A Companion to Chinese Art E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: Blackwell Companions to Art History
• Sprache: Englisch

Seitenzahl: 1383

Veröffentlichungsjahr: 2015

Beschreibung

Exploring the history of art in China from its earliest incarnations to the present day, this comprehensive volume includes two dozen newly-commissioned essays spanning the theories, genres, and media central to Chinese art and theory throughout its history.

• Provides an exceptional collection of essays promoting a comparative understanding of China’s long record of cultural production
• Brings together an international team of scholars from East and West, whose contributions range from an overview of pre-modern theory, to those exploring calligraphy, fine painting, sculpture, accessories, and more
• Articulates the direction in which the field of Chinese art history is moving, as well as providing a roadmap for historians interested in comparative study or theory
• Proposes new and revisionist interpretations of the literati tradition, which has long been an important staple of Chinese art history
• Offers a rich insight into China’s social and political institutions, religious and cultural practices, and intellectual traditions, alongside Chinese art history, theory, and criticism

Leseprobe

WILEY BLACKWELL COMPANIONS TO ART HISTORY

These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English-speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state-of-the-art synthesis of art history.

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A Companion to Chinese Art

edited by Martin J. Powers and Katherine R. Tsiang

A Companion to Chinese Art

Edited by

Martin J. Powers and Katherine R. Tsiang

This edition first published 2016 © 2016 John Wiley & Sons, Inc.

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Library of Congress Cataloging-in-Publication Data

A companion to Chinese art / Edited by Martin J. Powers & Katherine R. Tsiang.   pages cm  Includes bibliographical references and index.  ISBN 978-1-4443-3913-0 (cloth)

1. Art, Chinese. I. Powers, Martin Joseph, 1949- editor. II. Tsiang, Katherine R., editor.  N7340.C635 2015  709.51–dc23

2015015813

A catalogue record for this book is available from the British Library.

Cover image: Dong Qichang, Landscape after a Poem by Du Fu, “The Rock Cliff Reveals, After the Clouds Passing by, its Face of Brocade and Embroidery”, series Landscapes in the Manner of Old Masters, 1621–25, Ming dynasty, album leaf, ink, and color on paper, 55.9 × 34.9 cm. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: acquired through the generosity of the Hall Family Foundations and the exchange of other Trust properties, 86–3/7. Photo Jamison Miller.

To our mothers.

CONTENTS

Notes on Contributors

Introduction

Historiographic Perspective

Overview of the Chapters

Note

References

Part I: Production and Distribution

Chapter 1: Court Painting

The Artistic Success of Song Court Painting

The Political Context of Court Paintings

Remaining Issues

Further Exploration

Chinese Terms

References

Further Reading

Chapter 2: The Culture of Art Collecting in Imperial China

Introduction

The Formation and Geographical Distribution of Private Art Collections

Demography

The Issue of

Ya

versus

Su

Connoisseurship and Connoisseurs

Art Collection Catalogs

Art Market, Art Dealers, Art Prices, Forgeries, and Related Phenomena

Conclusion

Chinese Terms

Notes

References

Chapter 3: Art, Print, and Cultural Discourse in Early Modern China

Invention and Innovation

Books and Social Climbing

Painting Albums and Manuals

The Cultural Matrix of Early Modern China

Chinese Terms

References

Chapter 4: Art and Early Chinese Archaeological Materials

Highlights of the Development of Early Tombs and Associated Studies

Archaeological and Theoretical Readings

Chinese Terms

References

Further Reading

Part II: Representation and Reality

Chapter 5: Figure Painting: Fragments of the Precious Mirror

Lessons from the

Admonitions

Scoping the Genre

The Body

Why Ink Outline?

Conclusion: Reflections on the Narratives of Figure Painting

Chinese Terms

Notes

References

Chapter 6: The Language of Portraiture in China

Introduction

Historical Development and the Emergence of Types

Critical Issues in the Art of Chinese Portraiture

Terminology and Typology

Acknowledgments

Chinese Terms

Notes

References

Further Reading

Chapter 7: Visualizing the Divine in Medieval China

Introduction

Figures of Divine Presence

Sacred Spaces and Divine Cosmologies

Landscape as Sacred Geography

Conclusion

Chinese Terms

Notes

References

Further Reading

Chapter 8: Landscape

Bibliographical Note

Chinese Terms

Notes

References

Chapter 9: Concepts of Architectural Space in Historical Chinese Thought

Chinese Terms

Notes

References

Further Reading

Chapter 10: Time in Early Chinese Art

Why Time in Chinese Art?

