Masterpieces of Chinese Painting 700-1900
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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. -
Learning to Read in Late Imperial China
This watermark does not appear in the registered version - http://www.clicktoconvert.com Studies on Asia, series II, vol. 1, num. 1 LEARNING TO READ IN LATE IMPERIAL CHINA Li Yu, Emory University Introduction1 On the morning of the tenth day of the third lunar month in the year 1766, dozens of delegates on a Korean solstitial embassy entered a Temple of Chaste Woman located in a village within Yongping Prefecture in Northern China (in today’s Hebei Province). They found a school next to the inner gate of the temple and half a dozen children sitting there studying. What amazed all of them was that, in spite of the noise the delegation had made, these children were not in the least distracted and concentrated on their studies as if nothing had happened. A few moments later when Hong Taeyong (1731-1783), the nephew of the secretary of the embassy, arrived at the gate, an interpreter excitedly reported this marvelous scene to him. Suspicious of the veracity of the story, Hong went inside to investigate. What he discovered and later recorded in his memoir turns out to be a rare piece of evidence showing us a scene of children learning to read in early modern China. Despite the fact that reading was greatly emphasized by educators and policy-makers in early modern China, very little was written on how children were actually taught to read. Previous studies on Chinese elementary education mainly focus on the issue of literacy, the content of education, educational institutions, and educators' theories on teaching.2 Although primers and 1 The article has benefited from comments by Galal Walker, Mark Bender, Cynthia Brokaw, Patricia Sieber, Victor Mair, J. -
READING BODIES: AESTHETICS, GENDER, and FAMILY in the EIGHTEENTH-CENTURY CHINESE NOVEL GUWANGYAN (PREPOSTEROUS WORDS) by QING
READING BODIES: AESTHETICS, GENDER, AND FAMILY IN THE EIGHTEENTH-CENTURY CHINESE NOVEL GUWANGYAN (PREPOSTEROUS WORDS) by QING YE A DISSERTATION Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2016 DISSERTATION APPROVAL PAGE Student: Qing Ye Title: Reading Bodies: Aesthetics, Gender, and Family in the Eighteenth Century Chinese Novel Guwangyan (Preposterous Words) This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy in the Department of East Asian Languages and Literatures by: Maram Epstein Chairperson Yugen Wang Core Member Alison Groppe Core Member Ina Asim Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Qing Ye iii DISSERTATION ABSTRACT Qing Ye Doctor of Philosophy Department of East Asian Languages and Literature June 2016 Title: Reading Bodies: Aesthetic, Gender, and Family in the Eighteenth Century Chinese Novel Guwangyan (Preposterous Words) This dissertation focuses on the Mid-Qing novel Guwangyan (Preposterous Words, preface dated, 1730s) which is a newly discovered novel with lots of graphic sexual descriptions. Guwangyan was composed between the publication of Jin Ping Mei (The Plum in the Golden Vase, 1617) and Honglou meng (Dream of the Red Chamber, 1791). These two masterpieces represent sexuality and desire by presenting domestic life in polygamous households within a larger social landscape. This dissertation explores the factors that shifted the literary discourse from the pornographic description of sexuality in Jin Ping Mei, to the representation of chaste love in Honglou meng. -
Subjectivity in Mandarin Chinese: the Meaning and Use of Causal Connectives in Written Discourse
Subjectivity in Mandarin Chinese: The meaning and use of causal connectives in written discourse Published by LOT phone: +31 30 253 6111 Trans 10 3512 JK Utrecht e-mail: [email protected] The Netherlands http://www.lotschool.nl Cover illustration: The author’s office (the place where this dissertation was written) and its surroundings, photographed by Assaf Toledo. ISBN: 978-94-6093-147-5 NUR 616 Copyright © 2014: Fang Li. All rights reserved. Subjectivity in Mandarin Chinese: The meaning and use of causal connectives in written discourse Subjectiviteit in Mandarijn Chinees: De betekenis en het gebruik van causale connectieven in geschreven tekst (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. G.J. van der Zwaan, in het openbaar te verdedigen op vrijdag 29 augustus 2014 des middags te 4.15 uur door Fang Li geboren op 4 augustus 1977 te Hebei, China Promotor: Prof.dr. T.J.M. Sanders