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The landscapes of Wu Bin (c. 1543-c....

Burnett, Katharine Persis.

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The landscapes of Wu Bin (c. 1543-c. 1626) and a seventeenth-century discourse of originality.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The landscapes of Wu Bin (c. 1543-c. 1626) and a seventeenth-century discourse of originality./
Author:	Burnett, Katharine Persis.
Description:	497 p.
Notes:	Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4586.
Contained By:	Dissertation Abstracts International56-12A.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9610088

The landscapes of Wu Bin (c. 1543-c. 1626) and a seventeenth-century discourse of originality.
Burnett, Katharine Persis.

The landscapes of Wu Bin (c. 1543-c. 1626) and a seventeenth-century discourse of originality. - 497 p.

Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4586.

Thesis (Ph.D.)--University of Michigan, 1995.

Through reassessment of biographical information, this study finds that Wu Bin (c. 1543-c. 1626) served as a low-level scholar-official whose talents as a calligrapher, painter, and poet brought him to the attention of the emperor and the most influential intellectuals of his period. These intellectuals shared a critical vocabulary with the Gong'an theorists, a group whose ideas in turn drew upon the thought of Neo-Confucianists Wang Yangming and Li Zhi, particularly as regards issues of authenticity and originality. These issues emerge as primary concerns of seventeenth-century literary and art critics, for whom the key term in the discourse of originality was qi. Qi, a term of wide semantic range including strange, extraordinary, and unusual, is used in late Ming literary and art criticism to indicate issues of originality. This thesis provides a history of the term in critical literature. The usage of the term is examined in art criticism as well, and compared with other art critical terms to further distinguish its meaning, application, and nuances. As a participating and respected member of this group of intellectuals, Wu Bin addressed this shared concern in his paintings and inscriptions, giving visual form to a highly-charged critical concept. Examination of Wu's stylistic development provides a case study of late Ming shifts in artistic values as his paintings evolve from embracing the normative tradition in his formative years, to a radical expression of personal uniqueness at the end.Subjects--Topical Terms:

2122701
Art history.

The landscapes of Wu Bin (c. 1543-c. 1626) and a seventeenth-century discourse of originality.
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008 170521s1995 ||||||||||||||||| ||eng d
035 $a (MiAaPQ)AAI9610088
035 $a AAI9610088
040 $a MiAaPQ $c MiAaPQ
100 1 $a Burnett, Katharine Persis. $3 3192265
245 1 4 $a The landscapes of Wu Bin (c. 1543-c. 1626) and a seventeenth-century discourse of originality.
300 $a 497 p.
500 $a Source: Dissertation Abstracts International, Volume: 56-12, Section: A, page: 4586.
500 $a Co-Chairmen: Richard Edwards; Martin Powers.
502 $a Thesis (Ph.D.)--University of Michigan, 1995.
520 $a Through reassessment of biographical information, this study finds that Wu Bin (c. 1543-c. 1626) served as a low-level scholar-official whose talents as a calligrapher, painter, and poet brought him to the attention of the emperor and the most influential intellectuals of his period. These intellectuals shared a critical vocabulary with the Gong'an theorists, a group whose ideas in turn drew upon the thought of Neo-Confucianists Wang Yangming and Li Zhi, particularly as regards issues of authenticity and originality. These issues emerge as primary concerns of seventeenth-century literary and art critics, for whom the key term in the discourse of originality was qi. Qi, a term of wide semantic range including strange, extraordinary, and unusual, is used in late Ming literary and art criticism to indicate issues of originality. This thesis provides a history of the term in critical literature. The usage of the term is examined in art criticism as well, and compared with other art critical terms to further distinguish its meaning, application, and nuances. As a participating and respected member of this group of intellectuals, Wu Bin addressed this shared concern in his paintings and inscriptions, giving visual form to a highly-charged critical concept. Examination of Wu's stylistic development provides a case study of late Ming shifts in artistic values as his paintings evolve from embracing the normative tradition in his formative years, to a radical expression of personal uniqueness at the end.
590 $a School code: 0127.
650 4 $a Art history. $3 2122701
650 4 $a Asian literature. $3 2122707
650 4 $a Asian history. $2 bicssc $3 1099323
650 4 $a Biographies. $3 795061
690 $a 0377
690 $a 0305
690 $a 0332
690 $a 0304
710 2 $a University of Michigan. $3 777416
773 0 $t Dissertation Abstracts International $g 56-12A.
790 $a 0127
791 $a Ph.D.
792 $a 1995
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9610088