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Fine Arts 61
Spring 2004
Samuel C. Morse
108 Fayerweather Hall
542-2282
scmorse@amherst.edu
Approaches to Chinese Painting
The Course
A survey of the Chinese pictorial tradition with particular emphasis on the period from
the Northern Song to the Qing dynasties focusing in particular on the development of
the landscape idiom, but considering figure painting, bird and flower painting and the
narrative tradition as well. The course will explore the differences between Western
methodological approaches to Chinese painting and the theories of painting developed
by the Chinese themselves. To facilitate this end the lectures have been divided into
two types: some that will broadly survey the history of Chinese painting and others that
will be devoted to analysis of specific artists and methodological issues.
The class will meet twice a week, (T/TH) at 10:00, in Fayerweather 113. The course
assumes some familiarity with either the history or the art of China. If you have no prior
experience with the history of Chinese art, then it is recommended that you read
Michael Sullivan's The Arts of China during the first two weeks of the semester in order
to gain an understanding of the basic issues of Chinese history.
The course is designed to guarantee a maximum of class participation. There will be a
discussion topics assigned for many classes and four sessions devoted entirely to inclass projects. We will try to arrange at least one field trip to look at paintings in the
collection of the Museum of Fine Arts, Boston, or another public collection.
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Books
The following text has been ordered from the Jeffery Amherst Bookshop on South
Pleasant Street:
Barnhart, Richard, et. al, ed. Three Thousand Years of Chinese Painting.
A selection of readings (indicated by COPY-M) is included in a multilith that can be
purchased at Collective Copies, also on South Pleasant Street. All the other readings
on the syllabus can be found on reserve in Frost Library.
Requirements
There will be two required looking assignments not to exceed four typewritten pages
(each 10%) due Mar. 7 and Apr. 18; four in-class projects (each 10%) Feb. 6, Mar. 2,
Mar. 30 and Apr. 22, and a final research paper of 15 pages (40%) due the last day of
classes.
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Spring 2004
Class Schedule
1) Jan. 26
Introduction: Landscape East and West
Early Chinese Landscape Painting
2) Jan. 28
Birth of Landscape Painting and Gu Kaizhi
3) Feb. 3
Landscape Painting from the Six Dynasties to the Tang
4) Feb. 6
DISCUSSION SECTION: Calligraphy and Chinese Theories of Painting
The Painting of the Song Dynasty
5) Feb. 10
Northern Sung Landscape Painting
6) Feb. 12
Guo Xi
7) Feb. 17
Li Tang
8) Feb. 19
Northern Sung Narrative Painting
9) Feb. 24 Emperor Huizong and the Southern Song Academy
10) Feb. 26 Ma Yuan and Xa Gui
11) Mar. 2 DISCUSSION SECTION: Formats of Chinese Painting
The Painting of the Yuan
12) Mar. 4 Qian Xuan and Zhao Mengfu
13) Mar. 9 Two of the Four Great Masters
14) Mar. 11
Two More of the Four Great Masters
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Spring 2004
The Painting of the Ming
15) Mar. 23 Early Ming Painting
16) Mar. 25 Mid-Ming Painting
17) Mar. 30 DISCUSSION SECTION: “Style” and Chinese Painting
18) Apr. 1
The Wu School: Shen Zhou and Wen Zhengming
19) Apr. 6
The Zhe School: Dai Jin
20) Apr. 8
Late Ming Painting
21) Apr. 13
Dong Qichang
The Painting of the Qing
22) Apr. 15
The Early Qing: The Orthodox and the Heterodox
23) Apr. 20
Three of the Four Wangs
24) Apr. 22
DISCUSSION SECTION: Sale of Chinese Paintings
25) Apr. 27
Gong Xian and Hongjen
26) Apr. 29
Shitao and Wang Yuanqii
27) May 2 Painting of the Late Qing
28) May 6 Chinese Painting in the 20th Century
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Bibliography
Acker, William. Some T'ang and Pre-T'ang Texts on Chinese Painting. Leiden: E.J.