Co-promotor: Dr. J. Evers-Vermeul This thesis was accomplished with financial support from Huygens Scholarship, granted by Nuffic. For my family TABLE OF CONTENTS CHAPTER 1 1 Introduction CHAPTER 2 25 The relevance of subjectivity for the characterization of Mandarin causal connectives: A literature review CHAPTER 3 53 Subjectivity and result marking in Mandarin: A corpus-based investigation CHAPTER 4 95 On the subjectivity of Mandarin reason connectives: Robust profiles or genre-sensitivity CHAPTER 5 123 On the online effects of subjectivity information encoded in causal connectives CHAPTER 6 149 Conclusion and discussion REFERENCES 175 SAMENVATTING IN HET NEDERLANDS 189 ACKNOWLEDGEMENTS 203 CURRICULUM VITAE 209 CHAPTER 1 Introduction 1.1 The notion of subjectivity in language Language is generally used as a vehicle to communicate messages. -
The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950S
COMMUNIST OR CONFUCIAN? THE TRADITIONALIST PAINTER LU YANSHAO (1909-1993) IN THE 1950S THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Yanfei YIN B.A. Graduate Program in History of Art The Ohio State University 2012 Master's Examination Committee: Professor Julia F. Andrews Advisor Professor Christopher A. Reed Copyright by Yanfei YIN 2012 Abstract The establishment of the People’s Republic of China in 1949 triggered a deluge of artistic challenges for the Chinese ink painter. Lu Yanshao (陸儼少 1909-1993), an artist skilled in poetry, painting and calligraphy, had built his renown on landscape paintings following a traditionalist style. As of 1949, however, Lu began to make figure paintings that adhered to the guidelines established by the Communist Party. Dramatic social and political changes occurred in the 1950s under the new Communist regime. The Anti-Rightist Campaign, launched in 1957, targeted a large number of educated people, including many artists. Lu Yanshao was condemned as a Rightist and was forced to endure four years of continuous labor reform (laodong gaizao 勞動改造) in the countryside before finally ridding himself of the label of Rightist in 1961. Starting in 1957, Lu shifted his focus from making figure paintings for the country’s sake to his personal interest – creating landscape paintings. In 1959, the artist completed the first twenty five leaves of his famous Hundred-Leaf Album after Du Fu’s Poems. The surviving fourteen leaves combined painting, calligraphy and poetry, and are considered to be early paintings of Lu’s mature phase. -
Teachers' Guide for Painting
Painting TO THE TEACHER OBJECTIVES OF THIS UNIT: To introduce students to one of the major Chinese arts. To raise questions about what we can infer from paintings about social and material life. To introduce the distinction between court and scholar painting and allow discussion of the emergence of landscape as a major art form. TEACHING STRATEGIES: This unit can be taught as a general introduction to Chinese painting or the two main subsections can be taught independently, depending on whether the teacher is more interested in using painting to teach about other things or wants to discuss painting itself as an art. WHEN TO TEACH: In a chronologically-organized course, Painting should not be used before the Song period, as most of the examples in this unit are from the Song and Yuan dynasties. If both Calligraphy and Painting are used, Calligraphy should precede Painting, as it provides valuable information on social and aesthetic values which informed the study, evaluation, and collecting of both types of works of art. This unit would also be appropriate in a course on Chinese art. http://depts.washington.edu/chinaciv/painting/tptgintr.htm (1 of 3) [11/26/2001 10:59:00 AM] Painting We know from textual and archaeological sources that painting was practiced in China from very early times and in a variety of media. Wall paintings were produced in great numbers in the early period of China's history, but because so little early architecture in China remained intact over the centuries, few of these large-scale paintings have survived. -
Table of Contents and Contributors
