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Li Kung-lin and long handscroll illu...

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Li Kung-lin and long handscroll illustrations of T'ao Ch'ien's "Returning Home". (Volumes I and II).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Li Kung-lin and long handscroll illustrations of T'ao Ch'ien's "Returning Home". (Volumes I and II)./
作者:	Brotherton, Elizabeth Chipman.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1992,
面頁冊數:	418 p.
附註:	Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1701.
Contained By:	Dissertation Abstracts International53-06A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9230217

Li Kung-lin and long handscroll illustrations of T'ao Ch'ien's "Returning Home". (Volumes I and II).
Brotherton, Elizabeth Chipman.

Li Kung-lin and long handscroll illustrations of T'ao Ch'ien's "Returning Home". (Volumes I and II). - Ann Arbor : ProQuest Dissertations & Theses, 1992 - 418 p.

Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1701.

Thesis (Ph.D.)--Princeton University, 1992.

In illustrating T'ao Ch'ien's rhapsody Returning Home, Li Kung-lin (ca. 1040-1106) created a series of images as art-historically far-reaching as it was unique to the late eleventh century. This study revolves around an early twelfth-century copy of Li Kung-lin's Returning Home handscroll in the Freer Gallery of Art, in which we behold (1) the importance of this subject to intellectuals of the late Northern Sung, and (2) the complex ways in which Li Kung-lin used past art to express his modern approach. Two later paintings show Li's strong influence, but indicate the gap separating him from followers.Subjects--Topical Terms:

2122701
Art history.

Li Kung-lin and long handscroll illustrations of T'ao Ch'ien's "Returning Home". (Volumes I and II).
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100 1 $a Brotherton, Elizabeth Chipman. $3 3285127
245 1 0 $a Li Kung-lin and long handscroll illustrations of T'ao Ch'ien's "Returning Home". (Volumes I and II).
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1992
300 $a 418 p.
500 $a Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1701.
500 $a Adviser: Wen Fong.
502 $a Thesis (Ph.D.)--Princeton University, 1992.
520 $a In illustrating T'ao Ch'ien's rhapsody Returning Home, Li Kung-lin (ca. 1040-1106) created a series of images as art-historically far-reaching as it was unique to the late eleventh century. This study revolves around an early twelfth-century copy of Li Kung-lin's Returning Home handscroll in the Freer Gallery of Art, in which we behold (1) the importance of this subject to intellectuals of the late Northern Sung, and (2) the complex ways in which Li Kung-lin used past art to express his modern approach. Two later paintings show Li's strong influence, but indicate the gap separating him from followers.
520 $a Chapter 1 summarizes the historical response to T'ao Ch'ien, culminating in Li Kung-lin's time. Chapter 2 examines literature of Li's Returning Home paintings. Some contemporaries paired his Returning Home with his celebrated painting entitled Yang Pass, which reevaluated its subject and the role of painting in general. By the end of the eleventh century at the latest, Returning Home was linked with the Yuan-yu faction. Two middle twelfth-century poems suggest that the subject embodied protest against the status-quo; though paintings of Returning Home in the Southern Sung court would have played a very different role.
520 $a Chapter 3 discusses the Freer scroll, broadly characterizing it as a "linear mandala" which presents T'ao Ch'ien's progressive expansion within two separate realms: natural landscape and Confucian social web. The imagery and compositions that Li adopted in depicting these two realms were drawn from distinct pictorial traditions; Li was merging style with content. Li's followers converted his composition into a physical continuum, undermining his ideas.
520 $a Chapter 4 interprets the early Yuan handscroll Kuei-chuang t'u by Ho Ch'eng as a copy of a no-longer extant twelfth-century work probably painted for the court, but displaying heavy indebtedness to Li Kung-lin's long handscroll composition. It is suggested that Kuei-chuang t'u's model was by a follower of Li working in the court of Emperor Kao-tsung.
520 $a The conclusion summarizes the Chapters and introduces a third Returning Home scroll whose increased visual unity presages the end of the narrative handscroll format.
590 $a School code: 0181.
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650 4 $a Asian history. $2 bicssc $3 1099323
650 4 $a Asian literature. $3 2122707
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710 2 $a Princeton University. $3 645579
773 0 $t Dissertation Abstracts International $g 53-06A.
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791 $a Ph.D.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9230217