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Journal Article
Archives of Asian Art (2005) 55 (1): 17–33.
Published: 01 April 2005
...James Cahill Copyright © Asia Society 2005 Some Thoughts on the History and Post-History
of Chinese Painting
JAMES CAHILL
EMERITUS, UNIVERSITY OF CALIFORNIA AT BERKELEY
(Note:This is a shortened form of the Haley Lecture deliv- paintings, to mean that Chinese painting underwent...
Journal Article
A Response to Professor Cahill's “Some Thoughts on the History and Post-History of Chinese Painting”
Archives of Asian Art (2005) 55 (1): 35–37.
Published: 01 April 2005
...Robert E. Harrist, Jr. Copyright © Asia Society 2005 A Response to Professor Cahill's
"Some Thoughts on the History and Post-History
of Chinese Painting"
ROBERT E. HARRIST, JR.
COLUMBIA UNIVERSITY
Within the rhetorical framework of his essay, Professor in painting...
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in “Utterly False, Utterly Undeniable”: Visual Strategies in the Akaniṣṭha Shrine Murals of Takden Phuntsokling Monastery
> Archives of Asian Art
Published: 01 October 2017
Figure 34. Gnarled pine tree behind leafy bamboo in Chinese painting style (detail of Figure 18 , upper center), southwest corner of Akaniṣṭha Shrine, first half of seventeenth century. Photograph: author.
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in “Utterly False, Utterly Undeniable”: Visual Strategies in the Akaniṣṭha Shrine Murals of Takden Phuntsokling Monastery
> Archives of Asian Art
Published: 01 October 2017
Figure 35. Gnarled trunk of pine tree in Chinese painting style, above eleven-headed Avalokiteśvara, north wall of Akaniṣṭha Shrine (3.17), first half of seventeenth century. Photograph: author.
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Published: 01 October 2023
Figure 1. Forms of Chinese picture album: (i) Double-leaf album painting (j) Paired single-leaf album paintings (k) Paired single-leaf album paintings, “butterfly” mounting. From Silbergeld, Chinese Painting Style , fig. 1 .
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in Art | Adrift: Curating Selves aboard Ming-Dynasty Painting-and-Calligraphy Boats
> Archives of Asian Art
Published: 01 October 2019
Figure 1. Wu Bin (Chinese, 1573–1620), Painting of the Mi Family Shao Garden , 1615. Handscroll, ink and color on paper, 30.6 × 288.5 cm. Beijing University Library.
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in Art | Adrift: Curating Selves aboard Ming-Dynasty Painting-and-Calligraphy Boats
> Archives of Asian Art
Published: 01 October 2019
Figure 3. After Gu Kaizhi (Chinese, 344–405), Copy of Painting of Rhapsody on the Luo River Nymph ( Gu Kaizhi Luoshen fu tu juan Songmo 顧愷之洛神賦圖宋摹) (detail), Song dynasty (960–1279). Handscroll; ink and light color on silk, 27.1 × 572.8 cm. Provided by the Palace Museum, Beijing. Photograph
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in Art | Adrift: Curating Selves aboard Ming-Dynasty Painting-and-Calligraphy Boats
> Archives of Asian Art
Published: 01 October 2019
Figure 6. Dong Yuan (Chinese, d. 967), Painting of the Xiao and Xiang Rivers ( Xiaoxiang tujuan 瀟湘圖卷), tenth century. Handscroll; ink and color on silk, 50 × 141.4 cm. Provided by the Palace Museum, Beijing. Photograph: Sun Zhiyuan 孫志遠.
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in Art | Adrift: Curating Selves aboard Ming-Dynasty Painting-and-Calligraphy Boats
> Archives of Asian Art
Published: 01 October 2019
Figure 18. Cheng Junfang (Chinese, ca. 1541–1610), Painting and Calligraphy Boat , 1603. Ink cake, 10.4 × 9.8 × 1.7 cm. The Collection of National Palace Museum, Taipei.
