Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 1

01:082:325---Art History: 321 Chinese Painting / Tuesdays /Thursdays 7th period/6:10 pm- 7:30 pm/Spring 2019/ SC (Scott Hall) 214 Professor Virginia L Bower Final Description (including educational objectives, outcomes and procedures) and Syllabus Instructor: Virginia L. Bower Office: Voorhees Lower Level, 008/D, shared with other instructors. Office Hours: By appointment in the late afternoon before class on Tuesdays and Thursdays. Messages: Email is the best way to contact me: use both: [email protected] and [email protected] to ensure I receive the message. The yahoo.com address will also show up as an email on my I-phone. You can leave a written message for me in the Art History Dept. Office---give the person there the note and ask them to make sure I receive it. You can also call me at home in Princeton on days before or after we have class and leave a message: 609-497-9619, but not after 10:00 PM.

01/082/325: CHINESE PAINTING/GENERAL PURPOSE OF THIS COURSE/ GENERAL CLASS OBJECTIVES & EDUCATIONAL OUTCOME/ GENERAL OVERVIEW OF CLASS PROCEDURES In this class the student is introduced to the history of Chinese painting (and to a lesser extent calligraphy) from its earliest beginnings in the Paleolithic and Neolithic eras to the 19th century, with brief commentary on more recent artists and artworks. The focus is on the development of format, style, subject matter, technique, etc. and how these are to be understood within the history of and material culture. Archaeologically recovered material as well as works which have survived in other ways will be introduced and analyzed. Representative masterworks in collections within and without will be highlighted with particular attention paid to works which the student might be likely to see in East Coast museums. By the end of this class a student will appreciate and recognize significant Chinese paintings and to a lesser extent Chinese calligraphies within the larger context of the history of Chinese civilization and the student will also possess the knowledge and analytical skills to independently further research this and related topics. Although primarily a lecture class, discussion is encouraged and questions are welcomed. Materials will be provided for study in class and online via the Sakai online learning system. Grading is based on tests and a quiz as well as a museum visit based paper and also class attendance and participation; improvement in performance over the course of the term will be noted in cases where the total score falls closely between a higher and lower Final Grade. Test 1: 25% of grade; Test 2: 30%; Quiz: 15%; Paper of 3-5 pages: 25%; Class attendance and participation along with improvement in performance: 5%. Required Textbooks (will be ordered and available through the Rutgers University Barnes & Noble Bookstore): Barnhart, Richard and others, Three Thousand Years of Chinese Painting (paperback edition) and Silbergeld, Jerome, Chinese Painting Style (paperback edition).Recommended Book for those strongly interested in all aspects of Chinese Art (will be ordered and available through the Rutgers University Barnes & Noble Bookstore): Sullivan, Michael, The ---6th edition (5th edition okay, earlier ones not so good).

Rutgers, New Brunswick Academic Calendar, dates to keep in mind SPRING SEMESTER 2019 Overview---will be enlarged and updated as more detailed info for Spring Semester becomes available. See https://scheduling.rutgers.edu/scheduling/academic- calendar Also http://nbregistrar.rutgers.edu/undergrad/calendar.htm Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 2

Our last formal class meeting will be Tuesday, April 30, not Thursday May 2, and there is no Final Exam in this Class, but instead 2 tests and one Quiz as well as a paper which will be submitted during the course of the semester. Spring Semester Begins Tuesday, January 22

Spring Recess Begins Saturday, March 16

Spring Recess Ends Sunday, March 24

Regular Classes End Monday, May 6 More Detail of official Undergradate Calendar Monday Martin Luther King Day - Most UNIVERSITY OFFICES ARE CLOSED. Jan 21

FIRST DAY OF CLASSES, SPRING 2019 semester. In-person LATE REGISTRATION BEGINS with a Tuesday, prepaid $50 late fee. All Undergrad students may add/drop today. For additional information click January 22 here

Jan 22 All Add/Drops by degree credit. During the ADD/DROP period (1/22-1/30), the Undergraduate thru Registrar's Offices on the BUSCH CAMPUS are open from 8:30am until 5:00pm - for additional Jan 29 information, click here.

