Dream Journey Over The Xiao And Xiang
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Dreaming the Southern Song Landscape
Establishing a new approach to reading Chinese landscape painting, this work centers around an early key example of scholarly painting, viz. Dream Journey on the Xiao and Xiang Rivers (late 12th century). The author restores the status of Dream Journey as a cultural icon for Confucians, an object of contemplation for aesthetes, an imaginary dream journey for poets, and an incentive to cultivate one’s moral intentions for both Buddhist monks and lay scholars. Also it is convincingly argued that scholarly painting originates in the Southern Song (1127-1279) and not, as is commonly thought, in the Yuan Dynasty (1279-1368).
Qing Encounters
Author: Petra ten-Doesschate Chu
language: en
Publisher: Getty Publications
Release Date: 2015-10-01
Qing Encounters: Artistic Exchanges between China and the West examines how the contact between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East-West divide. The essays in the volume reveal the extent to which images, artifacts, and natural specimens were traded and copied, and how these materials inflected both cultures’ visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople on both continents borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex new creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period.
Poetry and Painting in Song China
Throughout the history of imperial China, the educated elite used various means to criticize government policies and actions. During the Song dynasty (960-1278), some members of this elite found an elegant and subtle means of dissent: landscape painting. By examining literary archetypes, the titles of paintings, contemporary inscriptions, and the historical context, Alfreda Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed. She argues that the coding of messages in seemingly innocuous paintings was an important factor in the growing respect for painting among the educated elite and that the capacity of painting’s systems of reference to allow scholars to express dissent with impunity contributed to the art’s vitality and longevity.