東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Visualizing love and longing in Song...

Blanchard, Lara Caroline Williams.

Linked to FindBook

Google Book

Amazon

博客來

Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China).

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China)./
Author:	Blanchard, Lara Caroline Williams.
Description:	366 p.
Notes:	Chair: Martin J. Powers.
Contained By:	Dissertation Abstracts International62-10A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3029300
ISBN:	0493415572

Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China).
Blanchard, Lara Caroline Williams.

Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China). - 366 p.

Chair: Martin J. Powers.

Thesis (Ph.D.)--University of Michigan, 2001.

The nature of emotion, particularly how it is manifested, has been a concern of Chinese theorists since the early imperial period. One way that this concern came to be expressed in certain genres of Chinese art and literature was in the conception of elite women as preoccupied with romance. In the Song dynasty (960–1279), painters and poets engage in an extensive dialogue on the meanings of attachments between men and women, with the stages of the love relationship coded as desire, love, longing and heartbreak. An examination of extant paintings from this period reveals that this construction pervades the cultural productions of both court figures and intellectuals. This dissertation analyzes Song dynasty paintings of women in love in light of the construction of both femininity and masculinity, the nature of representation, and text-image relationships, and considers the authorship and reception of these works.

ISBN: 0493415572Subjects--Topical Terms:

635474
Art History.

Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China).
LDR:03195nam 2200301 a 45 001 930776
005 20110429
008 110429s2001 eng d
020 $a 0493415572
035 $a (UnM)AAI3029300
035 $a AAI3029300
040 $a UnM $c UnM
100 1 $a Blanchard, Lara Caroline Williams. $3 1254324
245 1 0 $a Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China).
300 $a 366 p.
500 $a Chair: Martin J. Powers.
500 $a Source: Dissertation Abstracts International, Volume: 62-10, Section: A, page: 3212.
502 $a Thesis (Ph.D.)--University of Michigan, 2001.
520 $a The nature of emotion, particularly how it is manifested, has been a concern of Chinese theorists since the early imperial period. One way that this concern came to be expressed in certain genres of Chinese art and literature was in the conception of elite women as preoccupied with romance. In the Song dynasty (960–1279), painters and poets engage in an extensive dialogue on the meanings of attachments between men and women, with the stages of the love relationship coded as desire, love, longing and heartbreak. An examination of extant paintings from this period reveals that this construction pervades the cultural productions of both court figures and intellectuals. This dissertation analyzes Song dynasty paintings of women in love in light of the construction of both femininity and masculinity, the nature of representation, and text-image relationships, and considers the authorship and reception of these works.
520 $a I argue that by the Song dynasty, what became valued in the pictorial representation of a female figure was her interior state. Artists had several modes for revealing it at their disposal: these included not only attention to a figure's facial expression and gesture, but also the employment of poetic tropes that seized upon every aspect of the female figure as a potential means of disclosing her feelings. Chapter One investigates the gardens and bedrooms of the inner quarters as gendered settings for the representation of inner emotions. Chapter Two considers the representation of “singing girls” (courtesans) and the connection of musical entertainment to the performance of desire, arguing that paintings of this performance constitute a metaconstruction. Chapter Three examines self adornment with mirrors and makeup as a means of reflecting a figure's heart/mind and a way of literally writing emotions upon her face. Chapter Four analyzes the erotic connotations of women's work with cloth. I conclude that each of these elements is available for manipulation, not so much to express the figure's imagined feelings as to provide the authors and audience of these images with a figure on which to project their emotions, on subjects that could be much wider-ranging than the vicissitudes of love relationships.
590 $a School code: 0127.
650 4 $a Art History. $3 635474
650 4 $a Biography. $3 531296
650 4 $a Women's Studies. $3 1017481
690 $a 0304
690 $a 0377
690 $a 0453
710 2 0 $a University of Michigan. $3 777416
773 0 $t Dissertation Abstracts International $g 62-10A.
790 $a 0127
790 1 0 $a Powers, Martin J., $e advisor
791 $a Ph.D.
792 $a 2001
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3029300