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THE EARLY DEVELOPMENT OF TAOIST ART ...

PONTYNEN, ARTHUR JOHN.

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THE EARLY DEVELOPMENT OF TAOIST ART (CHINA).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	THE EARLY DEVELOPMENT OF TAOIST ART (CHINA)./
作者:	PONTYNEN, ARTHUR JOHN.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1983,
面頁冊數:	215 p.
附註:	Source: Dissertation Abstracts International, Volume: 44-08, Section: A, page: 2277.
Contained By:	Dissertation Abstracts International44-08A.
標題:	Fine arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8327415

THE EARLY DEVELOPMENT OF TAOIST ART (CHINA).
PONTYNEN, ARTHUR JOHN.

THE EARLY DEVELOPMENT OF TAOIST ART (CHINA). - Ann Arbor : ProQuest Dissertations & Theses, 1983 - 215 p.

Source: Dissertation Abstracts International, Volume: 44-08, Section: A, page: 2277.

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

From the fifth to the eighth centuries A.D., Chinese artisans produced icons in the service of religious Taoism. A number of those icons are today in the collections of three American museums; the Field Museum of Natural History, Chicago; the Museum of Fine Arts, Boston; and the Freer Gallery of Art, Washington, D.C. This study focuses upon those icons, which have long been judged imitative, mediocre, or provincial.Subjects--Topical Terms:

2122690
Fine arts.

THE EARLY DEVELOPMENT OF TAOIST ART (CHINA).
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520 $a From the fifth to the eighth centuries A.D., Chinese artisans produced icons in the service of religious Taoism. A number of those icons are today in the collections of three American museums; the Field Museum of Natural History, Chicago; the Museum of Fine Arts, Boston; and the Freer Gallery of Art, Washington, D.C. This study focuses upon those icons, which have long been judged imitative, mediocre, or provincial.
520 $a A historical, iconographic, and stylistic analysis of the early development of Taoist art proves such judgments to be inadequate. It is shown that the seemingly imitative aspects of Taoist art in fact reflect an ecumenical theological belief; although religious truth is singular, paths to that truth are plural. This belief provided profound inspiration to Chinese art, be it fundamentally Taoist or other. That inspiration is evident not only in those portable icons which provide the focus of this study, but in two major monuments of Chinese art, the cave-temple sites Yun-kang and Lung-men.
520 $a We observe that Chinese Buddhists and Taoists shared a need to understand the underlying forces directing reality and life. The attempt of each to fulfill that need has been understood by some to be antagonistically competitive, hence the charge of imitative mediocrity. But Chinese art evidences not hostility but an ecumenical sharing of religious aspiration and artistic inspiration. Chinese Buddhist and Taoist art are often, in fact, Buddhist and Taoist in form and content.
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