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Paradigm Shifts, Iconographic Change...
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Pan, Yanlin.
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Paradigm Shifts, Iconographic Changes: the Moon Goddess Chang'e and Other Beauties in Paintings of the Mid Ming.
紀錄類型:
書目-語言資料,印刷品 : Monograph/item
正題名/作者:
Paradigm Shifts, Iconographic Changes: the Moon Goddess Chang'e and Other Beauties in Paintings of the Mid Ming./
作者:
Pan, Yanlin.
面頁冊數:
68 p.
附註:
Source: Masters Abstracts International, Volume: 52-03.
Contained By:
Masters Abstracts International52-03(E).
標題:
Art History. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1546242
ISBN:
9781303443541
Paradigm Shifts, Iconographic Changes: the Moon Goddess Chang'e and Other Beauties in Paintings of the Mid Ming.
Pan, Yanlin.
Paradigm Shifts, Iconographic Changes: the Moon Goddess Chang'e and Other Beauties in Paintings of the Mid Ming.
- 68 p.
Source: Masters Abstracts International, Volume: 52-03.
Thesis (M.A.)--University of California, Davis, 2013.
This paper explores the changes that happened to the iconography of the moon goddess Chang'e from the Han Dynasty until the early sixteenth century. Although the iconography was stable within periods, it often changed from period to period. In the mid Ming Dynasty (ca. 1425 -- 1590), however, the canonic setting of Chang'e, and perhaps immortal beauties in general, was challenged by such belle painters as Tang Yin (1470 -- 1524), Zhang Lu (1464 -- 1537/8) and Qiu Ying (1494 -- 1522) and members of their schools. With new research, this paper takes a single Tang Yin painting as a case study, and reveals how the issue of secularization was manifested in the painting Chang'e. Through iconography and inscription, the Chang'e, as well as contemporary works of Qiu Ying and Zhang Lu, implicate an iconoclastic philosophy of the time.
ISBN: 9781303443541Subjects--Topical Terms:
635474
Art History.
Paradigm Shifts, Iconographic Changes: the Moon Goddess Chang'e and Other Beauties in Paintings of the Mid Ming.
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This paper explores the changes that happened to the iconography of the moon goddess Chang'e from the Han Dynasty until the early sixteenth century. Although the iconography was stable within periods, it often changed from period to period. In the mid Ming Dynasty (ca. 1425 -- 1590), however, the canonic setting of Chang'e, and perhaps immortal beauties in general, was challenged by such belle painters as Tang Yin (1470 -- 1524), Zhang Lu (1464 -- 1537/8) and Qiu Ying (1494 -- 1522) and members of their schools. With new research, this paper takes a single Tang Yin painting as a case study, and reveals how the issue of secularization was manifested in the painting Chang'e. Through iconography and inscription, the Chang'e, as well as contemporary works of Qiu Ying and Zhang Lu, implicate an iconoclastic philosophy of the time.
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