Jan 29 and For Spring 2019 (via webreg or in person) the LAST DAY to DROP is 1/29/19 (without a "W" grade) Jan 30 and the LAST DAY to ADD is 1/30/19

For all Refund Policy Information, please see: http://www.studentabc.rutgers.edu and click on

"Withdrawals"

Jan 30 thru Undergraduate Drop Period with a "W" grade Mar 25

March 16 SPRING RECESS thru Mar 24

Sunday, Fall 2019 Preregistration - Begins 10:00PM Sunday Evening! April 7

April 22 Last day to Withdraw from the University (end of 12th week) for the Spring 2019 Term

ATTENDANCE Essential and helpful as this class is so intense so attendance will usually be taken in class, and that along with class participation, will be taken into account in the event that the student might otherwise fail or receive an especially poor grade in the class.

MATERIALS FOR STUDY INCLUDING TEXTS Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 3

Required Textbooks (will be ordered and available through the Rutgers University Barnes & Noble Bookstore): Barnhart, Richard and others, Three Thousand Years of Chinese Painting (paperback edition) and Silbergeld, Jerome, Chinese Painting Style (paperback edition). Recommended Book for those strongly interested in all aspects of Chinese Art (will be ordered and available through the Rutgers University Barnes & Noble Bookstore): Sullivan, Michael, The Arts of China---6th edition (5th edition okay, earlier ones not so good). Copies of these will be available on Reserve in The Art Library. RESERVE READING: In the syllabus you will note that in addition to the required reading in the textbook and recommended text, there are occasional recommended readings from other sources on Reserve in the Art Library. For the most part Reserve Reading will be recommended due to the excellence of the color illustrations included in those publications and students are urged to occasionally leaf through these publications for this reason. Among the more important books placed on Reserve are Cahill, James, Chinese Painting , Fong, Wen and others, Possessing the Past; Harrist, Robert and others, The Embodied Image; Chinese Calligraphy (Yale University Press, multiple authors, 2008). CLASS HANDOUTS: Handouts summarizing the important points of the lectures and text will be distributed in class in paper form and also posted on the Sakai website in the Resources section. You may read these before or after class, but be sure to read and review them at one point or another. POWERPOINT SLIDE SHOWS OF CONTEXT AND KEY IMAGES: These “curated” slide shows will be posted a few days prior to in-class examinations, and it is from these images that selection will be made for these. Class lectures, which contain a much larger number of images are not posted online---if they wish, however, students may follow along the lecture by consulting the Class Handout which is available online as well as in paper form. SAKAI WEBSITE/SAKAI LEARNING MANAGEMENT SYSTEM (LMS) In this class I will be using the Sakai Website/Learning Management system, and this Description and Syllabus of this Class will be posted in both Syllabus and the Resources section of the Sakai website. As noted above I will post the handouts distributed in class in the “Resources” section of the Sakai website for this course. Before any in- class exam I will also post, in the “Resources” section PowerPoint slide shows of Images to Study for the quizzes and exams. Please consult and make sure you can utilize this site as soon as class begins. If you have any technical problems with Sakai immediately ask for help from the Sakai site technicians.. Sakai Help and Documentation: https://sakai.rutgers.edu/portal If necessary, please contact us at [email protected] or 848.445.8721. Sakai Help Desk representatives are available Monday through Friday 8:00AM-6:00PM. Each of Sakai's tools is extensively documented in the Sakai help documents. FAILURE OF SAKAI AND/OR/RUTGERS ONLINE RESOURCES---IF THERE IS A FAILURE OF RUTGERS WEBMAIL OR ONLINE RESOURCES PLEASE CONTACT ME DIRECTLY AT MY PERSONAL EMAIL (virginiabower @yahoo.com) FROM YOUR PERSONAL NON-RUTGERS EMAIL.

