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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. -
'Four Gracious Plants' and 'Dongguri'
http://dx.doi.org/10.7230/KOSCAS.2015.40.497 A Study of Kwon Kisoo's Paintings : focused on The 'Four Gracious Plants' and 'Dongguri' I. INTRODUCTION II. INFLUENCES III. THE 'FOUR GRACIOUS PLANTS' IV. CHARACTER ANALYSIS OF 'DONGGURI' V. CONCLUSION REFERENCE ABSTRACT John Adjah, Mihee Hong 초 록 권기수는 한국의 가장 촉망되는 화가 중 한사람이다. 그의 작품에는 많은 동양 예술의 비유들과 철학이 담겨져 있다. 화가로서, 권기수는 그의 그림에 동양적 사 상과 현대적 사상을 모두 채택하였다. 그의 주요 주제들은 ‘매화꽃, 국화, 난초 그 리고 대나무’이다. 이 식물들은 한국에서 ‘사군자’라고 알려졌으나, 영어로 ‘네 개 의 품위 있는 식물’ 또는 ‘네 개의 온화한 식물’ 번역되기도 한다. 또한 이 식물들 은 네 개의 계절을 나타낸다. 그들은 각기 다른 환경에서 자라나고, 동양 미술에서 이 식물들의 품격과 지성은 매우 중요하게 여겨진다. 권기수 역시 그의 작품 속에 사군자를 소재로 많이 사용하고 있다. 그의 모든 작품에는 ‘동구리’라는 캐릭터가 나온다. 2002년에 빠른 붓 스트로크 에 의해 고안된 동구리는 권기수의 작품에서 주요한 캐릭터이다. 동글동글하고 귀 여운 인상의 동구리는 많은 사람들에게 칭찬과 사랑을 받는다. 동구리는 보통 ‘사 군자’ 가운데 살고 있다. 바위와 산과 같이 특색 있는 지역에 있는‘사군자’는 동구 리가 살고 있는 곳이다. 동구리는 또한 등산, 달리기, 앉기 등과 같이 다양한 동작 을 취하고 있다. 이 모든 동작들이 이번 과제에서 해석되어온 은유를 묘사한다. 주제어 : 사군자, 동구리, 은유, 모티브, 캐릭터 497 I. Introduction Oriental art depicts objects and motifs which convey a different meaning beyond what is seen. This way of representing objects symbolically is known as metaphor. Kwon Kisoo is one of the most famous painters in Korea today. His paintings are full of rich visual motifs and metaphors. -
340336 1 En Bookbackmatter 251..302
A List of Historical Texts 《安禄山事迹》 《楚辭 Á 招魂》 《楚辭注》 《打馬》 《打馬格》 《打馬錄》 《打馬圖經》 《打馬圖示》 《打馬圖序》 《大錢圖錄》 《道教援神契》 《冬月洛城北謁玄元皇帝廟》 《風俗通義 Á 正失》 《佛说七千佛神符經》 《宮詞》 《古博經》 《古今圖書集成》 《古泉匯》 《古事記》 《韓非子 Á 外儲說左上》 《韓非子》 《漢書 Á 武帝記》 《漢書 Á 遊俠傳》 《和漢古今泉貨鑒》 《後漢書 Á 許升婁傳》 《黃帝金匱》 《黃神越章》 《江南曲》 《金鑾密记》 《經國集》 《舊唐書 Á 玄宗本紀》 《舊唐書 Á 職官志 Á 三平准令條》 《開元別記》 © Springer Science+Business Media Singapore 2016 251 A.C. Fang and F. Thierry (eds.), The Language and Iconography of Chinese Charms, DOI 10.1007/978-981-10-1793-3 252 A List of Historical Texts 《開元天寶遺事 Á 卷二 Á 戲擲金錢》 《開元天寶遺事 Á 卷三》 《雷霆咒》 《類編長安志》 《歷代錢譜》 《歷代泉譜》 《歷代神仙通鑑》 《聊斋志異》 《遼史 Á 兵衛志》 《六甲祕祝》 《六甲通靈符》 《六甲陰陽符》 《論語 Á 陽貨》 《曲江對雨》 《全唐詩 Á 卷八七五 Á 司馬承禎含象鑒文》 《泉志 Á 卷十五 Á 厭勝品》 《勸學詩》 《群書類叢》 《日本書紀》 《三教論衡》 《尚書》 《尚書考靈曜》 《神清咒》 《詩經》 《十二真君傳》 《史記 Á 宋微子世家 Á 第八》 《史記 Á 吳王濞列傳》 《事物绀珠》 《漱玉集》 《說苑 Á 正諫篇》 《司馬承禎含象鑒文》 《私教類聚》 《宋史 Á 卷一百五十一 Á 志第一百四 Á 輿服三 Á 天子之服 皇太子附 后妃之 服 命婦附》 《宋史 Á 卷一百五十二 Á 志第一百五 Á 輿服四 Á 諸臣服上》 《搜神記》 《太平洞極經》 《太平廣記》 《太平御覽》 《太上感應篇》 《太上咒》 《唐會要 Á 卷八十三 Á 嫁娶 Á 建中元年十一月十六日條》 《唐兩京城坊考 Á 卷三》 《唐六典 Á 卷二十 Á 左藏令務》 《天曹地府祭》 A List of Historical Texts 253 《天罡咒》 《通志》 《圖畫見聞志》 《退宮人》 《萬葉集》 《倭名类聚抄》 《五代會要 Á 卷二十九》 《五行大義》 《西京雜記 Á 卷下 Á 陸博術》 《仙人篇》 《新唐書 Á 食貨志》 《新撰陰陽書》 《續錢譜》 《續日本記》 《續資治通鑑》 《延喜式》 《顏氏家訓 Á 雜藝》 《鹽鐵論 Á 授時》 《易經 Á 泰》 《弈旨》 《玉芝堂談薈》 《元史 Á 卷七十八 Á 志第二十八 Á 輿服一 儀衛附》 《雲笈七籖 Á 卷七 Á 符圖部》 《雲笈七籖 Á 卷七 Á 三洞經教部》 《韻府帬玉》 《戰國策 Á 齊策》 《直齋書錄解題》 《周易》 《莊子 Á 天地》 《資治通鑒 Á 卷二百一十六 Á 唐紀三十二 Á 玄宗八載》 《資治通鑒 Á 卷二一六 Á 唐天寶十載》 A Chronology of Chinese Dynasties and Periods ca. -
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio Guide Script
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script 400 Exhibition overview Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition. Xubaizhai was designated by the late collector of Chinese painting and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “Wu School”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”. This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists. 401.Exhibit no. 1 Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 Hanging scroll, ink and colour on paper 143 x 62.5 cm Xubaizhai Collection Shen Zhou, courtesy name Qinan, was a native of Suzhou in Jiangsu province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Huang Tingjian (1045 – 1105), while his students included Wen Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the Ming dynasty (1368 – 1644). Studying under Chen Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his paintings on the styles of Wang Fu (1362 – 1416) and the Four Masters of the Yuan dynasty (1279 – 1368), but he also extended his interest to the works of the Zhe School and incorporated its techniques into his art. -
