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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 . -
Research on Traditional Theatre's Form of Jiangxi-Huguang-Sichuan Area's Emigration Route During Ming to Qing Dynasty
International Journal of Environmental Science and Development, Vol. 5, No. 1, February 2014 Research on Traditional Theatre's Form of Jiangxi-Huguang-Sichuan Area's Emigration Route during Ming to Qing Dynasty Xiaofeng Li and Shenglan Wu region cohesive force and met to partake in each joys at Abstract—This article researches the development and every festival. According to statistics, Sichuan had over character of emigration route in Ming and Qing period forming 1400. The mainly of north-south axis was not front and an axis of Jiangxi-Hunan-Hubei-Sichuan area, a new pattern of back corridors, just placed the central axis line, but in migration had emerged and transformed by principal migrate regions of complex topography, it should proceed from from north to south of settlers originated in Chin and Han dynasties. Research shows the erection of theatrical building is reality local conditions, even the public section must be most activity of immigration climax, rich history and condensed kept separate from the principal, as in Chongqing (Fig. 3 culture, makes an important part of private communal and Fig. 4). The basic principle hadn't changed much, recreations, so thousands of theatrical building are built in that still more dominant while the courtyard was an amalgam time correspondingly, still features design and diversified styles of all three part of balcony, stage platform which on both are extensively distributed. With physical carrier of culture, the sides spiritual core is revealed, the study of architectural history is filled through the deeply for the theater buildings. 3) House Theater: Few buildings fellow a consistent pattern inner the house, most performs in the hall or Index Terms—Emigration route, traditional theatre, courtyard [3]. -
Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854)
Artifacts of Diplomacy: Smithsonian Collections from Commodore Matthew Perry's Japan Expedition (1853-1854) CHANG-SU HOUCHINS SMITHSONIAN CONTRIBUTIONS TO ANTHROPOLOGY • NUMBER 37 SERIES PUBLICATIONS OF THE SMITHSONIAN INSTITUTION Emphasis upon publication as a means of "diffusing knowledge" was expressed by the first Secretary of the Smithsonian. In his formal plan for the institution, Joseph Henry outlined a program that included the following statement: "It is proposed to publish a series of reports, giving an account of the new discoveries in science, and of the changes made from year to year in all branches of knowledge." This theme of basic research has been adhered to through trie years by thousands of titles issued in series publications under the Smithsonian imprint, commencing with Smithsonian Contributions to Knowledge in 1848 and continuing with the following active series: Smithsonian Contributions to Anthropology Smithsonian Contributions to Botany Smithsonian Contributions to the Earth Sciences Smithsonian Contributions to the Marine Sciences Smithsonian Contributions to Paleobiology Smithsonian Contributions to Zoology Smithsonian Folklife Studies Smithsonian Studies in Air and Space Smithsonian Studies in History and Technology In these series, the Institution publishes small papers and full-scale monographs that report the research and collections of its various museums and bureaux or of professional colleagues in the world of science and scholarship. The publications are distributed by mailing lists to libraries, universities, and similar institutions throughout the world. Papers or monographs submitted for series publication are received by the Smithsonian Institution Press, subject to its own review for format and style, only through departments of the various Smithsonian museums or bureaux, where the manuscripts are given substantive review. -
The Screen in Fresco Paintings: a Study of the ‘Screen-Style Frescoes’ in the Temples of Gaoping County in China
