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"Dream journey over the Xiao and Xia...

Malenfer, Valerie Marie.

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"Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279)./
作者:	Malenfer, Valerie Marie.
面頁冊數:	491 p.
附註:	Source: Dissertation Abstracts International, Volume: 51-07, Section: A, page: 2181.
Contained By:	Dissertation Abstracts International51-07A.
標題:	Fine arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9035511

"Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279).
Malenfer, Valerie Marie.

"Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279). - 491 p.

Source: Dissertation Abstracts International, Volume: 51-07, Section: A, page: 2181.

Thesis (Ph.D.)--Harvard University, 1990.

This thesis explores the scholar-amateur artistic movement in China during the Southern Song period (1127-1279). At the end of the Northern Song (960-1125) scholars gathered around Su Shi (1036-1101) who defined a class of gentlemen as the political and intellectual elite. Together they found ways to cultivate themselves through refined studies (wenxue), which came to include not only prose and poetry, but also calligraphy and, later, painting.Subjects--Topical Terms:

2122690
Fine arts.

"Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279).
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100 1 $a Malenfer, Valerie Marie. $3 3189507
245 1 0 $a "Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279).
300 $a 491 p.
500 $a Source: Dissertation Abstracts International, Volume: 51-07, Section: A, page: 2181.
500 $a Adviser: John M. Rosenfield.
502 $a Thesis (Ph.D.)--Harvard University, 1990.
520 $a This thesis explores the scholar-amateur artistic movement in China during the Southern Song period (1127-1279). At the end of the Northern Song (960-1125) scholars gathered around Su Shi (1036-1101) who defined a class of gentlemen as the political and intellectual elite. Together they found ways to cultivate themselves through refined studies (wenxue), which came to include not only prose and poetry, but also calligraphy and, later, painting.
520 $a The paintings which scholar amateurs either painted or commented on became known as wenren hua or literati painting. In Su Shi's time the leading artists were still the professional painters of the imperial academy, whose authoritarian presence directly stimulated and conditioned the emergence of literati painting. Two separate literati traditions developed outside the court at approximately the same time and looked back to the Northern Song: one developed in the north under the Jin Tartar government (1115-1234); the other was led by scholar-amateurs living in the southern region of Jiangnan.
520 $a Southern Song scholars brought to Jiangnan Su Shi's literati consensus, which guaranteed them the status of gentlemen. However, because Su Shi laid down no specific indications as to how paintings should look, Southern Song wenren hua did not yet display a homogeneous style. Because the paintings that have survived are few the tradition has largely been ignored.
520 $a Fortunately, one surviving masterpiece, which is the topic of this thesis, does perfectly illustrate the Southern Song scholarly tradition. The long handscroll, Dream Journey Over the Xiao and Xiang Rivers, preserved in the Tokyo National Museum, depicts a unified view of mountains and rivers in the Jiangnan style of Dong Yuan and Mi Fu. The painter is unknown, but the brilliant technique signals a skillful artist, probably trained as a professional.
520 $a Acknowledging that Southern Song artists were able to avoid the severe distinction between professional and amateur status, this study concentrates on the style--unified composition and impressionist ink technique--of the painting, its literary associations, and its poetic significance, all of which reflect the taste of the Song literati. An analysis of the ten colophons written in 1170-71 shortly after Dream Journey was painted demonstrates that the painting was produced in the private context of literati friendship that underlined poetic references understood exclusively by an elite. The thesis adds to our understanding of the as yet largely unexplored transition from Northern Song literati theories to Yuan literati painting.
590 $a School code: 0084.
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710 2 $a Harvard University. $3 528741
773 0 $t Dissertation Abstracts International $g 51-07A.
790 $a 0084
791 $a Ph.D.
792 $a 1990
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9035511