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Yu Zhiding (ca. 1646-ca. 1716) and t...

Scheier-Dolberg, Joseph.

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Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World./
Author:	Scheier-Dolberg, Joseph.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	520 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-12, Section: A.
Contained By:	Dissertations Abstracts International79-12A.
Subject:	Asian History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10823996
ISBN:	9780438013964

Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World.
Scheier-Dolberg, Joseph.

Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 520 p.

Source: Dissertations Abstracts International, Volume: 79-12, Section: A.

Thesis (Ph.D.)--Columbia University, 2018.

This item is not available from ProQuest Dissertations & Theses.

This dissertation offers an expanded understanding of the life and work of the artist Yu Zhiding (ca. 1646-ca. 1716). Yu is best known for the portraits he painted of famous men, particularly the top echelon of officials serving at the court of the Kangxi emperor (r. 1662-1722), and previous scholarship has accordingly contextualized his creative contribution within the history of Chinese portraiture. In fact, portraiture was only one aspect of Yu's set of responsibilities in and around the Kangxi court, a diverse range that encompassed cartographic illustration, architectural drawing, still life, printed book illustration, landscape, and more. I attempt for the first time to integrate Yu's portraits with his other artistic activities into a coherent picture. I provide a detailed biography of the artist, I introduce his innovative merger of antiquarian landscape painting with portraiture, and I analyze several images he provided to semi-official court productions that reveal the extent of his aspirations and the manner in which he pursued them. The artist who emerges through this inquiry was much more than just a portraitist to the powerful. In his rare combination of skills, in his willingness to experiment with new visual modes, in his bold combinations of existing genres, and in his persistent attempts to capture the attention of the Kangxi emperor himself, he appears as a uniquely illuminating lens through which to understand the unusually ambitious milieu of the Kangxi court.

ISBN: 9780438013964Subjects--Topical Terms:

2088436
Asian History.

Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World.
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245 1 0 $a Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World.
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300 $a 520 p.
500 $a Source: Dissertations Abstracts International, Volume: 79-12, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Harrist, Robert E., Jr.
502 $a Thesis (Ph.D.)--Columbia University, 2018.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation offers an expanded understanding of the life and work of the artist Yu Zhiding (ca. 1646-ca. 1716). Yu is best known for the portraits he painted of famous men, particularly the top echelon of officials serving at the court of the Kangxi emperor (r. 1662-1722), and previous scholarship has accordingly contextualized his creative contribution within the history of Chinese portraiture. In fact, portraiture was only one aspect of Yu's set of responsibilities in and around the Kangxi court, a diverse range that encompassed cartographic illustration, architectural drawing, still life, printed book illustration, landscape, and more. I attempt for the first time to integrate Yu's portraits with his other artistic activities into a coherent picture. I provide a detailed biography of the artist, I introduce his innovative merger of antiquarian landscape painting with portraiture, and I analyze several images he provided to semi-official court productions that reveal the extent of his aspirations and the manner in which he pursued them. The artist who emerges through this inquiry was much more than just a portraitist to the powerful. In his rare combination of skills, in his willingness to experiment with new visual modes, in his bold combinations of existing genres, and in his persistent attempts to capture the attention of the Kangxi emperor himself, he appears as a uniquely illuminating lens through which to understand the unusually ambitious milieu of the Kangxi court.
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