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Journal Article
Archives of Asian Art (2019) 69 (2): 155–179.
Published: 01 October 2019
... of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its...
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Published: 01 October 2019
Figure 15. Tiered pleasure boat, Qing dynasty, eighteenth–nineteenth century. Carved red lacquer with lapis lazuli, 96.5 × 76.1 × 30.5 cm. Private collection. Photograph © 2019, Museum of Fine Arts, Boston. Figure 15. Tiered pleasure boat, Qing dynasty, eighteenth–nineteenth century. Carved More
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Published: 01 October 2020
Figure 2. Mi Fu (Chinese, 1051–1107), Poem Written in a Boat on the Wu River (detail), ca. 1095. Handscroll; ink on paper, 31.1 × 556.9 cm. Metropolitan Museum of Art, Gift of John M. Crawford Jr., in honor of Professor Wen Fong, 1984.174. Artwork in the public domain. Photograph More
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Published: 01 April 2019
Figure 1. Anonymous painter, Boating by a Willow Bank , China, thirteenth century. Fan mounted as an album leaf; ink and color on silk, 23.3 × 24.9 cm. Metropolitan Museum of Art, Collection of A. W. Bahr, Purchase, Fletcher Fund, 47.18.137. Artwork in public domain. Photograph More
Journal Article
Archives of Asian Art (2015) 65 (1-2): 1–24.
Published: 01 October 2015
...Mia Yinxing Liu Abstract This paper examines Lang Jingshan's landscape photography in its historical and political contexts. Tracing Lang's oeuvre from Shanghai to Chongqing to Taiwan, it also studies how the pictures were commissioned, made, and perceived. I argue that Lang's photographic art...
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...
Journal Article
Archives of Asian Art (2019) 69 (1): 73–101.
Published: 01 April 2019
...Figure 1. Anonymous painter, Boating by a Willow Bank , China, thirteenth century. Fan mounted as an album leaf; ink and color on silk, 23.3 × 24.9 cm. Metropolitan Museum of Art, Collection of A. W. Bahr, Purchase, Fletcher Fund, 47.18.137. Artwork in public domain. Photograph...
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Journal Article
Archives of Asian Art (2007) 57 (1): 151–152.
Published: 01 April 2007
... brilliance by which the illusion In his view, ‘‘it is this polarity that gives Japanese art, of mountains, trees, and boats emerged from seemingly Japanese literature and Japanese industry their dynamics incoherent blots of ink. But Peter was a person of nim- and creativity ble, expansive mind.2...
Journal Article
Archives of Asian Art (2021) 71 (1): 123–129.
Published: 01 April 2021
...: in boats, figures, animals, sedan chairs, in the architecture of the rainbow bridge (note the iron ties in the stonework and the railing allowing the towpath to pass under the bridge). Only the composition of the court version appears to owe little to the Peking scroll. 9 In 1965 and again in 1970...
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Journal Article
Archives of Asian Art (2014) 64 (1): 75–92.
Published: 01 April 2014
... pigments, either Western-style gouaches 年画 (New Year Picture) Movement.1 Nianhua are a and poster paints or traditional Chinese colors, were form of traditional folk art produced for the Chinese applied to stiff Western-style paper; the designs were New Year and often feature popular deities...
Journal Article
Archives of Asian Art (2016) 66 (2): 239–269.
Published: 01 October 2016
...Wen-Chien Cheng Abstract This paper is a study of Song dynasty panche tu (paintings of traveling bullock carts), a unique genre combining elements of jiehua (paintings requiring the aid of measuring tools), landscape, and genre art. As early as the Five Dynasties, bullock carts were represented...
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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
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Published: 01 October 2019
Figure 13. Green Jade Boat ( Qingyu chuan 青玉船), Qing dynasty. Green jade, 5 × 21.8 × 4.4 cm. The Collection of National Palace Museum, Taipei. Figure 13. Green Jade Boat (Qingyu chuan 青玉船), Qing dynasty. Green jade, 5 × 21.8 × 4.4 cm. The Collection of National Palace Museum, Taipei. More
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Published: 01 October 2019
Figure 14. Carved Ivory Dragon Boat ( Diao xiangya longzhou 雕象牙龍舟) early to mid-Qing dynasty. Ivory, 6 × 5 cm. The Collection of National Palace Museum, Taipei. Figure 14. Carved Ivory Dragon Boat (Diao xiangya longzhou 雕象牙龍舟) early to mid-Qing dynasty. Ivory, 6 × 5 cm. The Collection More
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Published: 01 October 2019
Figures 7a (top) and b (detail). Dong Qichang (Chinese, 1555–1636), “ written in a boat on the Xiang River ” 於湘江舟中, 1605, inscriptions on the handscroll illustrated in Figure 6 . Provided by the Palace Museum, Beijing. Photograph: Sun Zhiyuan 孫志遠. Figure 7. Dong Qichang (Chinese, 1555–1636 More
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Published: 01 October 2019
Figure 16. Small Pleasure Boat with Figures ( Diao xiangya renwu xiaochuan 雕象牙人物小舟), early to mid-Qing dynasty. Ivory, 5.6 × 8.8 × 3.8 cm. The Collection of National Palace Museum, Taipei. Figure 16. Small Pleasure Boat with Figures (Diao xiangya renwu xiaochuan 雕象牙人物小舟), early to mid-Qing More
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Published: 01 October 2019
Figure 17. Snuff Bottle with Agate Decoration of a Ferrying Boat ( Manao duchuan tu yanhu 瑪瑙渡船圖鼻煙壺), Qing dynasty. Marbled jade and agate, 5.9 × 5.1 cm. The Collection of National Palace Museum, Taipei. Figure 17. Snuff Bottle with Agate Decoration of a Ferrying Boat (Manao duchuan tu yanhu More
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Published: 01 October 2019
Figure 8. Wen Zhengming (Chinese, 1470–1559), “ written on a boat by Mt Kun ” 書於崑山舟中, inscription on Qiu Ying (ca. 1494–1522), Zhao Mengfu Inscribing the Heart Sutra in Exchange for Tea , ca. 1542. Handscroll, ink and color on silk, 21 × 106.3 cm. The Collection of National Palace Museum More
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Published: 01 April 2019
Figure 19. Anonymous painter; inscribed by Zhao Gou (Chinese, Emperor Gaozong, 1107–1187), Returning Boat at Day's End. Fan mounted as an album leaf, ink and colors on silk, 24.2 × 25.6 cm. Palace Museum, Beijing. Figure 19. Anonymous painter; inscribed by Zhao Gou (Chinese, Emperor Gaozong More
Journal Article
Archives of Asian Art (2012) 62 (1): 7–24.
Published: 01 April 2012
... confident that the situation has changed. Most escaped publication until now, at least in English. Orig- young art historians will, I hope, have read Michael inally intended as my contribution to a festschrift volume Baxandall, who points out somewhere (I quote from for a colleague that was never...