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'MOMEI' (INK PLUM): THE EMERGENCE, ...

BICKFORD, ROBERTA R.

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'MOMEI' (INK PLUM): THE EMERGENCE, FORMATION, AND DEVELOPMENT OF A CHINESE SCHOLAR-PAINTING GENRE. (VOLUMES I AND II).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	'MOMEI' (INK PLUM): THE EMERGENCE, FORMATION, AND DEVELOPMENT OF A CHINESE SCHOLAR-PAINTING GENRE. (VOLUMES I AND II)./
作者:	BICKFORD, ROBERTA R.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1987,
面頁冊數:	502 p.
附註:	Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1561.
Contained By:	Dissertation Abstracts International48-07A.
標題:	Fine arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8722561

'MOMEI' (INK PLUM): THE EMERGENCE, FORMATION, AND DEVELOPMENT OF A CHINESE SCHOLAR-PAINTING GENRE. (VOLUMES I AND II).
BICKFORD, ROBERTA R.

'MOMEI' (INK PLUM): THE EMERGENCE, FORMATION, AND DEVELOPMENT OF A CHINESE SCHOLAR-PAINTING GENRE. (VOLUMES I AND II). - Ann Arbor : ProQuest Dissertations & Theses, 1987 - 502 p.

Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1561.

Thesis (Ph.D.)--Princeton University, 1987.

The momei genre can be documented precisely from its recognition in the early 12th century through its formative period. It presents a highly specific test-case for the development of scholar-painting genres. This study accounts for the birth of a new painting genre (momei) in the late Northern Song, for its establishment and rise in the Southern Song (12th-13th C.), in the context of flowering-plum cults; and, for its achievement of definitive stylistic and iconographic form, under the impact of Mongol rule, by the late Yuan (mid-14th C.). Employing the materials and methods of art history, cultural history, and the study of literature, it demonstrates the specific interactions between these spheres that together produced the evolving momei situation.Subjects--Topical Terms:

2122690
Fine arts.

'MOMEI' (INK PLUM): THE EMERGENCE, FORMATION, AND DEVELOPMENT OF A CHINESE SCHOLAR-PAINTING GENRE. (VOLUMES I AND II).
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300 $a 502 p.
500 $a Source: Dissertation Abstracts International, Volume: 48-07, Section: A, page: 1561.
502 $a Thesis (Ph.D.)--Princeton University, 1987.
520 $a The momei genre can be documented precisely from its recognition in the early 12th century through its formative period. It presents a highly specific test-case for the development of scholar-painting genres. This study accounts for the birth of a new painting genre (momei) in the late Northern Song, for its establishment and rise in the Southern Song (12th-13th C.), in the context of flowering-plum cults; and, for its achievement of definitive stylistic and iconographic form, under the impact of Mongol rule, by the late Yuan (mid-14th C.). Employing the materials and methods of art history, cultural history, and the study of literature, it demonstrates the specific interactions between these spheres that together produced the evolving momei situation.
520 $a Part I treats relationships between the flowering-plum in nature, poetry and painting. It surveys literary and cultural traditions that were preconditions for momei, discusses plum images and meanings, and formulates a "flowering-plum aesthetic." Part II traces art-historical developments that converged in momei: early flower painting, floral monochromes, literati painting. Part III treats the formative period, documenting the emergence of the genre in the ink-wash practice of the Chan priest Zhongren (d. 1123); the literati appropriation and transformation of the genre, epitomized by the calligraphic practice of Yang Wujiu (1097-1169), and momei 's first theoretical codification in the meipu of Zhao Mengjian (1199-1264), concluding with a survey of Southern Song plum-painting. Part IV discusses the emergence of new stylistic and iconographic modes (with special reference to the formal and expressive integration of pictorial image and poetic inscription) that would guide the later momei genre, analyzes Yuan theory (notably Wu Taisu's Songzhai meipu), and studies the life, works, and persona of Wang Mian (d. 1359), who is the founder of the modern momei tradition. An "Epilogue" outlines genre developments to the present.
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