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WANG MIEN AND THE CONFUCIAN FACTOR I...

HOAR, WILLIAM JOHN.

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WANG MIEN AND THE CONFUCIAN FACTOR IN CHINESE PLUM PAINTING.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	WANG MIEN AND THE CONFUCIAN FACTOR IN CHINESE PLUM PAINTING./
作者:	HOAR, WILLIAM JOHN.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1983,
面頁冊數:	415 p.
附註:	Source: Dissertation Abstracts International, Volume: 44-07, Section: A, page: 1956.
Contained By:	Dissertation Abstracts International44-07A.
標題:	Fine arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8325155

WANG MIEN AND THE CONFUCIAN FACTOR IN CHINESE PLUM PAINTING.
HOAR, WILLIAM JOHN.

WANG MIEN AND THE CONFUCIAN FACTOR IN CHINESE PLUM PAINTING. - Ann Arbor : ProQuest Dissertations & Theses, 1983 - 415 p.

Source: Dissertation Abstracts International, Volume: 44-07, Section: A, page: 1956.

Thesis (Ph.D.)--The University of Iowa, 1983.

In this dissertation the symbolic implications of China's plum painting tradition generally and the plum paintings and poems of the artist Wang Mien specifically are investigated to show that the non-intuitive view of Confucian art is not altogether a correct one. To demonstrate this, the problem is approached from the following perspectives: the artist's biography; China's literary tradition; the artist's poetry; China's pictorial tradition; and the artist's own paintings.Subjects--Topical Terms:

2122690
Fine arts.

WANG MIEN AND THE CONFUCIAN FACTOR IN CHINESE PLUM PAINTING.
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245 1 0 $a WANG MIEN AND THE CONFUCIAN FACTOR IN CHINESE PLUM PAINTING.
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300 $a 415 p.
500 $a Source: Dissertation Abstracts International, Volume: 44-07, Section: A, page: 1956.
502 $a Thesis (Ph.D.)--The University of Iowa, 1983.
520 $a In this dissertation the symbolic implications of China's plum painting tradition generally and the plum paintings and poems of the artist Wang Mien specifically are investigated to show that the non-intuitive view of Confucian art is not altogether a correct one. To demonstrate this, the problem is approached from the following perspectives: the artist's biography; China's literary tradition; the artist's poetry; China's pictorial tradition; and the artist's own paintings.
520 $a The first chapter seeks to determine whether Wang Mien was basically Confucian or Taoist in his outlook, an important question in light of the fact that the painter is usually considered a Taoist. In his search for the Confucian factor in Wang's biography, the author touches upon the artist's education, his political views, the purpose of his many travels, his dealings with others, and his reclusive lifestyle. Chapter Two proceeds to see if there exists in the plum-theme literature of China a precedent for a Confucian artistic attitude. Focusing on a number of pre-Yuan Dynasty texts, it is clearly discovered that such ideals as good scholarship, a pure spirt, high-mindedness, fortitude and hope are in fact present in intuitive expressions. Chapter Three deals exclusively with the poetry of Wang Mien. In a selection of Wang's poems, the author finds the above ideals reconfirmed. Mindful, however, that such an analysis is not entirely substantial, these conclusions are tested against the life and work of two other Yuan poets, Kao Ch'i and Liu Yin.
520 $a Chapter Four traces the history of plum painting from its inception in the T'ang Dynasty to its fullest development in the Yuan. Strengthening still further the tie between an intuitive presentation of the plum and Confucian thought, it is discovered that the plum was ultimately accepted by literati painters and was recognized as having both moralistic and socio-political implications.
520 $a Finally, in Chapter Five, the unity of word, picture and calligraphy is looked at in nineteen paintings attributed to Wang Mien. Here is to be found the most complete form of the artist's feelings about himself and his era, revealing again many Confucian penchants.
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793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8325155