Mechanism of Cyclical Time

Art as Manipulation of Time

Time and Alchemy

Reconciling Cyclicality and Linearity

Chinese Terms

Notes

References

Further Reading

Part III: Theories and Terms

Chapter 11: The Art of “Ritual Artifacts” (

Liqi

): Discourse and Practice

Eastern Zhou Discourse on

Liqi

The Age of

Liqi

The Legacy of Ritual Artifacts

Chinese Terms

Notes

References

Further Reading

Chapter 12: Classification, Canon, and Genre

Introduction

Key Terms

Canons and Canonicity

Genre, Theory, and History

Chinese Terms

References

Further Reading

Chapter 13: Conceptual and Qualitative Terms in Historical Perspective

Gu Kaizhi on

Xing

and

Shen

Shen

Applied to Landscape Painting

Key Terms in Xie He's Six Laws

Five Dynasties and Song Period Developments

Zhen

and

Yi

Concepts in “Literati Painting”

“Poetic Mood” in Painting

Chinese Terms

References

Further Reading

Chapter 14: Imitation and Originality, Theory and Practice

Introduction

The Canonization of Wang Xizhi's

Preface to the Poems from the Orchid Pavilion Literary Gathering

Fang

Imitation and Dong Qichang's Southern School of Painting

Chinese Terms

Notes

References

Further Reading

Chapter 15: Calligraphy

Institutional Foundations of Chinese Calligraphy

Social Functions and the Material Dimension of Calligraphy

Canons and Daily Practice (

Rike

)

Text, Script Type, and Personal Style

Chinese Terms

Notes

References

Further Reading

Chapter 16: Emptiness-Substance:

Xushi

Xu

and

Shi

in the Art of the Chinese Literary Garden

Xu

and

Shi

in Seal Engraving

Xu

and

Shi

in Chinese Calligraphy and Literati Painting

Chinese Terms

References

Further Reading

Part IV: Objects and Persons

Chapter 17: Artistic Status and Social Agency

The Zhou Dynasty and Warring States Period (Eleventh through Third Centuries BCE)

The Han Dynasty

Medieval Period (Third through Tenth Centuries CE)

Early Modern Period: Song Dynasty (960–1278)

Concluding Thoughts on the Late, Early Modern Period (Fourteenth through Eighteenth Centuries)

Conclusion

Chinese Terms

References

Chapter 18: Ornament in China

Definitions and Traits

Early China, ca. 5000–221 BCE

The Early Empires and Their Successors (221 BCE–906 CE)

From Song to Qing

Chinese Terms

Notes

References

Further Reading

Chapter 19: Folding Fans and Early Modern Mirrors

Origins and Originality: Ancient Mirrors

Origins and Originality: Ancient Fans

Early Modern Things: Mirrors

Early Modern Things: Folding Fans

Material Change and the Social Death of Things

Chinese Terms

References

Further Reading

Chapter 20: Garden Art

The Rise of Garden Form: Bronze Age to Han

The Formation of a Genre: Six Dynasties Period to Tang

The Development of Landscape Gardening: Song to Ming

The Turn to a Pictorial Esthetic: Ming to Qing

Gardens as Lyrical Enclaves

Chinese Gardens in the Context of a World History of Gardens

Chinese Terms

Notes

References

Chapter 21: Commercial Advertising Art in 1840–1940s “China”

Commercial Cartoon Genre and the Cliché

Mise-en-Scène

of the Gazing Girl

Badiou and Inaesthetics

What is the Historicity of Commercial Advertising Art?