REQUIREMENTS AND GRADING Educational Accessibility: Students who believe they are eligible for course accommodations under the ADA or Section 504 or have had accommodations or modifications in the past should discuss this with me and present official documentation as soon as possible to me so we can work out the appropriate accommodation for you, whether extra time after/during or special place to take in-class quizzes and examinations as well as special information about paper preparation, etc.

Test 1: February 19, 2019: 25% (cumulative since January 16, 55-60 minutes) Test 2: April 9, 2019: 30% (cumulative since February 19, 65-70 minutes, whole class) Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 4

Paper: Due April 18, 2019: 25% (3-5 pages, museum- based assignment provided in late January, may be turned in early; can be turned as late as April 30 but grade will be lowered ) Quiz: April 25, 2019: 15% (cumulative since April 9, 30 minutes) Class Attendance & Participation: 5 %---especially important on quiz and test days and on April 30, the last day class will meet. NO FINAL EXAM

GRADING SCALE Rutgers Grades: A, B, B+, C, C+, D, F, and a variety of Incomplete grades which must be okayed by a Dean, not Professor Bower. As there is no A- or B- or D+ at Rutgers, students may receive a B+ or C+ or D if they are on the borderline between A, B, C and D; in these cases class attendance and improvement in performance will be especially important in determining the Final Grade. In this class to get an A you must generally have, at the end of the term, a cumulative point total of 91.5/ 92 points- 100; to get a B+ generally 87-91.5 points, to get a B usually 81- 87 points, and so forth. If a student’s achievement falls in an intermediate number, for example slightly less than 91.5 points, then other factors such as class attendance and improvement or in achievement may push the grade to the higher level, but that will a the instructor’s discretion. With regard to extra-credit projects, etc, this is not an option; there will often, but not always be an extra-credit question on exams and the quiz. Make-up exams and quizzes will be administered at the instructor’s discretion after discussion of reason for missing the exam or quiz; the place and timing of a make-up will be at the instructor’s convenience.

ACADEMIC INTREGRITY: See http://academicintegrity.rutgers.edu/ for complete details of Rutgers University Academic Integrity policy and be aware that this is taken very seriously in this class and at this university.

Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 5

01:082:325---Art History: 321 Chinese Painting / Tuesdays /Thursdays 7th period/6:10 pm- 7:30 pm/Spring 2019/ SC (Scott Hall) 214 Professor Virginia L Bower WEEKLY SYLLABUS OF TOPICS/READINGS WITH IMPORTANT DATES NOTED Reading Assignments and Recommended Readings in Books on Reserve in the Art Library. Occasionally required reading for one week will be the same or overlap with the next, just make sure you read it. No need to read all of the Recommended---concentrate on the Required Readings and the Class Handouts, with occasional browsing through Recommended to look at high-quality images. Syllabus Flexibility/Modification: if more time is needed to cover a certain subject thoroughly more time will be taken, and if less time is needed, the pace may quicken, but at no time will anything be on a quiz or exam which has not been covered in class; dates of exams and quiz are fixed.

Week 1: Introduction and Overview of Class, Early Painting and Writing January 22-24, 2019: Because it is likely that some students will not attend class on January 22 due to enrollment/registration issues, the pace of class may be a bit slower during this first week. If possible try to read the assignments before coming to class, but if not possible read afterwards. Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting---two essays on approaches to Chinese painting by a Chinese scholar, Yang Xin and an American scholar, James Cahill, pp. 1-12---also in this book, pp. 15-19; Silbergeld, Jerome, Chinese Painting Style, pp. xi-15. Recommended: Strongly recommend Hearn, How to Read Chinese Paintings, pp. 3-5, brief but excellent. You might also want to look through early pages of Sullivan, The Arts of China, to pp. 63. If more interested in history look at Patricia Ebrey’s The Cambridge Illustrated to page 85. Yang, Xiaoneng, The Golden Age of Chinese Archaeology has a number of beautiful illustrations of Neolithic period ceramics and other artifacts from the subsequent Bronze Age related to pictorial art as well as the development of writing. Remember---only one recommended reading is generally necessary; choose one that is appealing. Additional recommended reading or related illustrations from other sources may be announced in class or noted in the class handouts.

