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The Fan K'uan tradition in Chinese l...
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Smith, Caron.
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The Fan K'uan tradition in Chinese landscape painting.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
The Fan K'uan tradition in Chinese landscape painting./
作者:
Smith, Caron.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 1990,
面頁冊數:
859 p.
附註:
Source: Dissertation Abstracts International, Volume: 51-12, Section: A, page: 3931.
Contained By:
Dissertation Abstracts International51-12A.
標題:
Art history. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9113050
The Fan K'uan tradition in Chinese landscape painting.
Smith, Caron.
The Fan K'uan tradition in Chinese landscape painting.
- Ann Arbor : ProQuest Dissertations & Theses, 1990 - 859 p.
Source: Dissertation Abstracts International, Volume: 51-12, Section: A, page: 3931.
Thesis (Ph.D.)--New York University, 1990.
Fan K'uan (act. ca. 1000), like other figures in the history of Chinese art, has come to stand for a manner of painting. But neither internal nor external documentation supports the most visually compelling painting among those associated with Fan--the grand, signed landscape scroll, Travelling Among Streams and Mountains in the National Palace Museum (NPM SV8) --as genuine. The earliest seal on Travelling is a 14th century Imperial Collection inventory seal. Eleventh and twelfth century commentary suggests the painting is genuine, but falls short of documenting it. There is no secure external documentation until the 17th century.Subjects--Topical Terms:
2122701
Art history.
The Fan K'uan tradition in Chinese landscape painting.
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Source: Dissertation Abstracts International, Volume: 51-12, Section: A, page: 3931.
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Sponsor: Alexander Soper.
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Thesis (Ph.D.)--New York University, 1990.
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Fan K'uan (act. ca. 1000), like other figures in the history of Chinese art, has come to stand for a manner of painting. But neither internal nor external documentation supports the most visually compelling painting among those associated with Fan--the grand, signed landscape scroll, Travelling Among Streams and Mountains in the National Palace Museum (NPM SV8) --as genuine. The earliest seal on Travelling is a 14th century Imperial Collection inventory seal. Eleventh and twelfth century commentary suggests the painting is genuine, but falls short of documenting it. There is no secure external documentation until the 17th century.
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Travelling Among Streams and Mountains (NPM SV8) is affirmed in this thesis as genuine, but the methodology sustaining this conclusion is examined. A logic can sometimes be seen in changing perceptions of Fan's art, but art history has no application as a deductive method, and no authority from the sciences as a sensitive dating tool. As an inductive system, it is weakened by the few examples on which it rests. Various methodologies are examined in Chapter One.
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In Chapter Two, it is argued that Fan K'uan, as a creature of history, is a persona colored by the demands of Chinese historical didacticism.
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In Chapter Three, early criticism is analyzed to formulate aesthetic, technical and philosophical terms in which Fan was judged, nearest his time, to have set a standard.
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In Chapter Four, eleven distinctive extant paintings attributed to or in some way related to Fan K'uan are documented and described in catalogue format. An iconography for the Travelling scroll is proposed according to terms of Sung models of regeneration, authority, and state order.
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From the separate histories traced by written record and extant paintings, contours of the tradition emerge. Persistent features and distinctive temporal and geographical lineages are identified. Beads of the tradition are strung together in Chapter Five. This narrative addresses the tradition as an impulse for homage, copying, and invention based on the cultural values and artistic techniques it embodies.
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