Advertising and Art Photography

Conclusion

Chinese Terms

Notes

References

Further Reading

Part V: Word and Image

Chapter 22: Words in Chinese Painting

Beginnings: Identifying, Labeling, Naming

Calligraphy and Poetry as Key Factors in the Word–Image Relationship

The Northern Song (960–1127) Integration of Poetry, Calligraphy, and Painting

Painting Became a Vehicle for Expressions of Discontent

Southern Song (1127–1272)

Seal Legends

Comparisons with Western Europe

The Mongol Yuan Dynasty (1272–1368)

Ming Dynasty: The Literati Esthetic Becomes Dominant

The Manchu Qing Dynasty (1644–1911)

Silent Poetry and Vernacular Painting

Conclusion

Chinese Terms

References

Further Reading

Chapter 23: On the Origins of Literati Painting in the Song Dynasty

Paintings by Literati and “Literati Painting”

If Not Khubilai, Then What, When, Why?

“Literati Painting”: How to Think about What We Do and Do Not Know

Chinese Terms

Notes

References

Chapter 24: Poetry and Pictorial Expression in Chinese Painting

Gu Kaizhi (ca. 345–ca. 406)

Guo Xi (after 1000–ca. 1090) and

Huayi

(The Meaning of Painting)

Xieyi

and

Shiyi

The

Shiyi

of Sima Huai and Mi Youren

Conclusion

Chinese Terms

References

Chapter 25: Popular Literature and Visual Culture in Early Modern China

Peeping in the Classical Period

The Topos of Peeping in Medieval and Early Modern Literature

Framed Peeping and Garden Aesthetics

Epilogue

Chinese Terms

Notes

References

Further Reading

Index

EULA

List of Tables

Chapter 5

Table 5.1

Chapter 6

Table 6.1

List of Illustrations

Chapter 1

Figure 1.1 Ma Yuan (act. ca. 1180–1225),

Viewing Plum Blossoms by Moonlight

(

Cai mei tu

). Fan mounted as an album leaf; ink and colors on silk; 25.1 × 26.7 cm, with mat 39.4 × 39.4 cm. Gift of John M. Crawford Jr., in honor of Alfreda Murck, 1986. Photograph: Malcolm Varon.

Source

: © Metropolitan Museum of Art 1986.493.2; Art Resource, New York.

Figure 1.2 Huizong (r. 1100–1125),

Finches and Bamboo

(

Zhuqin tu

). Handscroll; ink and colors on silk; 33.7 × 55.4 cm, overall with mounting 34.9 × 839 cm. John M. Crawford Jr. Collection, purchase, Douglas Dillon Gift, 1981.

Source

: © Metropolitan Museum of Art 1981.278; Art Resource, New York.

Figure 1.3 Xu Yang (act. ca. 1750–1776),

The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering Suzhou along the Grand Canal.

Dated 1770. Handscroll; ink and colors on silk; 68.8 × 1994 cm. Purchase, The Dillon Fund Gift, 1988.

Source

: © Metropolitan Museum of Art 1988.350 (detail); Art Resource, New York.

Chapter 2

Figure 2.1 (a) Zhao Mengfu (1254–1322),

Twin Pines and Level Distance

. Handscroll; ink on paper; 26.8 × 107.5 cm, overall with mounting: 27.8 × 781.5 cm. (b) Closer detail.

Source

: © Metropolitan Museum of Art, New York City (1973. 120.5).

Figure 2.2 Qiu Ying (1493–1560),

Zhulin pingu

(Judging antiquities in a bamboo grove). Album leaf; ink and color on silk; 41.1 × 33.8 cm. Palace Museum, Beijing.

Figure 2.3 Wen Zhengming (1470–1559),

Zhenshangzhai tu

(The studio of true connoisseurship). Image 36 cm × 103 cm. Shanghai Museum.

Chapter 3

Figure 3.1 A page from

Xihu zhi

(Gazetteer of West Lake), 1601. 1

tu

: 3b–4a.

Source

: Harvard-Yenching Library.

Figure 3.2 A page from Gu Bing,

Lidai Minggong huapu

, 1603. Japanese reprint of 1798.

Source

: Harvard-Yenching Library.

Figure 3.3

Huazhu suoji

(Things to avoid in bamboo paintings) in

Qiyuan xiaoying

(Shadows over the hills of the Qi River), ca. 1579, 66b–67a. Library of Congress.

Figure 3.4 Chen Hongshou,

The Great Ford on the Yellow River

. Ink and color on silk; 32 × 25.5 cm. Palace Museum, Beijing.