Masterpieces of Chinese Painting 700-1900
Masterpieces of Chinese Painting 700-1900 Teachers’ Resource: Image Bank Supported by Friends of the V&A Travel Partner Viking River Cruises Restaurant Partner Ping Pong INTRODUCTION Masterpieces of Chinese Painting 700–1900 is the first international exhibition in the UK since 1935 to bring together some of the finest examples of Chinese painting created in successive periods from the beginning of the 8th to the end of the 19th century. The works come from major public collections in America, Britain, China, France, Germany, Sweden and Japan. The exhibition explores the recurrent characteristics of Chinese painting as well as its innovation throughout history. By highlighting the aesthetic quality and expressive power of the individual works, it seeks to open viewers’ minds to one of the world’s great artistic traditions. The exhibition is organised chronologically and thematically into six main sections. It also includes a display that explains painting techniques and studio practices. Cover image: Mi Youren (1074/86–1151/65), Cloudy Mountains (detail), 1140–50, ink on paper, The Metropolitan Museum of Art (Museum no. 1973.121.1)© 2013. Image copyright The Metropolitan Museum of Art/Art Resource/ Scala, Florence Objects of Devotion 700-950 OBJECTS OF DEVOTION The exhibition will begin by exploring paintings made for temples during the Tang (618–907) and Five Dynasties (907–960) periods. The majority of images from this period were made for Buddhist liturgies or as votive offerings. Most surviving pictures from this early period are Buddhist banners and screens, painted on silk and characterised by their bright colours. These are predominantly drawn from Dunhuang, a remote region in the North West which was far from Tang dynastic control during the period of Buddhist persecution in the mid 9th century. -
Learning Jueju Through Chinese Painting: a Branch of Bamboo
lesson plan Learning Jueju through Chinese Painting: A Branch of Bamboo Subject: Chinese Language Arts Grade Level: High School Duration: 85 minutes Dynasty: Yuan (1279–1368) or Ming (1368–1644) Object Types: Album, Painting Themes: Animals and Nature; Language and Stories Contributed by: Yuanyuan Gao, DC International School, Washington, DC A Branch of Bamboo Ni Zan 倪瓚, inscription by Qian Weishan China, Yuan or Ming dynasty, ca. 1369 Ink on paper 11 9/16 x 11 7/16 in Gift of Charles Lang Freer. Freer Gallery of Art, F1915.36d Objectives Students will analyze the painting A Branch of Bamboo along with the poetry printed on it. Then, students will create their own Chinese quatrain, a jueju. Essential Questions • What’s unique about Ni Zan’s painting? • What does bamboo symbolize? • What are the features of jueju? • How do poems and paintings complement each other in Chinese art? Smithsonian Freer Gallery of Art Arthur M. Sackler Gallery lesson plan: Learning Jueju through Chinese Painting: A Branch of Bamboo 1 Background Information Ni Zan (Chinese: 倪瓚; 1301–1374) was a Chinese painter during the Yuan and early Ming dynasties. Along with Huang Gongwang, Wu Zhen, and Wang Meng, he is one of the Four Masters of the Yuan dynasty. Bamboo has been depicted in Chinese painting for more than a thousand years. Along with the pine and the plum, bamboo is a member of the Three Friends of Winter due to its ability to bear the harshest of winters. It is also one of the Four Gentlemen (the other three being the plum, the orchid, and the chrysanthemum) due to the moral virtues it represents. -
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