Week 2 Early Painting Continued, Early Imperial China (Qin-Han dynasties) January 29-31, 2019---Tuesday, January 29: Class will not meet due to a scheduled eye procedure for Professor Bower earlier that day; will confirm the week before. If no class on Tuesday, an online Powerpoint to Review at Home will be uploaded to Sakai website and sent to students: Description of Required Museum-based Paper will be distributed if it has not already been described and discussed. Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 19-58; Silbergeld, Jerome, Chinese Painting Style, pp.16-39. Recommended: Sullivan, Arts of China, pp.1-97 or Ebrey, The Cambridge Illustrated History of China, pp.10-85 or leave through early sections of Yang, Xiaoneng, The Golden Age of Chinese Archaeology. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 3 Early Imperial China (Qin-Han dynasties) completed; Period of Division/Disunity February 5-7, 2019 Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 19-58; Silbergeld, Jerome, Chinese Painting Style, pp.16-39. Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 6

Recommended: Sullivan, Arts of China, pp.65-129 or Ebrey, The Cambridge Illustrated History of China, pp.60-108. See Harrist, The Embodied Image pp. 28-46; 240-259 for calligraphy. See also Fong, Possessing the Past, pp.107-119 on calligraphy. For more information on an early masterwork of Chinese painting, see McCausland, First Masterpiece of Chinese painting: the Admonitions Scroll. Cahill, James, Chinese Painting, pp.10-28, though very “old” has good plates and worthwhile insights.

Week 4 Period of Division/Disunity February 12-14, 2019 Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 34-85; Silbergeld, Jerome, Chinese Painting Style, pp. 40-60. Recommended: Hearn, How to Read Chinese Paintings, pp. 6-9, Sullivan, Arts of China, pp.65-129 or Ebrey, The Cambridge Illustrated History of China, pp.86-108. See Harrist, The Embodied Image pp. 28- 46; 240-259 for calligraphy. See also Fong, Possessing the Past, pp.107-119 on calligraphy. For more information on an early masterwork of Chinese painting, see McCausland, First Masterpiece of Chinese painting: the Admonitions Scroll. Cahill, James, Chinese Painting, pp.10-28, though very “old” has good plates and worthwhile insights. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 5 Period of Division completed, if not yet; intro to Sui and Tang Dynasties/Test 1 on February 19 Feb. 19-21, 2019 February 19---brief review then Test 1/February 21 class lecture Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 34-85; Silbergeld, Jerome, Chinese Painting Style, pp. 40-60. Recommended: Hearn, How to Read Chinese Paintings, pp. 6-9; Sullivan, Arts of China, pp.98-161 or Ebrey, The Cambridge Illustrated History of China, pp.86-135. See Harrist, The Embodied Image pp. 28- 46; 240-259 for calligraphy. See also Fong, Possessing the Past, pp.107-119 on calligraphy. For more information on an early masterwork of Chinese painting, see McCausland, First Masterpiece of Chinese painting: the Admonitions Scroll. Cahill, James, Chinese Painting, pp.10-28, though very “old” has good plates and worthwhile insights. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 6 Sui and Tang Dynasties, if time Five Dynasties February 26-28, 2019 Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 59-111; Silbergeld, Jerome, Chinese Painting Style, review pp xi, 40-60 and after completing this book, refer back to it every other class to see what might be useful for what is currently being studied. Recommended: Hearn, How to Read Chinese Paintings, pp. 6-9, Sullivan, Arts of China, pp.98-175 or Ebrey, The Cambridge Illustrated History of China, pp.108-190. For more information on an influential Five Dynasties masterwork, see Sullivan, The Night Entertainments of : A Scroll by Gu Hongzhong. See also Fong, Possessing the Past, pp.107-119 on calligraphy. Cahill, James, Chinese Painting, pp. 29-32, 45-49, 55-59, though very “old” has good plates and worthwhile insights. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 7 Sui and Tang Dynasties completed/ Five Dynasties/maybe Liao March 5-7, 2019 Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 7

Reading Assignment: Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 59-137; Silbergeld, Jerome, Chinese Painting Style, review pp.xi-60, and after completing this book, refer back to it every other class to see what might be useful for what is currently being studied.