Contents List of Entries viii List of Contributors ix Introduction and Acknowledgments xxx Joan Lebold Cohen xxxviii Volume 1 Abacus to Cult of Maitreya Volume 2 Cultural Revolution to HU Yaobang Volume 3 Huai River to Old Prose Movement Volume 4 Olympics Games of 2008 to TANG Yin Volume 5 Tangshan Earthquake, Great to ZUO Zongtang Image Sources Volume 5, page 2666 Index Volume 5, page 2667 © 2009 by Berkshire Publishing Group LLC List of Entries Abacus Asian Games BORODIN, Mikhail Academia Sinica Asia-Pacific Economic Cooperation Boxer Protocol (Xinchou Treaty) Acrobatics Atheism Boxer Rebellion Acupuncture Australia China Friendship Society Boycotts and Economic Adoption Australia-China Relations Nationalism Africa-China Relations Auto Industry BRIDGMAN, E. C. Agricultural Cooperatives Autonomous Areas British American Tobacco Movement BA Jin Company Agriculture Bamboo British Association for Chinese Agro-geography Bank of China Studies American Chamber of Commerce Banking—History British Chamber of Commerce in in China Banking—Modern China Ami Harvest Festival Banque de l’Indochine Bronzes of the Shang Dynasty An Lushan (An Shi) Rebellion Baojia Brookings Institution Analects Baosteel Group Buddhism Ancestor Worship Beijing Buddhism, Chan Anhui Province Beijing Consensus Buddhism, Four Sacred Sites of Antidrug Campaigns Bian Que Buddhism, Persecution of Anti-Spiritual Pollution Campaign Bianzhong Buddhism, Pure Land Anyang Bishu Shanzhuang Buddhism, Tibetan Aquaculture Black Gold Politics Buddhist Association of China Archaeology and -
The Perceptions of Horses in Thirteenth- And
Zhexin Xu THE PERCEPTIONS OF HORSES IN THIRTEENTH- AND FOURTEENTH-CENTURY CHINA MA Thesis in Comparative History, with a specialization in Interdisciplinary Medieval Studies. Central European University Budapest May 2015 CEU eTD Collection THE PERCEPTIONS OF HORSES IN THIRTEENTH- AND FOURTEENTH- CENTURY CHINA by Zhexin Xu (China) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Interdisciplinary Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner ____________________________________________ Examiner CEU eTD Collection Budapest June 2015 THE PERCEPTIONS OF HORSES IN THIRTEENTH- AND FOURTEENTH- CENTURY CHINA by Zhexin Xu (China) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Interdisciplinary Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader Budapest June 2015 CEU eTD Collection THE PERCEPTIONS OF HORSES IN THIRTEENTH- AND FOURTEENTH- CENTURY CHINA by Zhexin Xu (China) Thesis submitted to the Department of Medieval Studies, -
A History of Reading in Late Imperial China, 1000-1800
A HISTORY OF READING IN LATE IMPERIAL CHINA, 1000-1800 DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Li Yu, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Galal Walker, advisor Professor Mark Bender Professor Cynthia J. Brokaw ______________________________ Professor Patricia A. Sieber Advisor East Asian Languages and Literatures ABSTRACT This dissertation is a historical ethnographic study on the act of reading in late imperial China. Focusing on the practice and representation of reading, I present a mosaic of how reading was conceptualized, perceived, conducted, and transmitted from the tenth to the eighteenth centuries. My central argument is that reading, or dushu, was an indispensable component in the tapestry of cultural life and occupied a unique position in the landscape of social history in late imperial China. Reading is not merely a psychological act of individuals, but also a set of complicated social practices determined and conditioned by social conventions. The dissertation consists of six chapters. Chapter 1 discusses motivation, scope, methodology, and sources of the study. I introduce a dozen different Chinese terms related to the act of reading. Chapter 2 examines theories and practices of how children were taught to read. Focusing on four main pedagogical procedures, namely memorization, vocalization, punctuation, and explication, I argue that the loud chanting of texts and the constant anxiety of reciting were two of the most prominent themes that ran through both the descriptive and prescriptive discourses on the history of reading in late imperial ii China. -
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Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) The Aesthetization of Moral Education in Traditional "Literati Painting"* Ying Xu Zhuhai College of Jilin University Zhuhai, China 519041 Abstract—"Literati painting" is Chinese elite culture, work in the four seasons. They get the inspiration from which is not only an important symbol of Chinese painting, but nature and thus create the work." It is the viewpoint the also an important symbol of Chinese philosophy and Chinese author puts forward from the perspective of the function of aesthetics. The formation of "literary painting" was formed painting. The inherent meaning is that painting