Brill, 1954.
Andrews, Julia. Painters and Politics in the People’s Republic of China, 1949-1979.
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Barnhart, Richard. Along the Border of Heaven. New York: Metropolitan Museum of
Art, 1984.
-----. "Li Kung-lin's Use of Past Styles." In Artists and Traditions: Uses of the Past in
Chinese Culture, Christian Murck, ed., Princeton: Princeton University Press, 1976,
pp.51-71.
-----. "Li T'ang and the Koto-in Landscape Scrolls." The Burlington Magazine 114
(1972), pp. 304-314. COPY-M
-----. Painters of the Great Ming. Dallas: Dallas Museum of Art, 1993
-----. Peach Blossom Spring. New York: Metropolitan Museum of Art, 1985.
-----. "The Wild and Heterodox School of Ming Painting." In Theories of the Arts in
China, Susan Bush and Christian Murck, eds., Princeton: Princeton University Press,
1983, pp. 365-396.
-----. Wintry Forests and Old Trees: Some Landscape Themes in Chinese Painting.
New York: China Institute of America, 1972.
Barnhart, Richard, et al. Three Thousand Years of Chinese Painting. New Haven: Yale
University Press, 1997.
Bennett, S.J. “Patterns of Sky and Earth: A Chinese Science of Applied Cosmology.”
Chinese Science, vol. 3 (March, 1978), pp. 1-26. COPY-M
Bermingham, Ann. Landscape and Ideology : The English Rustic Tradition, 1740-1860.
Berkeley : University of California Press, 1986.
Bush, Susan. The Chinese Literati on Painting: Su Shih (1037-1101) to Tung Ch'i5
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ch'ang (1555-1636). Cambridge, Mass.: Harvard Univ. Press, 1971.
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-----. "Lung-mo, K'ai-ho, and Ch'i-fu: Some Implications of Wang Yuan-ch'i's
Compositional Terms." Oriental Art n.s.7 (1962), pp. 120-127. COPY-M
-----. "Tsung Ping's Essay on Painting Landscape and the 'Landscape Buddhism' of
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Princeton: Princeton University Press, 1983, pp. 132-164.
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Princeton:
Bush, Susan and Hsio-yen Shih. Early Chinese Texts on Painting. Cambridge:
Harvard University Press, 1985.
Cahill, James. The Art of Southern Sung China. New York: Asia House, 1976.
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Painting. Cambridge, Mass.: Harvard Univ. Press, 1982.
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Civilization. Arthur Wright, ed. Stanford: Stanford Univ. Press, 1959, pp. 77-102.
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Weatherhill, 1982.
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-----. Fantastics and Eccentrics in Chinese Painting. New York: Asia Society, 1976.
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Weatherhill, 1976.
-----. The Painter's Practice : How Artists Lived and Worked in Traditional China. New
York : Columbia University Press, 1994.
-----. Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty.
Tokyo: Weatherhill, 1978.
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-----. The Restless Landscape: Chinese Painting of the Late Ming Dynasty. Berkeley:
Univ. Art Museum, 1971.
-----, ed. Shadows of Mt. Huang. Berkeley: Univ. Art Museum, 1981.
-----. "Some Rocks in Early Chinese Landscape Painting." Archives of the Chinese
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(1962), pp. 77-87. COPY-M
-----. "Style as an Idea in Ming-Ch'ing Painting." In The Mozartian Historian: Essays on
the Work of Joseph R.
Levenson. Maurice Meisner and Rhoads Murphy, eds.
Berkeley: University of California Press, 1976, pp. 137-156.
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Symposium on Chinese Painting. Taipei: National Palace Museum, 1970, pp. 637-722.