Chapter 4

Figure 4.1 Lacquer vessels with food remains. Northern compartment of Tomb 1, Western Han period, Mawangdui, Changsha, Hunan province.

Source

: Author's collection.

Figure 4.2 Reconstruction of

huangwei

, coffin decor, and outer and inner coffins. Based on archaeological information from the Rui State tombs. Shanghai Museum.

Source

: Photographed by the author.

Chapter 5

Figure 5.1 “Lady Ban declines to ride in the imperial palanquin” from

The Admonitions of the Court Instructress

attributed to Gu Kaizhi (ca. 344–ca. 406; a probable fifth–sixth century copy). Detail of a former handscroll now mounted on two panels; ink and colors on silk; painting panel 24.37 × 343.75 cm.

Source

: Trustees of the British Museum (Asia OA 1903.4-8.1, Chinese Painting 1).

Figure 5.2 “The toilette scene” from

The Admonitions of the Court Instructress

attributed to Gu Kaizhi.

Source

: © Trustees of the British Museum.

Figure 5.3 “The rejection scene” from

The Admonitions of the Court Instructress

attributed to Gu Kaizhi. © Trustees of the British Museum.

Figure 5.4 Lin Yutang, “Charts of Development” (1967: 16–17).

Source

: Reproduced with permission of Curtis Brown Group Ltd., London on behalf of Lin Yutang. © Lin Yutang (1967).

The Chinese Theory of Art: Translations from the Masters of Chinese Art by Lin Yutang

. London: Heinemann.

Figure 5.5 Lin Yutang, “Chart of Derivations” (Lin 1967).

Source

: Reproduced with permission of Curtis Brown Group Ltd., London on behalf of Lin Yutang. © Lin Yutang (1967).

The Chinese Theory of Art: Translations from the Masters of Chinese Art by Lin Yutang

. London: Heinemann.

Chapter 6

Figure 6.1

Portrait of a Censor

, undated, ca. eighteenth century. Hanging scroll; ink and colors on silk; 146 × 91.5 cm.

Source

: Princeton University Art Museum, Gift of DuBois Schank Morris, Class of 1893 (y1947-164). Photograph: Bruce M. White.

Figure 6.2 Ren Xiong (1820–1857),

Self-Portrait

. Hanging scroll; ink and color on paper; 177.5 × 78.8 cm. Palace Museum, Beijing

Figure 6.3

Portrait of Wang Huan

, from the Album

Five Elders of Suiyang

, ca. 1056. Album leaf; ink and color on silk; 41.7 × 31.7 cm.

Source

: Freer Gallery of Art, Smithsonian Institutions, Purchase (F1948.10)

Figure 6.4 Chen Hongshou (1599–1652),

Self-Portrait, Artist Inebriated

, dated 1627. One leaf from the album

Figures, Flowers, and Landscapes

. Album leaf; ink and color on silk; 22.2 × 21.7 cm.

Source

: © The Metropolitan Museum of Art. Gift of Mr. and Mrs. Wan-go H. C. Weng, 1999 (1999.521d).

Chapter 7

Figure 7.1 Western Paradise of the Buddha Amitabha. Limestone relief from Xiangtangshan Cave 2 with traces of pigment; 158.9 × 334.5 cm.

Source

: Freer Gallery of Art, Smithsonian Institution, Washington, DC: Purchase, F1921.2.

Figure 7.2 “Queen Mother of the West,” mural painting, west side of tomb ceiling, Dingjiazha village, Jiuquan, Gansu.

Source

: With permission of Cultural Relics Publishing House, Beijing.

Figure 7.3 Divinities in the heavenly realm, mural painting, Mogao Cave 249 ceiling, Dunhuang, Gansu province.

Source

: With permission of The Lo Archive.

Figure 7.4 Drawing of engraving on the stone funerary bed of Kang Ye, dated 571.

Source

: With permission of the Office of Archeological Research of Xi'an City, Shaanxi Province.

Figure 7.5 Landscape, from

The Admonitions of the Court Instructress

, probably 5th–6th century. Detail of a handscroll painting; ink and colors on silk; H: 24.37 cm.

Source

: © The Trustees of the British Museum.

Chapter 8

Figure 8.1

Hu

vessel. First century BCE, Western Han dynasty. Earthenware with painted decoration, H 56.2 × Dia 34.6 cm.

