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Chinese painting

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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
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...
Image
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. Figure 34. Gnarled pine tree behind leafy bamboo in Chinese painting style (detail More
Image
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. Figure 35. Gnarled trunk of pine tree in Chinese painting style, above eleven-headed Avalokiteśvara More
Image
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. Figure 1. Wu Bin (Chinese, 1573–1620), Painting of the Mi Family Shao Garden, 1615. Handscroll, ink and color on paper, 30.6 More
Image
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 More
Image
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. Figure 6. Dong Yuan (Chinese, d. 967), Painting More
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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. Figure 18. Cheng Junfang (Chinese, ca. 1541–1610), Painting and Calligraphy Boat, 1603. Ink cake, 10.4 × 9.8 × 1.7 cm More
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 (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 (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 (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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Image
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 More
Journal Article
Archives of Asian Art (2020) 70 (1): 51–83.
Published: 01 April 2020
... . On the term huaxue , see Wan, “Fundamental Changes in the Study of Chinese Painting” ; Wong, Parting the Mists , 48–50 . 98. He, Neiwubu guwu chenliesuo ; W. Zheng, Zhongguo huaxue quanshi , 455 . 99. True Record ( Zhenxiang huabao ) regularly devoted pages to works by its staff...
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Journal Article
Archives of Asian Art (2016) 66 (1): 25–49.
Published: 01 April 2016
...Lei Xue Abstract The Nelson-Atkins Museum of Art's Illustration to the Second Prose Poem on the Red Cliff, attributed to Qiao Zhongchang, has been long celebrated as a major achievement of early Chinese literati painting. Nevertheless, the lifelike portraiture of Su Shi and the depiction...
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Published: 01 October 2019
Figure 12. Cheng Jiasui (Chinese, 1565–1643), Painted Barge in West Lake ( Xihu huafang 西湖畫舫), sixteenth–seventeenth century. Album leaf; ink and color on paper, 25.1 × 36.3 cm. The Collection of National Palace Museum, Taipei. Figure 12. Cheng Jiasui (Chinese, 1565–1643), Painted Barge More
Journal Article
Archives of Asian Art (2020) 70 (2): 199–224.
Published: 01 October 2020
... identified the human figures in the foreground of each panel with a group of paragons of filial piety, who purportedly lived before or during the Han dynasty (206 bc –220 ce ). 3 In terms of genre—specifically, the history of Chinese landscape painting—Michael Sullivan has also associated the water...
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Journal Article
Archives of Asian Art (2005) 55 (1): 39–52.
Published: 01 April 2005
... inherited in the West) that scarcely unique to modernWestern culture."Cut down a tree equates painting style with social personality, except insofar and you get a big cudgel," goes a Chinese proverb. "Raise a (according to Cahill) as it conforms to social expectations son and you've brought big...