arts Article The Screen in Fresco Paintings: A Study of the ‘Screen-Style Frescoes’ in the Temples of Gaoping County in China Wei Liu School of Architectural and Artistic Design, Henan Polytechnic University, Jiaozuo 454000, China; [email protected] Academic Editor: Annetta Alexandridis Received: 26 July 2017; Accepted: 2 September 2017; Published: 12 September 2017 Abstract: Screen-style frescoes, found in the temples of Gaoping County, Shanxi Province, China, and originating mostly from the Qing Dynasty, present a unique painting form. Folk artists not only painted the screen, a common object in everyday life in ancient China, on the wall surfaces, but also created a variety of paintings inside the screen panels, whereby the viewer sees a painting within a painting. This article, based on multiple field trips, aims to analyze screen-style frescoes in terms of their locations, styles, and unique artistic characteristics such as subject matter, color usage, and brushwork. By studying the influence of literati paintings from the Ming and Qing Dynasties, the author also reveals the aesthetic transition from religious scenes to secular life as presented in the temple frescoes in ancient Gaoping County. Keywords: screens in fresco paintings; screen-style frescoes; temples in Gaoping County; painting form; literati painting; secularization 1. Introduction The screen, as a common type of furniture and architectural element in ancient China, serves the multiple purposes of shielding from the wind; partitioning interior spaces, most often to create privacy; and functioning as both a painting medium and a decorative artwork (Wu 2009). Mural paintings of the screen have been primarily found in tomb chambers and grottoes dating back to the Han Dynasty, Tang Dynasty, and the period of Northern and Southern dynasties in China. -
Francois Boucher and His Chinoiserie
FRANÇOIS BOUCHER AND HIS CHINOISERIE A THESIS IN Art and Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of The requirement for the degree MASTER OF ARTS By AN-NI CHANG B.A. Fu-Jen Catholic University, Taiwan, 2006 Kansas City, Missouri 2010 ©2010 AN-NI CHANG ALL RIGHTS RESERVED FRANÇOIS BOUCHER AND HIS CHINOISERIE An-Ni Chang, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2010 ABSTRACT In this master’s thesis, I reexamine the Chinoiserie of the French Rococo artist François Boucher (1703-1770). First, I discuss the French concept of China during the first half of the eighteenth century. Second, I analyze how Boucher’s Chinese collection and interests in the Far East informed his art and his Chinoiserie. Finally, I scrutinize Boucher’s Chinoiserie designs, focusing on his tapestry sketches. My argument is that Boucher’s Chinoiserie has been characterized by contemporary art historians as a masquerade of a fête galante, strewn with miscellaneous Chinese pieces. However, through my investigation, I find Boucher’s Chinoiserie laden with many authentic details, rendering a relatively convincing effect, especially in comparison with contemporaneous Chinoiserie works, illustrations in travelogues on China, and imported Chinese porcelain pieces, which made his work distinctive in the period. ii The faculty listed below, appointed by the Dean of the College of Arts and Sciences, have examined a thesis titled “François Boucher and His Chinoiserie,” presented by An-Ni Chang, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance. -
Squirrels, Tigers, and Towering Peaks: Korean Paintings from the Mary and Cheney Cowles Collection, July 6 to October 27, 2019
Squirrels, Tigers, and Towering Peaks Korean Paintings from the Mary and Cheney Cowles Collection July 6 – October 27, 2019 PORTLAND ART MUSEUM, OREGON Squirrels, Tigers, and Towering Peaks Korean Paintings from the Mary and Cheney Cowles Collection Published by the Portland Art Museum in conjunction with the exhibition, Squirrels, Tigers, and Towering Peaks: Korean Paintings from the Mary and Cheney Cowles Collection, July 6 to October 27, 2019. The exhibition is organized by the Portland Art Museum and curated by Sangah Kim, Cowles Curatorial Fellow in Asian Art. Copyright © 2019 Portland Art Museum All rights reserved. No portion of this publication may be reproduced without the permission of the publisher. ISBN: 1-883124-44-1 Library of Congress Cataloguing-in-Publication Data available from the publisher upon request. Published by Portland Art Museum 1219 SW Park Avenue Portland, OR 97205 www.portlandartmuseum.org Designer: Bryan Potter Design, Portland, Oregon Photography: Ben Cort, Portland, Oregon Printer: Brown Printing, Portland, Oregon Cover: 10b (detail) Back cover: 1e (detail) Squirrels, Tigers, and Towering Peaks Korean Paintings from the Mary and Cheney Cowles Collection PORTLAND ART MUSEUM, OREGON Squirrels, Tigers, and Towering Peaks Korean Paintings from the Mary and Cheney Cowles Collection by Sangah Kim For five hundred years, Korea’s Joseon dynasty the Museum’s mainstage exhibition for fall 2018. (1392–1910) nurtured a profuse visual culture, Like the objects featured in Poetic Imagination, the with paintings created by and for different social twelve paintings and single calligraphy on view classes and genres designed to suit a diverse here were largely acquired in Japan, and all are array of contexts and occasions. -
Byōbu the Grandeur of Japanese Screens
Byōbu The Grandeur of YALE UNIVERSITY ART GALLERY Japanese Screens The material culture of a society can tell us much about its creators and the environment in which it developed. Japanese folding screens, or byōbu (literally “wind screens”), are a prime example. Free-standing, portable, and ornamented with calligraphy or pictorial images, byōbu commonly appear in pairs, each screen consisting of two, four, six, or eight panels. In addition to providing protection from wind, folding screens serve as attractive room dividers, enclosing and demarcating private spaces in the open interiors of Japanese palaces, temples, shrines, and elite homes. A prototype for byōbu, in the form of leather cords reinforced with zenigata, or use, the washi hinges allow the presentation the seventeenth century, where they were or inscribed panels were protected from light styles of Japanese painting. Selected from the separate panels with silk borders, came “coin-shaped” wooden washers.1 In the four- of a continuous image (fig. 1). Prior to this known as biombo.3 and dust. Their compact nature allowed for collection of the Yale University Art Gallery to Japan from Korea in 686 c.e. By the teenth century, the Japanese began using invention, each screen panel was surrounded Architecture played a large role in easy and tidy storage with an elegance of and supplemented by generous loans from the mid-eighth century, one hundred screens— hinges made of paper (kami chōtsugi), and by a silk border, which broke up the com- the development and use of byōbu. Early design in harmony with Japanese aesthetics. collections of Gallery supporters, the objects sixty-five of which included fabric designs this element distinguishes Japanese byōbu position. -
The Go Game Board of Red Sandalwood with Marquetry and Its Box with Hexagonal Design
The Go Game Board of Red Sandalwood with Marquetry and its Box with Hexagonal Design Akihiko Nishikawa The Go game board of red sandalwood with marquetry 木画紫檀碁局 (North section 36) and its box with hexagonal design 金銀亀甲碁局龕 (North section 36) are the two of the treasures dedicated to the Great Buddha in Todai-ji Temple in the 8th year of the Tenpyo Shoho era 天平勝宝8歳 (756). This paper reports on the materials, constructions and techniques revealed through the utilization of stereoscopic microscope, fiberscope and X-ray transmission device for analysis of these two treasures. There are two drawers on the side of the Go game board. Each of the two drawers has a tray of game pieces. One tray is shaped like a turtle and the other like a soft-shelled turtle. A crank mechanism inside the game board opens or closes one of the drawers according to the opening or closing of the other. It was confirmed that this mechanism was repeatedly remade during construction and was completed after trial and error. Various decorations are inlaid on the surface of the Go game board and its box so that the game board base material structure is unexposed. However, it was deduced through the portion slightly visible from the side of the drawer and X-ray photographs that pine was used. In ancient times in Japan, pine was not utilized in crafts due to the large amount of resin contained and the difficulty to split the wood straight. However, pine was the most readily available wood in ancient Korea and in much use for various items. -
THE SABURO HASEGAWA READER Luminos Is the Open Access Monograph Publishing Program from UC Press