Source

: © The Metropolitan Museum of Art, New York, Purchase, Mr. and Mrs. Oscar Tang Gift, 1986.

Figure 8.2

River and Mountains on a Clear Autumn Day

, ca. 1624–1627. Dong Qichang (Chinese, 1555–1636). Handscroll; ink on Korean paper; 38.4 × 136.8 cm.

Source

: © The Cleveland Museum of Art, Purchase from the J. H. Wade Fund 1959.46.

Chapter 9

Figure 9.1 Mount Sanwei viewed from the Northern Mogao Caves, Dunhuang, Gansu province.

Source

: Photograph by author, 2010.

Figure 9.2 Interior of Cave 435 with Buddhist sculpture facing the east entryway, Mogao Caves, Dunhuang, Gansu.

Source

: Lo Archive.

Figure 9.3 (a) and (b) Organizational patterns of how a courtyard complex is used.

Figure 9.4 Qing dynasty Hall of Cultural Origins (Wenyuange) imperial library hall, 1776, Forbidden City, Beijing.

Source

: From Imperial [House­hold] Museum of Tokyo, comp., Photographs of Palace Buildings of Peking (Tokyo: K. Ogawa, 1906), pl. 94.

Chapter 10

Figure 10.1 Chart of “Dark Palace.” Drawing of the decorative design on a damaged circular lacquerware lid recovered from Linzi Langjiazhuang (M1: 54), fifth century BCE.

Source

: Shandong Provincial Museum, “Linzi Langjiazhuang yihao Dong Zhou xunren mu,”

Kaogu xuebao

, no. 1 (1977), p. 82, fig. 14.

Figure 10.2 Bronze

hu

vessel from Liulige Tomb 76, ca. 300 BCE.

Source

: Charles D. Weber,

Chinese Pictorial Bronze Vessels of the Late Chou Period

(Ascona: Artibus Asiae, 1968) p. 138, fig. 44b, 44d.

Figure 10.3 Dragon and tiger converge on a

ding

vessel in the inner zone; four-season cycle marked by four corner trees in the surrounding zone. Line drawing of design on bronze tray. First century CE. Image 69.4 × 43.6 × 2.0 cm. Guangxi Provincial Museum.

Source

: Jiang Tingyu. “Handai zanke huawen tongqi yanjiu”

Kaogu xuebao

, no. 3 (2002), p. 278, fig. 1.1.

Figure 10.4 T-shaped silk painting covering the inner coffin of Tomb 1, Changsha. After 168 BCE. Image 2.05 × 92 × 47.7 cm. Hunan Provincial Museum.

Source

: Hunan Provincial Museum,

Changsha Mawangdui yihao Hanmu

(Beijing: Wenwu chubanshe, 1973), vol. 1, fig. 38.

Figure 10.5 Scenes of a seasonal cycle. Ink rubbing of bas-relief. 2

nd

century CE. 70 cm. × 65 cm. Weishan County Museum of Culture, Shandong Province.

Source

:

Shandong Han huaxiangshi xuanji

, ed. Shangdongsheng Bowuguan and Shandong Wenwu Kaogu Yanjiushuo (Jinan: Qilu shushe, 1982), pl. 6, fig. 9.

Chapter 12

Figure 12.1 Reconstruction drawing of central structure of Han dynasty composite ritual hall. After Wang Shiren, “Han Chang'an cheng nanjiao lizhi jianzhu yuanchuang de tuice” (Conjectures on the original appearance of the architectural remains of ritual structures in the southern suburbs of Han Chang'an),

Kaogu

1963, No. 9, foldout following p. 514. (Also in Nancy Shatzman Steinhardt et al., ed.,

Chinese Traditional Architecture

(New York: China Institute in America China House Gallery, 1984) p. 72, Plate 3.2.

Figure 12.2 Wooden Sculpture of Shaka Nyorai at the Seiryōji Temple, Kyoto, Japan, 985 CE. Wood, 160 cm high.

Source

: From Henderson and Hurvitz (1956), by kind permission of

Artibus Asiae.

Figure 12.3

Maitreya Enthroned

. Woodblock print after a wall painting by Gao Wenjin, engraved by monk Zhili. Ink on paper, 56.4 × 29.2 cm. Seiryōji Temple, Kyoto, Japan.

