東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Figures en buste in medieval China: ...

Wang, Yudong.

FindBook

Google Book

Amazon

博客來

Figures en buste in medieval China: Three studies.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Figures en buste in medieval China: Three studies./
作者:	Wang, Yudong.
面頁冊數:	467 p.
附註:	Adviser: Wu Hung.
Contained By:	Dissertation Abstracts International68-10A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3287090
ISBN:	9780549301813

Figures en buste in medieval China: Three studies.
Wang, Yudong.

Figures en buste in medieval China: Three studies. - 467 p.

Adviser: Wu Hung.

Thesis (Ph.D.)--The University of Chicago, 2007.

In this dissertation, I intend to introduce a more balanced paradigm for prevalent approaches to conceptualizations of medieval Chinese figure art. I posit that in the medieval Chinese tradition of figure making, there were some indigenous categories for art criticism which, if properly interrogated, will allow us to understand Chinese figure art better than those categories borrowed from Western art history. One persistent medieval Chinese category is the visual interest in the bust figures (banshen xiang in Chinese).

ISBN: 9780549301813Subjects--Topical Terms:

635474
Art History.

Figures en buste in medieval China: Three studies.
LDR:03798nam 2200325 a 45 001 949957
005 20110525
008 110525s2007 ||||||||||||||||| ||eng d
020 $a 9780549301813
035 $a (UMI)AAI3287090
035 $a AAI3287090
040 $a UMI $c UMI
100 1 $a Wang, Yudong. $3 1273351
245 1 0 $a Figures en buste in medieval China: Three studies.
300 $a 467 p.
500 $a Adviser: Wu Hung.
500 $a Source: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4114.
502 $a Thesis (Ph.D.)--The University of Chicago, 2007.
520 $a In this dissertation, I intend to introduce a more balanced paradigm for prevalent approaches to conceptualizations of medieval Chinese figure art. I posit that in the medieval Chinese tradition of figure making, there were some indigenous categories for art criticism which, if properly interrogated, will allow us to understand Chinese figure art better than those categories borrowed from Western art history. One persistent medieval Chinese category is the visual interest in the bust figures (banshen xiang in Chinese).
520 $a I demonstrate that images of one type of bust figures allow us to trace otherwise hidden epistemological models in grasping interpersonal and divine-human relationships in medieval China. Specifically, the formal qualities of, and the discursive responses to, this medieval bust imagery reflect contemporary attempts to either alleviate social and personal crises or maintain the status quo. I develop these observations by delineating the polemical space of three major sites, all of which include bust images. First, I trace the history of one particular bust image of a war god in war-stricken China, from the mid-8th through the 10th centuries. I analyze an ever intensifying cognitive change around this military image by observing its stylistic transformations over two and half centuries. I show how, on the one hand, a sustained period of social disorder in late medieval China caused a mental shift in the public concerning the nature of religious imagery, and on the other, how religious imagery simultaneously stimulated and shaped the imaginary world of its audience.
520 $a I then analyze a 10th-century Taoist way of negotiating death. I discuss the possible role that bust figures might have played in realizing the Taoist ideal of postmortem ascent from the tomb. The half-bodied statues I investigate were originally buried in tomb chambers and given the same formal features as the war god mentioned above. I believe that it was due to the saturated symbolism of an ultimately unconceivable celestial ascension projected onto the special formal features of the aforementioned type of bust that made possible the involvement of these statues in 10th century Chinese funerary space.
520 $a Finally, I trace the use of the bust representation in a remote rural sectarian society in late 12th century Sichuan. I discuss how, at an intellectual level, bust images in this special social formation may have been subject to a discourse of aesthetics regarding 12th century Chinese imagination of the afterworld that was constructed with reference to Buddhist notions of paradise. Furthermore, I demonstrate the gradual translation of this once-specific formal feature into a late medieval Chinese modality of "visual anomaly" in general, and the bust form's extraordinary magnetism in assisting conversion to nonconventional religious confraternities in particular.
590 $a School code: 0330.
650 4 $a Art History. $3 635474
650 4 $a History, Asia, Australia and Oceania. $3 626624
650 4 $a Religion, History of. $3 1017471
690 $a 0320
690 $a 0332
690 $a 0377
710 2 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 68-10A.
790 $a 0330
790 1 0 $a Hung, Wu, $e advisor
791 $a Ph.D.
792 $a 2007
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3287090