The Heart of Ma Yuan the Search for a Southern Song Aesthetic
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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 . -
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. -
From Co-Loa to the Trung Sisters' Revolt
From Co-loa to the Trung Sisters' Revolt: VIET-NAM AS THE CHINESE FOUND IT Received 27 September 1978 STEPHEN O'HARROW ISTORIANS AND archaeologists ignore each other at their peril, but the peril is Hgreater for the historian since concrete evidence which is at odds with a par ticular theory of historical development will simply not go away and eventually must be taken into consideration. In some areas of inquiry more than others, history and artifact must be at each other's service because neither alone can begin to suffice. Such is the case with the 300-year period in the area of the Red River delta and adjacent Thanh hoa Province in northern Viet-Nam, the cradle of the Vietnamese nation, between the middle of the third century B.C. and the revolt of the Trung Sisters in A.D. 40. It is a period which poses a number of highly interesting theoretical problems for the historian and philologist, and recent developments in archaeology have contradicted older biblio centric and sinocentric notions (the two often go hand in hand) to the extent that a thorough reexamination is in order. As a preliminary step in that direction, this article aims at outlining the sociohistorical situation of Viet-Nam when the first extensive im position of Chinese power on the area began. The object of the exercise is threefold: first, to point out what I believe are certain important historical implications of recent ar chaeological activity; second, to suggest a few notions of a theoretical nature which might address those historical implications; and third, to set the stage for a more extensive ex position at a later date of the development of Viet-Nam under Chinese hegemony from the first to the tenth centuries. -
Mirror, Moon, and Memory in Eighth-Century China: from Dragon Pond to Lunar Palace
EUGENE Y. WANG Mirror, Moon, and Memory in Eighth-Century China: From Dragon Pond to Lunar Palace Why the Flight-to-the-Moon The Bard’s one-time felicitous phrasing of a shrewd observation has by now fossilized into a commonplace: that one may “hold, as ’twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure.”1 Likewise deeply rooted in Chinese discourse, the same analogy has endured since antiquity.2 As a commonplace, it is true and does not merit renewed attention. When presented with a physical mirror from the past that does register its time, however, we realize that the mirroring or showing promised by such a wisdom is not something we can take for granted. The mirror does not show its time, at least not in a straightforward way. It in fact veils, disfi gures, and ultimately sublimates the historical reality it purports to refl ect. A case in point is the scene on an eighth-century Chinese mirror (fi g. 1). It shows, at the bottom, a dragon strutting or prancing over a pond. A pair of birds, each holding a knot of ribbon in its beak, fl ies toward a small sphere at the top. Inside the circle is a tree fl anked by a hare on the left and a toad on the right. So, what is the design all about? A quick iconographic exposition seems to be in order. To begin, the small sphere refers to the moon. -
Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970S and 1980S
Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970s and 1980s XIAORONG HAN EVER SINCE THE BIRTH OF MODERN ARCHAEOLOGY in the nineteenth cen tury, nationalism and politics have been important factors in its development, and as such, archaeologists in various parts of the world have been actively in volved in the construction of ethnic and/or national origins and identities, the corroboration of national myths, the disputes over territories and cultural inven tions, and so on (Diaz-Andreu and Champion 1996; Hudson 1999; Kohl and Fawcett 1995; Meskell 1998; Pai 2000; Silberman 1989; Trigger 1984). Although it is difficult to find a single country in which archaeology is completely free from the influence of nationalism and politics, it is understandable to find that archae ologists operating in authoritarian systems generally have a stronger tendency to develop a close relationship with the nation-state and involve themselves in poli tics because of a lack of academic freedom and independent sources of financial support. Nazi Germany, early twentieth-century Japan, and pre-World War II Soviet Union are extreme examples of the politicization of archaeology (Arnold and Hassman 1995; Hudson 1999: 35, 44; Shnirelman 1996; Trigger 1989: 178 179; Wiwjorra 1996). In post-war Asia, archaeologists in China and Viet Nam were actively engaged in the development of a new wave of nationalist archaeol ogy under the encouragement and sponsorship of the state (Glover 1999; Tong 1995). ' This paper intends to study the nationalist archaeology of China and Viet Nam in the 1970s and 1980s. -
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. -
A Brief Analysis of the Visual Language Features of Chinese Ink and Wash Landscape Paintings
2021 4th International Conference on Arts, Linguistics, Literature and Humanities (ICALLH 2021) A Brief Analysis of the Visual Language Features of Chinese Ink and Wash Landscape Paintings Lai Yingqin Dept of Ceramic Art, Quanzhou Vocational College of Arts and Crafts, Quanzhou, 362500, China Keywords: Chinese painting, Ink, Landscape, Visual language Abstract: Ink and wash can be connected into lines by brushing, rubbing, drawing, drawing, and drawing on rice paper, and the points can be connected into lines, and the lines can be gathered into surfaces, and the surface can be transformed into a space with both virtual and real. Ink and wash landscape paintings are shaped in this way. A visual language that speaks less and more. It can describe both the real scene that people see, and the illusory scene that people see. That's it, the visual language of ink and wash landscape painting can be brilliant and intoxicating. It is based on the specific performance of stippling, which gives people a visual impact, and is laid out in the invisible surroundings, making people think about the scenery. 1. Introduction Since entering the modern industrialized society, due to the profound influence of modern industrialization culture, especially machine aesthetics, art design culture is in the ascendant, in the field of visual design, people can see images everywhere, such as “font design, logo design, illustration” Design, layout design, advertising design, film and television design, packaging design, book binding design, CIS design, display design, graphic design, etc.” (1), all have entered the field of vision of people, and even some product designs (including industrial product design, The content and form of home design, clothing design) and space design (including indoor and outdoor design, display design, architectural design, garden design and urban design) have also entered people’s vision as visual content. -
P020110307527551165137.Pdf
CONTENT 1.MESSAGE FROM DIRECTOR …………………………………………………………………………………………………………………………………………………… 03 2.ORGANIZATION STRUCTURE …………………………………………………………………………………………………………………………………………………… 05 3.HIGHLIGHTS OF ACHIEVEMENTS …………………………………………………………………………………………………………………………………………… 06 Coexistence of Conserve and Research----“The Germplasm Bank of Wild Species ” services biodiversity protection and socio-economic development ………………………………………………………………………………………………………………………………………………… 06 The Structure, Activity and New Drug Pre-Clinical Research of Monoterpene Indole Alkaloids ………………………………………… 09 Anti-Cancer Constituents in the Herb Medicine-Shengma (Cimicifuga L) ……………………………………………………………………………… 10 Floristic Study on the Seed Plants of Yaoshan Mountain in Northeast Yunnan …………………………………………………………………… 11 Higher Fungi Resources and Chemical Composition in Alpine and Sub-alpine Regions in Southwest China ……………………… 12 Research Progress on Natural Tobacco Mosaic Virus (TMV) Inhibitors…………………………………………………………………………………… 13 Predicting Global Change through Reconstruction Research of Paleoclimate………………………………………………………………………… 14 Chemical Composition of a traditional Chinese medicine-Swertia mileensis……………………………………………………………………………… 15 Mountain Ecosystem Research has Made New Progress ………………………………………………………………………………………………………… 16 Plant Cyclic Peptide has Made Important Progress ………………………………………………………………………………………………………………… 17 Progresses in Computational Chemistry Research ………………………………………………………………………………………………………………… 18 New Progress in the Total Synthesis of Natural Products ……………………………………………………………………………………………………… -
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. -
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. -
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.