Carter, Malcolm. "The Perils of Chinese Art Scholarship." ARTnews 75, no. 6 (1976),
pp. 61-66. COPY-M
Chou, Ju Hsi. "Are We Ready for Shih-t'ao." Phoebus 2 (1978-9), pp. 75-87. COPY
-----. The Hua-yu-lu and Tao-Ch'i's Theory of Painting. Tempe, Ariz.: Univ. of Arizona
Press, 1977.
Clapp, Anne. The Paintings of T’ang Yin. Chicago: Chicago University Press, 1991.
-----. Wen Cheng-ming: The Ming Artist and Antiquity. Ascona: Artibus Asiae, 1975.
Edwards, Richard. "The Art of Li-t'ang". The Archives of the Asian Art Society of
America 12 (1958), pp. 48-60. COPY
-----. The Art of Wen Cheng-ming. Ann Arbor: Univ. of Michigan,
1976.
-----. "The Artist and the Landscape: Changing Views of Nature in Chinese Painting."
Renditions no. 6 (1976), pp. 30-52. COPY-M
-----. The Field of Stones: A Study of the Art of Shen Chou. Washington D.C.: Freer
Gallery of Art, 1962.
-----. The Painting of Tao-Ch'i, 1641-ca. 1720. Ann Arbor:
Univ. of Michigan, 1967.
Fong Wen. "Chinese Painting: A Statement of Method." Oriental Art n.s. 9 (1963), pp.
73-78. COPY-M
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-----. Images of the Mind. Princeton, N.J.: Princeton Univ.
Press, 1984.
-----. Possessing the Past. New York: Metropolitan Museum of Art, 1996.
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-----. Returning Home: Tao-ch'i's Album of Landscapes and Flowers. New York:
Braziller, 1976.
-----. Summer Mountains. New York: Metropolitan Museum, 1976.
-----. "Toward a Structural Analysis of Chinese Landscape Painting." Art Journal, no.
28 (1969), pp. 388-397. COPY-M
-----. "Tung Ch'i-chang and the Orthodox Theory of Painting." National Palace Museum
Quarterly 2 (1968), pp. 1-26. COPY-M
Fong, Wen and Marilyn Fu. Sung and Yuan Paintings. New York: Metropolitan
Museum of Art, 1973.
-----. The Wilderness of Colors. New York: Metropolitan Museum of Art, 1973.
Fong, Wen and Judith Smith. Issues of Authenticity in Chinese Painting. New York:
Metropolitan Museum of Art, 1999.
Fu, Marilyn and Fu Shen. Studies in Connoisseurship. Princeton: Princeton University
Press, 1973.
Fu Shen. "An Aspect of Mid-Seventeenth Century Chinese Painting: The 'Dry Linear'
Style and the Early Work of Tao-ch'i." Journal of the Institute of Chinese Studies 8
(1976), pp. 575-616. COPY
-----. Traces of the Brush. New Haven: Yale University Press, 1977.
Gombrich, E. H. Art and Illusion: A Study in the Psychology of Pictorial
Representation. New York: Pantheon Books, 1961.
Hansen, Valerie. The Beijing Qingming Scroll and its Significance for the Study of
Chinese History. Albany, NY : Journal of Sung-Yuan Studies, Dept. of East Asian
Studies, University at Albany, 1996.
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Harrist, Robert and Wen Fong. The Embodied Image–Chinese Calligraphy from the
John B. Elliott Collection. Princeton: Princeton University Press, 1999.
Hay, John. "Along the River During Winter's First Snow." The Burlington Magazine 114
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paper. 1988. COPY
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pp. 151-174.
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-----. "Surface and the Chinese Painter." Archives of Asian Art 38 (1985), pp. 95-123.
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Christian Murck. Princeton, N.J.: Princeton Univ. Press, 1976, pp. 73-88.
-----. A Thousand Peaks and Myriad Ravines. 2 vols. Ascona: Artibus Asiae, 1974.
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pp. 260-293.
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