Recommended: Hearn, How to Read Chinese Paintings, pp. 6-9---if you wish you may wish to skim this entire book looking at what interests you; Sullivan, Arts of China, pp.130-205 or Ebrey, The Cambridge Illustrated History of China, pp.108-190. For more information on an influential Five Dynasties masterwork, see Sullivan, The Night Entertainments of Han Xizai: A Scroll by Gu Hongzhong. See also Fong, Possessing the Past, pp.107-119 on calligraphy. Cahill, James, Chinese Painting, pp. 29-32, 45-49, 55-59, though very “old” has good plates and worthwhile insights. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 8 Five Dynasties/Liao, if time Northern Song March 12-14, 2019 Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 85-137; Silbergeld, Jerome, Chinese Painting Style, review pp.xi-60, and after completing this book, refer back to it every other class to see what might be useful for what is currently being studied. Recommended: Sullivan, Arts of China, pp.162-205 or Ebrey, The Cambridge Illustrated History of China, pp.136-189. For more information on an influential Five Dynasties masterwork, see Sullivan, The Night Entertainments of Han Xizai: A Scroll by Gu Hongzhong. . Cahill, James, Chinese Painting, pp.32- 98, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of the National , Taipei are to be found in Fong, Possessing the Past---for Five Dynasties and Song, see pp.123-217, 257-59. For Song calligraphy, see Harrist, The Embodied Image, pp.106-109. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts. Week 9---Spring VACATION March 19 and 21, 2019: No School, Spring Recess---by this time you should have started Museum-based paper which is due on April 18, 2018.

Week 10: Northern Song, if time Southern Song March 26-28, 2019 Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 87-137; Silbergeld, Jerome, Chinese Painting Style, refer to this every other class to see what might be useful for what is currently being studied Recommended: Hearn, How to Read Chinese Paintings, pp. 20-69, Sullivan, The Arts of China, pp. 163- 205, or Ebrey, The Cambridge Illustrated History of China, pp.136-163. Cahill, James, Chinese Painting, pp.32-98, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of The National Palace Museum, Taipei are to be found in Fong, Possessing the Past---for Five Dynasties and Song, see pp.123-217, 257-59; exquisite illustrations. For Song calligraphy, see Harrist, The Embodied Image, pp.106-109. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 11 Southern Song, if time Yuan April 2-4, 2019 Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 8

Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 87-195; Silbergeld, Jerome, Chinese Painting Style, refer to this every other class to see what might be useful for what is currently being studied

Recommended: Hearn, How to Read Chinese Paintings, pp. 10-13, 20-105; Sullivan, The Arts of China, pp. 163-225 or Ebrey, The Cambridge Illustrated History of China, pp.136-189. Cahill, James, Chinese Painting, pp.32-105, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of the National Palace Museum, Taipei are to be found in Fong, Possessing the Past---for Five Dynasties and Song, and Yuan see pp.123-217, 257-59, 263-323. For Song and Yuan calligraphy, see Harrist, The Embodied Image, pp. 106-109, 122-125. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts. Week 12 Yuan/Test 2 April 9 April 9-11, 2019 April 9: Test 2/ whole class Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 139-195; Silbergeld, Jerome, Chinese Painting Style, refer to this every other class to see what might be useful for what is currently being studied Recommended: Hearn, How to Read Chinese Paintings, pp. 10-13, 20-105; Sullivan, The Arts of China, pp. 163-225 or Ebrey, The Cambridge Illustrated History of China, pp.136-189. Cahill, James, Chinese Painting, pp.32-105, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of the National Palace Museum, Taipei are to be found in Fong, Possessing the Past---for Five Dynasties and Song, and Yuan see pp.123-217, 257-59, 263-323. For Song and Yuan calligraphy, see Harrist, The Embodied Image, pp. 106-109, 122-125.