Source

: From Henderson and Hurvitz (1956), by kind permission of

Artibus Asiae.

Figure 12.4 Stone Classics of the Kaicheng era: 114 stone tablets (now cut into 228 tablets) with engravings of twelve Classic texts. Carved in 837 CE. Each tablet 1.8 meters high, 80 cm. wide. Forest of Steles (

Beilin

), Shaanxi Provincial Museum, Xi'an. From

Xi'an Wen Wu Sheng Ji: Famous Historical Places and Cultural Relics of Sian.

Xi'an: Chang'an mei shu chu ban she, 1959.

Chapter 14

Figure 14.1 Dong Qichang (1555–1636),

Landscape after Guo Zhongshu.

Undated (ca. 1598–1599, inscription dated 1603). Handscroll, ink on silk, 24.5 × 140.4 cm Östasiatiska Museet, Stockholm.

Source

: Photographer Karl Zetterstrom and theMuseum of Far Eastern Antiquities, Stockholm/Ostasiatiska Museet).

Figure 14.2 Dong Qichang (1555–1636),

Landscapes after Wang Meng,

Series:

Landscapes in the Manner of Old Masters.

Various leaves dated 1621–1624, Ming Dynasty (1368–1644). Album leaf; ink and color on paper; 69 × 40.6 cm.

Source

: The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: acquired through the generosity of the Hall Family Foundations and the exchange of other Trust properties, 86-3/3. Photograph: Mel McLean.

Chapter 15

Figure 15.1 Li Yingzhen (1431–1493), Letter to Shen Zhou (1427–1509). Letter mounted as album leaf; ink on paper; 27.5 × 22.5 cm. Private collection.

Figure 15.2 Wang Youdun (1692–1758), Couplet in Running Script. Ink on paper; each scroll 97.5 × 22.8 cm. Private collection.

Figure 15.3 (a) Pu Xuezhai (1893–1966), painting and (b) Guan Pinghu (1897–1967), calligraphy. Folding fan of calligraphy and painting. Ink on paper; Height of arc: 31 cm, width unfolded: 22 × 46 cm. Private collection.

Figure 15.4 Chen Chun (1483–1544), Thousand Character Classic in Cursive Script, undated. Album; ink on paper; each leaf 14.5 × 26.8 cm. Private collection.

Chapter 16

Figure 16.1 Xia Gui (active 1180–1224),

Twelve Views of Landscape

(section), Southern Song Dynasty (1127–1279). Handscroll; ink on silk; 28.0 × 230.5 cm.

Source

: The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill Nelson Trust, 32-159/2. Photograph: John Lamberton.

Figure 16.2 Seal impression from

Wu Rangzhi yinpu

by Wu Xizai (1799–1870).

Source

: After Jason C. Kuo,

Word as Image: The Art of Chinese Seal Engraving

(New York: China House Gallery, 1997), frontispiece.

Figure 16.3 Zhu Da (Bada Shanren, 1626–1705),

Mynah Birds, Old Tree Branch, and Rocks

, Qing dynasty (1644–1911). Hanging scroll; ink on silk; 206.4 × 54.6 cm.

Source

: The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill Nelson Trust, 67-4/1.

Figure 16.4 Wu Changshuo (1844–1927),

Flowers

. Hanging Scroll; ink on paper.

Source

: Tsien-hsiang-chai Collection.

Chapter 17

Figure 17.1 Lidded ritual wine container (

hu

) with masks and dragons, ca. thirteenth century BCE, late Shang dynasty, early Anyang period. Bronze, Anyang, China.

Source

: Freer Gallery of Art, Smithsonian Institution, Washington, DC: Purchase F1949.5a-b.

Figure 17.2

Buffalo and Herder Boy in Landscape.

Detail. Anonymous, Southern Song dynasty, twelfth–thirteenth century.

Source

: Courtesy of the Seattle Art Museum, Thomas D. Stimson Memorial Collection. Photo: Paul Macapia.

Figure 17.3 Illustrations to Su Shi's

Second Prose Poem on the Red Cliff

attributed to Qiao Zhongchang (act. late eleventh century to after 1126), twelfth century, detail handscroll; ink on paper; entire scroll 30.48 × 1,224.28 cm.