is not only through the polishing and perfection of the dynasties. The painting, but also has an educational influence, helping "literati painting" presents the inner world and spiritual people to establish correct moral behavior norms, so that pursuit of the literati painters of the dynasties. Their styles and individuals have noble personality. "Educating and helping forms are diverse but the inner humanistic feelings and people" refers to the social nature of art education, which personal charm in their paintings are the same. This paper maintains the ethics of society, focuses on the influence of analyzes the aesthetic value of moral education of literati group consciousness, thus promoting the stable development painting from the overview of the development of literati painting, literati painter's educational background, literati of the whole society, which is not only the embodiment of painting philosophical thinking, literati painting aesthetic art value, but also the ultimate value of education. -
TRACES of a LOST LANDSCAPE TRADITION and CROSS-CULTURAL RELATIONSHIPS BETWEEN KOREA, CHINA and JAPAN in the EARLY JOSEON PERIOD (1392-1550)” By
“TRACES OF A LOST LANDSCAPE TRADITION AND CROSS-CULTURAL RELATIONSHIPS BETWEEN KOREA, CHINA AND JAPAN IN THE EARLY JOSEON PERIOD (1392-1550)” By Copyright 2014 SANGNAM LEE Submitted to the graduate degree program in History of Art 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 ________________________________ Keith McMahon ________________________________ Maki Kaneko ________________________________ Maya Stiller Date Defended: May 8, 2014 The Dissertation Committee for SANGNAM LEE certifies that this is the approved version of the following dissertation: “TRACES OF A LOST LANDSCAPE TRADITION AND CROSS-CULTURAL RELATIONSHIPS BETWEEN KOREA, CHINA AND JAPAN IN THE EARLY JOSEON PERIOD (1392-1550)” ________________________________ Chairperson Marsha Haufler Date approved: May 8, 2014 ii Abstract This dissertation traces a lost landscape tradition and investigates cross-cultural relationships between Korea, China and Japan during the fifteenth and mid sixteenth centuries. To this end, the main research is given to Landscapes, a set of three hanging scrolls in the Mōri Museum of Art in Yamaguchi prefecture, Japan. Although Landscapes is traditionally attributed to the Chinese master Mi Youren (1075-1151) based on title inscriptions on their painting boxes, the style of the scrolls indicates that the painter was a follow of another Northern Song master, Guo Xi (ca. 1020-ca. 1090). By investigating various aspects of the Mōri scrolls such as the subject matter, style, its possible painter and provenance as well as other cultural aspects that surround the scrolls, this dissertation traces a distinctive but previously unrecognized landscape tradition that existed in early Joseon times. -
The University of Chicago Clawed Skin: the Literary Inscription of Things in Sixteenth Century China a Dissertation Submitted T
THE UNIVERSITY OF CHICAGO CLAWED SKIN: THE LITERARY INSCRIPTION OF THINGS IN SIXTEENTH CENTURY CHINA A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF EAST ASIAN LANGUAGES AND CIVILIZATIONS BY THOMAS PATRICK KELLY CHICAGO, ILLINOIS AUGUST 2017 Copyright © 2017 by Thomas Patrick Kelly All rights reserved. CONTENTS ACKNOWLEDGMENTS ..............................................................................................................v ABSTRACT .................................................................................................................................. ix LIST OF FIGURES ...................................................................................................................... xi INTRODUCTION ......................................................................................................................... 1 1 ON INSCRIPTION .......................................................................................................... 25 1.1 Inscription ............................................................................................................. 32 1.2 Writing and Materiality ........................................................................................ 68 1.3 The Resonant Thing: Wang Daokun’s Musical Instruments ............................... 79 2 WRITING MATERIALS IN SIXTEENTH CENTURY HUIZHOU ............................. 91 2.1 The Inkstone Dealer ..........................................................................................