Week 13 Yuan, if time Ming, Paper Due on April 18 April 16-18, 2019 April 18---Paper due

Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 139-296; Silbergeld, Jerome, Chinese Painting Style, refer to this every other class to see what might be useful for what is currently being studied Recommended: Hearn, How to Read Chinese Paintings, pp. 118-141; Sullivan, The Arts of China, pp. 207-276; or Ebrey, The Cambridge Illustrated History of China, pp.136-261. Cahill, James, Chinese Painting, pp.117-194, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of The National Palace Museum, Taipei are to be found in Fong, Possessing the Past---for Yuan. Ming and Qing see selections on pp.269-563 or just leaf through the book. For Yuan calligraphy, see Harrist, The Embodied Image, pp.122-125; for Ming and Qing calligraphy leaf through later sections of this book, but will have limited time to discuss this subject in class. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts.

Week 14 Ming and Qing/Quiz on April 25 April 23-25, 2019 April 25: Quiz of 30 minutes, class lecture Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 9

Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 196-296; Silbergeld, Jerome, Chinese Painting Style, refer to this every other class to see what might be useful for what is currently being studied Recommended: Hearn, How to Read Chinese Paintings, pp. 118-141;Sullivan, The Arts of China, pp. 227- 285; or Ebrey, The Cambridge Illustrated History of China, pp.190-261. Cahill, James, Chinese Painting, pp.117-194, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of the National Palace Museum, Taipei are to be found in Fong, Possessing the Past---for Ming and Qing, see pp.327-425, 473- 501, 555-563. For more on later calligraphy look at Harrist, The Embodied Image, later sections. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts. Week 15: Late Qing/Modern/Summary April 30/No Class on May 2/ No Final Exam April 30 will be last day of class meeting; no class on May 2nd; all materials should be submitted to Professor Bower by that time. Reading Assignment: Reading Assignment: Barnhart, Richard, et al, Three Thousand Years of Chinese Painting, pp. 251-297, and skim pp.299-354. I will include some information about more contemporary Chinese art works in the Class Handouts, and discuss, if time. Silbergeld, Jerome, Chinese Painting Style, refer to this every other class to see what might be useful for what is currently being studied. CONCENTRATE ON ARTISTS DISCUSSED IN CLASS AS WE ARE UNLIKELY TO COVER THIS PERIOD IN MUCH DETAIL. Recommended: Hearn, How to Read Chinese Paintings, pp. 130-169; Sullivan, The Arts of China, pp. 257-317 or Ebrey, The Cambridge Illustrated History of China, pp.220-336;Cahill, James, Chinese Painting, pp.161-194, though very “old” has excellent plates and worthwhile insights. Probably the best illustrations available of Chinese painting and calligraphy in the collection of the National Palace Museum, Taipei are to be found in Fong, Possessing the Past---for Qing, see pp. 473-501, pp. 555-563. For more on later calligraphy look at Harrist, The Embodied Image, later sections---we won’t have time to discuss in class much, if at all. Additional recommended reading or related illustrations may be announced in class or noted in the class handouts. For contemporary Chinese art, painting or calligraphy, the best sources tend to be essays about artists and review of exhibitions in publications such as The New York Times. In addition, some artists have their own websites, or their dealers maintain websites; best place to look first is online.

NO CLASS ON MAY 2/NO FINAL EXAM

All late materials (which will be subject to reduction in grade), if not personally handed to Professor Bower in class on April 30 should be submitted to her via email to no later than 12 noon on May 1, 2019.

Bower/AH: 325 Chinese Painting/Rutgers Spring 2019 Description and Syllabus 10