Lecture Notes, by James Cahill
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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. -
Describing Visuality and Imagining Vision in Eleventh-Century Chinese Painters’ Biographies 87
DOI: 10.6503/THJCS.202103_51(1).0003 Learning How to See Again: Describing Visuality and Imagining Vision in ∗ Eleventh-Century Chinese Painters’ Biographies Ari Daniel Levine∗∗ Department of History University of Georgia ABSTRACT This article seeks to reconstruct the implicit epistemic assumptions that shaped descriptions of visuality and vision in three mid-eleventh-century collections of painters’ biographies—Liu Daochun’s 劉道醇 (fl. 1050-1060) Shengchao minghua ping 聖朝名畫評 (c. 1057) and Wudai minghua buyi 五代名畫補遺 (1059), and Guo Ruoxu’s 郭若虛 (c. 1041-c. 1098) Tuhua jianwen zhi 圖畫見聞志 (c. 1074). Through a close reading of these texts, which record how these two Northern Song literati viewed and recalled paintings both lost and extant, this article will explain how they imagined the processes of visual perception and memory to function. Liu and Guo’s written descriptions of the experiences of observers viewing paintings, and of painters viewing and painting pictorial subject matter, provide evidence of two distinctive understandings of visuality that involved both optical visualization in the present and mentalized visions in memory. For Liu and Guo, writing about viewing paintings re-activated the experience of seeing for themselves, which involved reconstituting images from their own visual memories, or describing other observers’ ∗ I presented earlier versions of this article at the Second Conference on Middle-Period China at Leiden University in September 2017, at the Karl Jaspers Centre for Transcultural Studies at Heidelberg University in June 2019, and at the International Conference “New Perspectives on Song Sources: Reflecting upon the Past and Looking to the Future” at National Tsing Hua University in December 2019. -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 10A: Bird and Flower Painting: The Early Centuries This will be the first of two lectures on Chinese bird‐and‐flower painting through the Song dynasty—this one taking us up to around the time of the Emperor Huizong in the late Northern Song; the next one, 10B, will be on Huizong‐period and Southern Song bird‐and‐flower painting. In one respect, these lectures have been inconsistent—well, more than one, but one I want to speak about briefly. I announced near the beginning that they would be heavily visual, without trying to deal seriously with questions of meaning and function, what the paintings meant to the people who made and used them, how they functioned in different times and different contexts. Well, Iʹve followed that generally; but Iʹve also spent quite a lot of time talking about the philosophical system that I take to underlie Chinese landscape painting in the different periods. I believe I have things to say about that topic that arenʹt general knowledge, and landscape painting is the principal theme of this series. But I wonʹt try anything of the kind for bird‐and‐flower painting. There are rich textual sources, in Chinese and in modern scholarship, about the symbolism of these subjects, and how pictures of them could carry symbolic significance. But that isnʹt a matter on which I feel I have original things to say, so I leave it alone. -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 12D: Sōgen‐ga Sōgenga, the title Iʹve given to this next section, is simply the Japanese pronunciation of Song Yuan hua 宋元畫/ 宋元画, or Song and Yuan painting. But Iʹve used it loosely for the kind of Song and Yuan paintings preserved mainly in Japan, many representing types unknown in China, and what we call Chan painting is prominent among them. I gave a seminar at U.C. Berkeley under this title, and then organized an exhibition of the same title, made up of paintings of this kind as kept in our University Art Museum, along with examples borrowed from dealers in Japan. It was a small and quiet exhibition that didnʹt get much publicity, didnʹt cost much (we had a $5,000 grant from the Society for Asian Art in San Francisco), and produced only a very modest catalog. But Iʹm still devoted to this kind of painting, which I know well from many years of making the rounds of Japanese collectors and dealers, so Iʹve devoted this section of my last lecture to it. So if this section is seen by any multimillionaire who wants to build a collection of these paintings, and maybe a museum of them, get in touch with me for some introductions and advice. For the rest of you, just enjoy them and try to pay more attention to them in the future. -
Qi Baishi: a Master of Many Arts
QI BAISHI: A MASTER OF MANY ARTS Qi Baishi was equally renowned for his achievements in seal carving as for his contributions to modernizing traditional literati painting; he was also a master calligrapher and poet. He was born to a poor farming family in Xiangtan, Hunan Province, and learned Chinese characters from his grandfather, who used a stick to trace them in the dirt. Physically unsuited to farming tasks, he was apprenticed to a woodcarver, but at nineteen he came across a book that would change his life: the Mustard Seed Garden Manual, a classic early Qing dynasty (1644–1911) treatise illustrating traditional techniques of literati painting. Qi taught himself to paint from it, refining his skills and studying the arts of seal cutting, poetry, and calligraphy with the many teachers he met as an itinerant woodcarver. His life spanned a period of great upheaval and reform in Chinese culture, but his unique style and politically neutral subjects allowed him to remain in favor through different regimes and cultural shifts. At the end of his life, he was lauded as the “People’s Artist,” elected honorary Chairman of the National Association of Fine Arts, and given the International Peace Award by the World Peace Council. With the resurgence of interest in ink painting in contemporary China, Qi Baishi, sometimes referred to as “China’s Picasso,” is celebrated as one of the leading artists of the twentieth century and his paintings are highly sought after by collectors and museums. Qi Baishi China, 1864–1957 Crabs circa 1930 Album leaf, ink on paper Gift of Katsuizumi Sotokichi, University of Michigan Museum of Art, 1949/1.199 inscribed: To Mr. -
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. -
East Asian Art Toolbox: Material World
