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WANG MENG'S "PIEN MOUNTAINS": THE L...

VINOGRAD, RICHARD ELLIS.

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WANG MENG'S "PIEN MOUNTAINS": THE LANDSCAPE OF EREMITISM IN LATER FOURTEENTH CENTURY CHINESE PAINTING.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	WANG MENG'S "PIEN MOUNTAINS": THE LANDSCAPE OF EREMITISM IN LATER FOURTEENTH CENTURY CHINESE PAINTING./
作者:	VINOGRAD, RICHARD ELLIS.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1979,
面頁冊數:	740 p.
附註:	Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 7000.
Contained By:	Dissertation Abstracts International41-01A.
標題:	Fine arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8014917

WANG MENG'S "PIEN MOUNTAINS": THE LANDSCAPE OF EREMITISM IN LATER FOURTEENTH CENTURY CHINESE PAINTING.
VINOGRAD, RICHARD ELLIS.

WANG MENG'S "PIEN MOUNTAINS": THE LANDSCAPE OF EREMITISM IN LATER FOURTEENTH CENTURY CHINESE PAINTING. - Ann Arbor : ProQuest Dissertations & Theses, 1979 - 740 p.

Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 7000.

Thesis (Ph.D.)--University of California, Berkeley, 1979.

In the landscape paintings of Wang Meng (ca. 1308-Oct. 14, 1385) the theme of eremitism, or reclusive dwelling, was the subject of special focus and development. Among his many works devoted to that theme, "Dwelling in Reclusion in the Blue Pien Mountains " of the early summer of 1366 stands out for its formal originality and expressive force, as has been remarked by generations of critics, both traditional and contemporary. A study of related paintings from before the late Yuan period reveals the theme of eremitic landscape to have achieved the status of a loosely defined sub-genre, to which Wang Meng's "Pien Mountains" and others of his thematically similar landscapes stand in the relation of pivotal monuments, increasing the eloquence of the theme through compositional evocations of hiddenness and formal equivalents of impenetrability.Subjects--Topical Terms:

2122690
Fine arts.

WANG MENG'S "PIEN MOUNTAINS": THE LANDSCAPE OF EREMITISM IN LATER FOURTEENTH CENTURY CHINESE PAINTING.
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245 1 0 $a WANG MENG'S "PIEN MOUNTAINS": THE LANDSCAPE OF EREMITISM IN LATER FOURTEENTH CENTURY CHINESE PAINTING.
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300 $a 740 p.
500 $a Source: Dissertation Abstracts International, Volume: 41-01, Section: A, page: 7000.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 1979.
520 $a In the landscape paintings of Wang Meng (ca. 1308-Oct. 14, 1385) the theme of eremitism, or reclusive dwelling, was the subject of special focus and development. Among his many works devoted to that theme, "Dwelling in Reclusion in the Blue Pien Mountains " of the early summer of 1366 stands out for its formal originality and expressive force, as has been remarked by generations of critics, both traditional and contemporary. A study of related paintings from before the late Yuan period reveals the theme of eremitic landscape to have achieved the status of a loosely defined sub-genre, to which Wang Meng's "Pien Mountains" and others of his thematically similar landscapes stand in the relation of pivotal monuments, increasing the eloquence of the theme through compositional evocations of hiddenness and formal equivalents of impenetrability.
520 $a Wang Meng's "Pien Mountains" is also found to be a revealing document in respect to the questions of the relationship of personal circumstances to artistic expression and of the significance of specific locales, as opposed to generalized themes, in Chinese landscape painting. Through an investigation of seals and catalogue records, it is hypothesized that Wang Meng's "Pien Mountains" was painted for his cousin Chao Lin. The "Pien Mountains" was thus at least in part an image of a familial refuge, threatened, at the time the painting was completed, by encroaching military and social disorder. An examination of Wang Meng's surviving writings demonstrates the importance that family tradition and continuity held for him. A related study of the life of Wang Meng's nephew Ts'ui Yen-hui, who lived as a hermit in the same Pien Mountains, reveals one of the ways in which particular sites could become endowed with a kind of personality to accompany scenic, art-historical, and other kinds of cultural identities.
520 $a The dissertation concludes with a survey of stylistic contexts. Wang Meng's combination of elements from disparate old manners of painting in the "Pien Mountains" of 1366 is discussed as an original appropriation of inherited styles for an expression of dislocation and ambiguity. The importance of tenth and eleventh century styles in general as sources for Wang's landscape art is also documented. Wang Meng's achievement is then discussed in the context of surrounding, symbiotic developments in the landscape art of his contemporaries. This study concludes with a survey of Wang Meng's stylistic development, divided into three major types: conservative riverscapes of his early period; compositionally closed and monumental mountainscapes of the 1360's, with an increased range of brush-and-ink effects and formal variety; and a group of hypothetically late works characterized by a new colorism, loosening of structure, textural richness and grotto-like environments.
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710 2 $a University of California, Berkeley. $3 687832
773 0 $t Dissertation Abstracts International $g 41-01A.
790 $a 0028
791 $a Ph.D.
792 $a 1979
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8014917