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Journal Article
Archives of Asian Art (2016) 66 (2): 153–185.
Published: 01 October 2016
...Jessica Lee Patterson Abstract Reverse glass paintings, a form of Chinese export art, were extensively traded in the nineteenth century. Several examples are on display in prominent Thai Buddhist monasteries in Bangkok. King Nangklao of Siam, Rama III, encouraged Sino-Siamese trade that brought...
Journal Article
Archives of Asian Art (2020) 70 (1): 85–117.
Published: 01 April 2020
... (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through...
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Journal Article
Archives of Asian Art (2023) 73 (1): 1–23.
Published: 01 April 2023
...Quincy Ngan Abstract This article contextualizes the visual intrigue that was created by the fifteenth-century Chinese poet and painter Sun Ai (ca. 1452–1536) when he broke from convention by using indigo blue to color the leaves of a cotton plant and a mulberry branch in a pair of paintings now...
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Journal Article
Archives of Asian Art (2017) 67 (1): 61–82.
Published: 01 April 2017
...De-Nin D. Lee Abstract Whereas texts on painting by Chinese literati have had a profound impact on art history, women's writings are almost unknown. This article examines poems by the Qing-dynasty poet-painter Luo Qilan (b. 1755), using her as a case study to argue for a literatae tradition...
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Journal Article
Archives of Asian Art (2019) 69 (1): 73–101.
Published: 01 April 2019
...Ankeney Weitz Abstract Chinese painted fans from the Song dynasty survive in relatively large numbers owing to the protective brocade mounts in which later collectors placed them. At the time of their initial production, however, fan paintings were meant to be held in the hand and worn on the body...
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Journal Article
Archives of Asian Art (2023) 73 (2): 201–232.
Published: 01 October 2023
...Figure 1. Forms of Chinese picture album: (i) Double-leaf album painting (j) Paired single-leaf album paintings (k) Paired single-leaf album paintings, “butterfly” mounting. From Silbergeld, Chinese Painting Style , fig. 1 . ...
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Journal Article
Archives of Asian Art (2021) 71 (2): 191–218.
Published: 01 October 2021
...Ren
Wei Abstract Created around 1915, Chen Shizeng's Beijing Fengsu album represents a pictorial experiment that led to his subsequent well-known theoretical recasting of Chinese literati painting as a progressive and universally comprehensible visual language. Through an examination...
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Journal Article
Archives of Asian Art (2022) 72 (2): 181–219.
Published: 01 October 2022
...J. P. Park Abstract In 1634 Zhang Taijie (b. 1588) published a woodblock edition of Baohuilu (A Record of Treasured Paintings), an extensive catalog of a massive painting collection he claimed to have built. This work would seem to be a useful resource for historians of Chinese art since...
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Journal Article
Archives of Asian Art (2017) 67 (1): 83–109.
Published: 01 April 2017
...Kristen Chiem Abstract From the conquest of the Ming dynasty in 1644 by the Manchurians through the literary inquisitions of the eighteenth century, seemingly innocuous paintings of peony flowers kept alive a discourse of Ming loyalism among Chinese artists and poets. While the peony's appearance...
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Published: 01 October 2017
22. Nahan (Chinese, Luohan) Standing in a Landscape Viewing an Ink-Painted Scroll Depicting a Seated Bodhisattva While Assisted by an Elderly Male Attendant , Korea, Chosōn dynasty (1392–1910), eighteenth–early nineteenth century. Section of a hanging scroll mounted on a panel and framed; ink
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Journal Article
Archives of Asian Art (2020) 70 (1): 51–83.
Published: 01 April 2020
... a narrative that stabilized quite early around catalyst figures through binary aphorisms like “Wu in the south, Qi in the north” ( Wu nan Qi bei 吳南齊北), referring to the Shanghai master and doyen of turn-of-the-century painting in China, Wu Changshi 吳昌碩 (or Wu Changshuo; 1844–1927), often seen as the Chinese...
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