East Asian Art Toolbox: Material World About this Toolbox: This toolbox provides educators with the means of bringing hands-on activities and discussions relating to the Detroit Institute of Arts’ collection into the classroom. Offering students the opportunity to closely examine and touch replica artworks, the toolbox helps them better understand the messages, materials, and methods of art production and design. Learning Target: Through a variety of hands-on experiences, students will investigate different artistic mediums in order to discover how artists have applied various tools and technology in the transformation of raw materials into works of art. Students will also explore ways in which East Asian painting and calligraphy in various formats convey cultural values. Toolbox Objects 1. Silk Hanging Scroll 7. Metal Samples: Bronze Discs, Steel Discs, 2. Paper Handscroll Copper Plate 3. Papermaking Kit 8. Paper Samples: Mulberry Kozo Paper, 4. Calligraphy Kit Bamboo/Mulberry Paper, Mulberry/Cotton 5. Seal Stamp Kit Paper, Lacquered Paper 6. Wood Samples: Lacquered Wood 9. Stone Samples: Soapstone, Jade, Turquoise Chopsticks with Porcelain Rest, Bamboo 10. Ceramic Samples: Four Different Types of Chopsticks in Bamboo Case, Handmade Celadon Dishes Rosewood Chopsticks Inlaid with Mother- 11. Fabric Samples: Silk Scarf and Polyester of-Pearl Bojagi Table Runner Student Books • The Empress and the Silkworm by Lily Toy Hong • Lóng is a Dragon: Chinese Writing for Children by Peggy Goldstein • Good Fortune in a Wrapping Cloth by Joan Schoettler • Moth and Wasp, Soil and Ocean by Sigrid Schmalzer Please see https://www.eagle.pitt.edu/ for additional book resources and activities. VIRTUAL TIP • Provide students with photos of the objects and copies of the graphic organizer through a Learning Management System (LMS). -
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. -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 9B: Political and Poetic Themes in Southern Song Painting As we move into a period from which more reliable work survives, we can begin to address big concerns such as political themes in court painting, and poetic painting. The latter, poetic painting, means different things to different people; I myself gave a series of lectures that turned into a book titled The Lyric Journey: Poetic Painting in China and Japan (Harvard University Press, 1996). As I acknowledge in that book, there are a number of ways one can define poetic painting in China; I certainly donʹt claim that mine is the only right one, or even that itʹs the best way. In a broad sense, a lot of Southern Song Academy and academy‐style painting can be called poetic, either because it was done in response to couplets and quatrains of poetry presented to the artists by the emperor or others in the court, or simply because they knew that their imperial patrons preferred paintings that could be called poetic. I will develop that theme more as we move further into Southern Song painting; but I want to keep it always problematic, not a quality that one can define clearly or identify easily in paintings. Political Themes and Dynastic Restoration 9.13.1: The Virtuous Brothers Po‐I and Shu‐chʹi in the Wilderness Picking Herbs, early copy after Li Tang, handscroll, Palace Museum, Beijing. -
Course Information Sheet 0621-02
Course Information Sheet Course Code: 0621-02 Chinese Brush Painting: Studying Ma Yuan William Cai 13th - 14th Feb 2021 Saturday to Sunday Through face to face instruction and with traditional demonstrations, this Course Location: course will introduce the work of the famous landscape artist Ma Yuan. Missenden Abbey 'One-corner Ma' was a great painter in the Southern Song dynasty. Great Missenden In this workshop, through the study and research of Ma Yuan's works, we Buckinghamshire HP16 0BD will understand and master the essence of Chinese painting from the Saturday Southern Song dynasty. 9.45am Students arrive "His brushwork was excellent, firm and simple, with strong lines, and "axe 10am-1pm Teaching session cut and split" brushwork for texture. His pine trees were very tall and 1pm Lunch for all - strong as if they were made of iron wire, sometimes painted with a stump residents may check in brush" according to a contemporary commentator. 2-5.30pm Teaching session 6.45 for 7pm Dinner for residents Description Sunday The tutor will demonstrate the painting process of the chosen works and From 7-9.15am Breakfast for residents guide you through one or two similar styles and with face to face 9.30am-1pm Teaching session instruction and observing the tutor demonstrations, you will study and 1pm Lunch for all master some of the special performance techniques of Chinese painting. 2-5pm Last teaching session Ma Yuan (about 1160-65 - 1225 CE) was born into a family of painters, becoming painter-in-residence to the Southern Song court in Hangzhou, as had his father, grandfather and great-grandfather before him. -
Women Rulers in Imperial China
NAN N Ü Keith McMahonNan Nü 15-2/ Nan (2013) Nü 15 179-218(2013) 179-218 www.brill.com/nanu179 ISSN 1387-6805 (print version) ISSN 1568-5268 (online version) NANU Women Rulers in Imperial China Keith McMahon (University of Kansas) [email protected] Abstract “Women Rulers in Imperial China”is about the history and characteristics of rule by women in China from the Han dynasty to the Qing, especially focusing on the Tang dynasty ruler Wu Zetian (625-705) and the Song dynasty Empress Liu. The usual reason that allowed a woman to rule was the illness, incapacity, or death of her emperor-husband and the extreme youth of his son the successor. In such situations, the precedent was for a woman to govern temporarily as regent and, when the heir apparent became old enough, hand power to him. But many women ruled without being recognized as regent, and many did not hand power to the son once he was old enough, or even if they did, still continued to exert power. In the most extreme case, Wu Zetian declared herself emperor of her own dynasty. She was the climax of the long history of women rulers. Women after her avoided being compared to her but retained many of her methods of legitimization, such as the patronage of art and religion, the use of cosmic titles and vocabulary, and occasional gestures of impersonating a male emperor. When women ruled, it was an in-between time when notions and language about something that was not supposed to be nevertheless took shape and tested the limits of what could be made acceptable.