Source

: The Nelson-Atkins Museum of Art, Kansas City, Missouri, Nelson Fund, F80-5.

Figure 17.4 Rubbing of a bronze mirror back showing a woman artist explaining her work to companions. The mirror dates to the Southern Song dynasty, thirteenth century. In the author's collection.

Chapter 18

Figure 18.1 (a) and (b) Drawings of the bronze vessels from Tomb M160 at Guojiazhuang, Anyang, Henan province. Shang period, Anyang phase, ca. 1100 BCE.

Source

: After Institute of Archaeology, CASS 1998, 79-104. Drawing John Rawson.

Figure 18.2 Decorated niches on the outer wall of Cave 10 at Yungang, the Buddhist cave temple sponsored by the Northern Wei dynasty in the fifth century. Photograph: Jessica Rawson.

Figure 18.3 Detail of

Court Ladies Preparing Newly Woven Silk

. Color and gold on silk. Possibly Emperor Huizong (r. 1101–1125).

Source

: Photograph © 2015 Museum of Fine Arts, Boston. Special Chinese and Japanese Fund, 12.886.

Figure 18.4 Porcelain double gourd shaped bottle with under glaze blue decoration with emblems of longevity. Ming dynasty, Jiajing mark and period, 1522–1566. Height 44.5 cm.

Source

: ©Trustees of the British Museum.

Chapter 19

Figure 19.1 (a) Wang Ch'iao [Wang Qiao], Chinese, active 1657–1680.

Lady at Dressing Table

, 1657. (b) Detail. Ink and colors on silk.

Source

: Minneapolis Institute of Arts, Gift of Ruth and Bruce Dayton, 2002.4.5.

Figure 19.2 Old- and new-style mirrors compared. Left, square (bronze?) mirror in the chest-of-drawers style.

Source

: “Gujing zhaotu”: Wu Youru

Wu Youru huabao: Shanghai biyuan zhencang. Haishang baiyan tu

, 6, p. 20. (Original held in Asian Collections, National Library of Australia). Right, round, glass mirror popularized in the nineteenth century. “Xiangzan baoji” (Fragrant hairpin, precious chignon) Wu Youru,

Wu Youru huabao: Shanghai biyuan zhencang

.

Haishang baiyan tu

, 6, p. 20. (Original held in Asian Collections, National Library of Australia).

Figure 19.3 Lu Zhi (1496–1576),

Qiushan, huangye

(Autumn Landscape with Yellow Leaves). Published: Shanghai bowuguan, ed., Shanghai bowuguan cang Ming Qing zheshan shuhua (Shanghai: Shanghai renmin meishu chubanshe: Xinhuashudian, 1983), plate 1.

Chapter 20

Figure 20.1 Archeological site photo of the Garden of the Nanyue Kingdom.

Source

: Courtesy of the Museum of the Palace of Nanyue Kingdom, Guangzhou, China.

Figure 20.2 Archeological site photo of the Garden of Shangyang Palace, Luoyang. Photograph by Jiang Bo, 1998.

Figure 20.3 The Dragon's Gate waterfall at Tenryū-ji temple garden. Photograph by Kendall Brown, 2012.

Figure 20.4 Woodblock print of the overview of Grand View Garden from

Dream of the Red Chamber, with Illustrations and Annotations

, © 1900.

Chapter 21

Figure 21.1 Pepsodent boudoir image of sexualized woman gazing in vanity mirror Dongfang zazhi, 25: 7.

Figure 21.2 Colgate girl painting her image while gazing in a mirror, Funv zazhi, 11: 9, 1925, no pagination.

Figure 21.3 A portrait of Xi Chun, taken from an 1839 strike of Hongloumeng,

Dream of the Red Chamber.

Figure 21.4 Du Liniang painting self while gazing in a mirror. Courtesy of the C.V. Starr East Asian Library. University of California, Berkeley.

Chapter 22

Figure 22.1 Shitao (Zhu Ruoji, 1642–1707),

Peach Blossoms Outside My Window.

Leaf six (leaf F) from Wilderness Colors, an album of twelve paintings; ink and color on paper; 27.6 × 21.6 cm.

Source

: The Sackler Fund, 1972 (1972.122f). © Metropolitan Museum of Art, Art Resource.

