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Painting Authenticity: Intersections...

Augustin, Birgitta.

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Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan./
作者:	Augustin, Birgitta.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	421 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-05(E), Section: A.
Contained By:	Dissertation Abstracts International77-05A(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3740740
ISBN:	9781339328546

Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan.
Augustin, Birgitta.

Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 421 p.

Source: Dissertation Abstracts International, Volume: 77-05(E), Section: A.

Thesis (Ph.D.)--New York University, 2015.

This item is not available from ProQuest Dissertations & Theses.

This study explores the relation between individual and collective practices and concerns, and between painting strictu senso and the closely related practices of calligraphy, poetry, and criticism, during the second half of the Yuan dynasty (1271-1368). This period cuts across the biographies of the three intellectuals and artists, Zhang Yu (1283-1350), Huang Gongwang (1269-1354), and Ni Zan (1306-1374), who belonged to different generations and very different social backgrounds. Their practices are examined in relation to material reaching back into medieval and ancient times.

ISBN: 9781339328546Subjects--Topical Terms:

2122701
Art history.

Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan.
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500 $a Source: Dissertation Abstracts International, Volume: 77-05(E), Section: A.
500 $a Adviser: Jonathan Hay.
502 $a Thesis (Ph.D.)--New York University, 2015.
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520 $a This study explores the relation between individual and collective practices and concerns, and between painting strictu senso and the closely related practices of calligraphy, poetry, and criticism, during the second half of the Yuan dynasty (1271-1368). This period cuts across the biographies of the three intellectuals and artists, Zhang Yu (1283-1350), Huang Gongwang (1269-1354), and Ni Zan (1306-1374), who belonged to different generations and very different social backgrounds. Their practices are examined in relation to material reaching back into medieval and ancient times.
520 $a The Yuan dynasty was an era of significant discontinuities in society and art. Changes happened within one generation or less, allowing us to observe the effects within the lifespan of individual artists. The second half of the Yuan dynasty saw the consequences of the interruption of normative dynastic forces previously defining the elite's life and career, especially in the south, far from the Mongol capital. This political and social change meant more freedom for, but also demanded more personal decisions from, artist-intellectuals than before.
520 $a Zhang was an acclaimed poet, calligrapher, and influential professional Daoist of the important southern Shangqing order. Huang, an orphan from a poor family and administration clerk falsely accused of being complicit in his supervisor's criminal activities, and Ni, son of a wealthy landowner who apparently had to sell off his property and turned to a recluse-like life, were Daoist adherents. The three men formed a small group with particularly strong ties. While Huang and Ni later became famous especially for their painting, Zhang has been little studied, to the point of being largely disregarded in Western scholarship. And yet Zhang, as this study shows, was not only a role model for both, but was a moral and intellectual authority for many intellectuals in the south, particularly after the death of Zhao Mengfu (1264-1322), with whom Zhang had maintained a close relationship.
520 $a From an in-depth study of key artworks, it becomes apparent that the three intellectuals developed in their visual art production a discursive engagement with topics such as moral authenticity and the evaluation of historical role models. They not only drew on models from the recent past such as Qian Xuan (c. 1235-before 1307) and Zhao Mengfu, but also and especially employed discursive modes from as early as the eleventh century BCE until the Six Dynasties period.
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