JOHNSON, KIRSCH HART, | THE SABURO HASEGAWA READERTHE SABURO HASEGAWA THE SABURO HASEGAWA READER Edited by MARK DEAN JOHNSON AND DAKIN HART with Associate Editor MATTHEW KIRSCH Luminos is the Open Access monograph publishing program from UC Press. Luminos provides a framework for preserving and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher and the University of California Press Foundation gratefully acknowledge the generous support of the Ahmanson • Murphy Imprint in Fine Arts. The Saburo Hasegawa Reader Frontispiece. Facsimile reproduction of Kiyoko Hasegawa’s poem, “We Remember,” 1976. Courtesy of the Oakland Museum of California. The Saburo Hasegawa Reader Edited by Mark Dean Johnson and Dakin Hart with Associate Editor Matthew Kirsch UNIVERSITY OF CALIFORNIA PRESS 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 sup- ported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2019 by The Isamu Noguchi Foundation and Garden Museum This work is licensed under a Creative Commons CC-BY-NC-ND license. To view a copy of the license, visit http://creativecommons.org/licenses. Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan is organized by The Isamu Noguchi Foundation and Garden Museum, New York. -
Brushstrokes: Styles and Techniques of Chinese Painting Introduction
Brushstrokes STYLES AND TECHNIQUES OF CHINESE PAINTING This packet was originally produced for a November 1995 educator’s workshop Education Department Asian Art Museum - Chong Moon Lee Center for Asian Art and Culture Prepared by: Molly Schardt, School Program Coordinator Edited by: Richard Mellott, Curator, Education Department So Kam Ng, Associate Curator of Education This teacher workshop and teacher resource packet were made possible by grants from The Soong Ching Ling Foundation, USA Asian Art Museum Brushstrokes: Styles and Techniques of Chinese Painting Introduction Brushwork is the essential characteristic of Chinese painting. Ink and brushwork provide the founda- tion of Chinese pictures, even when color is also used. Connoisseurs of Chinese art first notice the character of the line when they view a painting. In the quality of the brushwork the artist captures qiyun, the spirit resonance, the raison d'etre of a painting. Chinese Calligraphy and Writing In China, painting and writing developed hand in hand, sharing the same tools and techniques. Some sort of pliant brush, capable of creating rhythmically swelling and diminishing lines, appears to have been invented by the Neolithic period (ca. 4500-2200 B.C.E.) where it was used to decorate pottery jars with sweeping linear patterns. By the Han dynasty (206 B.C.E.-C.E. 220), both wall paintings and writing on strips of bamboo laced together to form books exhibit proficiency and expressiveness with the extraordinarily resilient Chinese brush and ink. Chinese writing is composed of block-like symbols which stand for ideas. Sometimes called “ideo- grams,” the symbols more often are referred to as “characters.” These characters, which evolved from pictograms (simplified images of the objects they represent), were modified over time to represent more abstract concepts. -
Travels in Indo-China and the Chinese Empire
A5/A bs }r/^c•a. COmmX UNF/EKSITY LIBRARY ITHACA, N.Y. 14853 ''- \ fens ffi K; ' V^.'i'Jlri'i "'^'' -''• ^o'h.- ''^^•f- Collection r:r ^n''h';:;st Asia CORNELL UNIVERSITY LIBRARY 3 1924 073 426 201 All books are subject to recall after two weeks. Olln/Kroch Library DATE DUE Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924073426201 In compliance with current copyrigiit law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1984 to replace the irreparably deteriorated original. 1995 TRAVELS IN INDO-CHINA, LONDON: EOBSON ASD SONS, PRINTERS, PANCRAS ROAD, N W. TRAVELS IN INDO-CHINA THE CHINESE EMPIRE Bl LOUIS DE CAENE, MEMBER OF THE COUMISSIOK OF KXPLORATION OF THE MEKONQ. NOTICE OF THE AUTHOR PY THE COUNT BE GARNE. SranslatcllJ from t\t ^nKt\. LONDON: CHAPMAN AND HALL, 193 PtCCADILLY. 1872. , ; AS 7' CONTENTS. PAGE Notice of the Life of the Authob . vii INTKODUCTION. Establishment of the Feench Pbotectokate over the King- dom OF Cambodgia .1 CHAPTER I. EuiNS OF Angcob. Stung-Teeng. Eapids of Khon-Khong. Aebival at Bassac . -34 CHAPTER II. Stat at Bassac. Excuesion to Attopee. The Forests. Sa- vages AND Elephants. We leave Bassac. TJbone . 65 CHAPTER III. Departure fbom Ubone. Journey by Land. Halt at Khema- RAT ON the BoEDERS OP THE IVIeKONG. ARRIVAL AT VlEN- Chan. Visit to the Euins of that ancient Capital . -
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.