap. X =”sh” in sham. Zh = “j” in jasmine. Z = “ds” hands. C = “ts” as in tsar. Names are given with surnames first Contents The Mongols Cometh .................................................................................................................................. 3 Leftover Subjects: “Yimin” ........................................................................................................................ 4 Zheng Sixiao (also spelled Cheng Ssu-hsiao 1241-1318) ................................................................... 4 Gong Kai (also spelled Kung K’ai 1222-1307) ....................................................................................... 5 Qian Xuan (also spelled Ch’ien Hsuan, c 1235 – 1307) ....................................................................... 6 The Foundation of Yuan Landscapes ................................................................................................... 11 Zhao Mengfu (1254-1322) ....................................................................................................................... 11 Classical Bamboo Painting ...................................................................................................................... 17 Guan Daosheng (1262-1319) ................................................................................................................. 17 Li Kan (1245-1320) ..................................................................................................................................