Figure 22.2 Modern facsimile of “Chu Silk Manuscript,” original datable to ca. 300 BCE. Ink on paper. From Haiwai cang Zhongguo lidai minghua (Hunan Fine Arts Publishing), 1, p. 3. Currently on loan to the Freer Gallery and Sackler Art Museum, Smithsonian, Washington DC.

Figure 22.3 Qiao Zhongchang (act. late eleventh–early twelfth century).

Su Shi's Second Ode to the Red Cliff

.

Illustration to the Second Prose Poem on the Red Cliff

(section), Northern Song dynasty (960–1127). Handscroll; ink on paper; overall 29.5 × 560.4 cm.

Source

: The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation, F80-5. Photo: John Lamberton

Figure 22.4 Ni Zan (1306–1374),

Woods and Valleys of Mount Yu

. Hanging scroll, dated 1372, ink on paper; Image: 94.6 × 35.9 cm, overall with mounting 208.3 × 52.4 cm, overall with knobs 208.3 × 62.5 cm. Ex coll.: C. C. Wang Family, Gift of The Dillon Fund. 1973. 120.8. Photo: Malcolm Varon.

Source

: © The Metropolitan Museum of Art, Art Resource.

Chapter 23

Figure 23.1 Qiao Zhongchang

,

(active late eleventh–early twelfth century).

Illustration to the Second Prose Poem on the Red Cliff

(section), Northern Song Dynasty (960–1127). Handscroll; ink on paper; 29.5 × 560.4 cm.

Source

: The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation, F80-5. Photo: John Lamberton

Figure 23.2 Sima Huai/Mi Youren, Northern-Southern Song dynasty, early-to-mid twelfth century. “Poetry Illustration,” detail

Chan-chan

(

It Flows Between the Stones

). Handscroll (section); ink on paper. Private collection.

Figure 23.3 Detail of Figure 23.2.

Figure 23.4 Zhao Bosu, Southern Song dynasty, mid-twelfth century.

Ten-Thousand Pines and Golden Gates.

Handscroll (section); ink and colors on silk; 27.6 × 135.5 cm (complete).

Source

: Palace Museum, Beijing.

Chapter 24

Figure 24.1 Attributed to Guo Xi (after 1000–ca. 1090),

Clearing Autumn Skies over Mountains and Valleys

, Song Dynasty. Third section of a handscroll; ink and light color on silk; 205.6 × 126.1 cm.

Source

: The Freer Gallery of Art, Smithsonian Institution, Washington, DC: Gift of Charles Lang Freer, F1916.538.

Figure 24.2 Attributed to Guo Xi (after 1000–ca. 1090),

Clearing Autumn Skies over Mountains and Valleys

, Song Dynasty. Fourth section of a Handscroll; ink and light colors on silk; 26.0 × 206.0 cm.

Source

: The Freer Gallery of Art, Smithsonian Institution, Washington, DC: Gift of Charles Lang Freer, F1916.538.

Figure 24.3 Mi Youren (ca. 1075–1151), “Poetry Illustration,” Song Dynasty. First part of a joint handscroll with Sima Huai; ink on paper; 148.6 × 29.2 cm. Private collection.

Figure 24.4 Sima Huai (active in the first part of the twelfth century), “Poetry Illustration,” Song Dynasty. Second part of a joint handscroll; ink on paper; 140.3 × 29.2 cm. Private collection.

Chapter 25

Figure 25.1 Illustration from the 1498 edition of

The Story of the Western Wing

, “The maiden peeps at Student Zhang and Yingying”. By permission of the Library of Peking University.

Figure 25.2 Illustration from the Chongzhen (1628–1644) edition of

Jin ping mei

, “Ximen Qing seduces Wang Liu'er.” By permission of the Shanghai Library.

Figure 25.3 Illustration from the Chongzhen (1628–1644) edition of

Jin ping mei

, “The maiden peeps at Ximeng Qing and Li Ping'er.” By permission of the Shanghai Library.

Figure 25.4 Illustration from the Chongzhen (1628–1644) edition of

Jin ping mei

, “Pan Jinlian eavesdrops at the Grotto of Hidden Spring.” By permission of the Shanghai Library.

Guide

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Notes on Contributors