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. 1 Fine Arts 61 Spring 2004 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. 2 Fine Arts 61 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 3 Fine Arts 61 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 4 Fine Arts 61 Spring 2004 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. Berkeley: University of California Press, 1994. 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 Fine Arts 61 Spring 2004 ch'ang (1555-1636). Cambridge, Mass.: Harvard Univ. Press, 1971. -----. "Literati Culture Under the Chin." Oriental Art, n.s. 15 (1969), pp. 103-112. COPY -----. "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 Mount Lu." In Theories of the Arts of China, Susan Bush and Christian Murck, eds., Princeton: Princeton University Press, 1983, pp. 132-164. Bush, Susan and Christian Murck. Theories of the Arts in China. Princeton University Press, 1983. 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. -----. "Ch'ien Hsuan and His Figure Painting." Archives of the Asian Art Society of America 12 (1958), pp. 10-29. COPY -----. The Compelling Image: Nature and Style in Seventeenth Century Chinese Painting. Cambridge, Mass.: Harvard Univ. Press, 1982. -----. "Confucian Elements in the Theory of Painting." In Confucianism and Chinese Civilization. Arthur Wright, ed. Stanford: Stanford Univ. Press, 1959, pp. 77-102. -----. The Distant Mountains: Chinese Painting of the Late Ming Dynasty. Tokyo: Weatherhill, 1982. -----. "The Early Styles of Kung Hsien." Oriental Art n.s.16 (1970), pp. 51-71. COPY -----. Fantastics and Eccentrics in Chinese Painting. New York: Asia Society, 1976. -----. Hills Beyond A River: Chinese Painting of the Yuan Dynasty (1279-1368). Tokyo: 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. 6 Fine Arts 61 Spring 2004 -----. 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 Art Society in America, no. 16 (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. -----. "Wu Pin and His Landscape Paintings." In Proceedings of the International 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 7 Fine Arts 61 Spring 2004 -----. Images of the Mind. Princeton, N.J.: Princeton Univ. Press, 1984. -----. Possessing the Past. New York: Metropolitan Museum of Art, 1996. -----. "The Problem of Chien Hsuan." The Art Bulletin 42 (1960), pp. 173-189. COPY -----. "The Problem of Forgeries in Chinese Painting." Artibus Asiae 25 (1962), pp. 95141. COPY-M -----. 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. 8 Fine Arts 61 Spring 2004 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 (1972), pp. 294-303. COPY-M -----. “Arterial Art.” The Stone Lion Review 11 (1983), pp. 70-84. COPY-M -----. "Chao Meng-fu: Tradition and Self in the Early Yuan." Unpublished symposium paper. 1988. COPY -----. “Chinese Space in Chinese Painting.” In Gerstle, Andrew and Anthony Milner, eds. Recovering the Orient–Artists, Scholars, Appropriations. Chur: Harwoood, 1994, pp. 151-174. -----. Kernels of Energy and Bones of Earth: The Rock in Chinese Art. New York: China Institute of America, 1985. -----. "Surface and the Chinese Painter." Archives of Asian Art 38 (1985), pp. 95-123. COPY-M -----. "Values and History in Chinese Painting I." RES 6 (Autumn, 1983), pp. 72-111. COPY-M Hay, John, ed. Boundaries in China. London : Reaktion Books, 1994. Ho, Wai-kam. "Tung Ch'i-ch'ang's New Orthodoxy and the Southern School Theory." In Artists and Traditions: Uses of the Past in Chinese Culture, Christian Murck, ed., Princeton: Princeton University Press, 1976, pp. 113-129. Ho, Wai-kam, et. al. Eight Dynasties of Chinese Painting. Museum of Art, 1980. Cleveland: Cleveland ----- and Judith G. Smith. The Century of Tung Ch'i-ch'ang 1555-1636. Seattle: Nelson Atkins Gallery in association with the University of Washington Press, 1992. Lawton, Thomas. Chinese Figure Painting. Washington, D.C.: The Smithsonian Institution, 1973. Ledderose, Lothar. "Subject Matter in Early Chinese Painting Criticism." n.s. 9 (1973), pp. 69-83. COPY-M Oriental Art Lee, Sherman. Chinese Landscape Painting. Cleveland: Cleveland Museum of Art, 9 Fine Arts 61 Spring 2004 1954. Lee, Sherman and Wai-kam Ho. Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368). Cleveland: Cleveland Museum of Art, 1968. Lee, Sherman and Wen Fong. Streams and Mountains Without End. Ascona: Artibus Asiae, 1955. Levenson, Joseph. "The Amateur Ideal in Ming and Early Ch'ing Society." In Chinese Thought and Institutions, John Fairbank, ed., Chicago: Chicago University Press, 1957, pp. 320-341. Li, Chu-tsing. Autumn Colors on the Ch'iao and Hua Mountains. Asiae, 1965. Ascona: Artibus -----. "The Freer Sheep and Goat and Chao Meng-fu's Horse Paintings." Artibus Asiae 30 (1968), pp. 279-347. COPY -----. "The Uses of the Past in Yuan Landscape Painting." In Artists and Traditions. Ed. Christian Murck. Princeton, N.J.: Princeton Univ. Press, 1976, pp. 73-88. -----. A Thousand Peaks and Myriad Ravines. 2 vols. Ascona: Artibus Asiae, 1974. Li, Chu-tsing, et. al. The Chinese Scholar's Studio. New York: Asia Society, 1987. Loehr, Max. The Great Painters of China. New York: Harper and Row, 1980. -----. "The Question of Individualism in Chinese Art." Journal of the History of Ideas 22 (1961), pp. 147-158. COPY -----. "Some Fundamental Issues in the History of Chinese Studies 23 (1964), pp. 185-193. COPY-M Painting." Journal of Asian Munakata, Kiyohiko. Ching Hao's Pi-fa-chi: A Note on the Art of the Brush. Ascona: Artibus Asiae, 1975. -----. Sacred Mountains in Chinese Art. Urbana : University of Illinois Press, 1991. -----. "Concepts of Lei and Kan-lei in Early Chinese Art Theory." In Theories of the Arts in China, Susan Bush and Christian Murck, eds., Princeton: Princeton University Press, 1983, pp. 105-131. Murck, Alfreda. "Eight Views of the Hsiao and Hsiang Rivers by Wang Hung." In 10 Fine Arts 61 Spring 2004 Images of the Mind, ed. Wen Fong. Princeton: Princeton University Press, 1984, pp. 213-235. Murck, Christian. Artists and Traditions: Uses of the Past in Chinese Culture. Princeton: Princeton University Press, 1976. National Palace Museum, ed. Proceedings of the International Symposium on Chinese Painting. Taipei: National Palace Museum, 1972. -----. The Red Cliff. Taipei: National Palace Museum, 1984. Nelson, Susan. "I-p'in in Later Painting Criticism." In Theories of the Arts in China, Susan Bush and Christian Murck, eds., Princeton: Princeton University Press, 1983, pp.397-424. -----. "On Through to the Beyond: The Peach Blossom Spring as Paradise." Archives of Asian Art 39 (1986), pp. 23-47. COPY Rowland, Benjamin. "The Problem of Hui-tsung." Archives of the Chinese Art Society of America 5 (1951), pp. 5-22. COPY Silbergeld, Jerome. "Chinese Concepts of Old Age and Their Role in Chinese Painting, Painting Theory, and Criticism." Art Journal 46 (1987), pp. 103-114. COPY -----. Chinese Painting Style: Media, Methods, and Principles of Form. Seattle: University of Washington Press, 1980. -----. "Kung Hsien: A Professional Chinese Artist and Patronage." The Burlington Magazine 123 (1981), pp. 400-410. COPY -----. "A New Look at Traditionalism in Yuan Dynasty Landscape Palace Museum Quarterly 14 (1980), pp.1-29. COPY Painting." National -----. "The Political Landscapes of Kung Hsien, in Painting and Poetry." Journal of the Institute of Chinese Studies 8, no.2 (1976), pp. 561-74. COPY Shih, Hsio-Yen. "Poetry Illustration and the Works of Ku K'ai-chih." Renditions, no. 6 (1976), pp. 6-29. COPY-M Siren, Oswald. The Chinese on the Art of Painting. New York: 1963. Schoken Books, Soper, Alexander. "Early Chinese Landscape Painting." The Art Bulletin, vol. 23, no. 2 11 Fine Arts 61 Spring 2004 (Jun. 1941), pp. 141-164. COPY-M Stanley-Baker, Joan. "The Development of Brush Modes in Sung and Yuan." Artibus Asiae 39 (1977), pp. 13-58. COPY-M Sullivan, Michael. The Birth of Landscape Painting in China. Berkeley: University of California Press, 1962. -----. The Meeting of East and West Art. London: Thames Hudson, 1979. Sung Ishida, Hou-mei. "Early Ming Painters in Nanking and the Formation of the Wu School." Ars Orientalis XVII (1987), pp. 73-115. COPY Suzuki Kei. "Hsia Kuei and the Academic Style in Southern Sung."In Proceedings of the International Symposium on Chinese Painting. Ed. National Palace Museum. Taipei: National Palace Museum, 1972, pp. 417-433. -----. "A Few Observations Concerning the Li-Kuo School of Landscape Art in China." Acta Asiatica 15 (1968), pp. 27-67. COPY-M Vinograd, Richard. "Family Properties: Personal Context and Cultural Pattern in Wang Meng's Pien Mountains of 1366." Ars Orientalis 13 (1982), pp. 1-29. COPY -----. "Reminiscences of Ch'in-huai" Tao-ch'i and the Nanking School." Archives of Asian Art 30 (1977-1978), pp.6-31. COPY -----. "River Village--the Pleasures of Fishing and Chao Meng-fu's Li-Kuo Style Landscapes." Artibus Asiae 40 (1978), pp. 124-134. COPY Wang, Yao-t’ing. Looking At Chinese Painting. Tokyo: Nigensha, 1996. Whitfield, Roderick. Caves of the Thousand Buddhas. London: British Museum, 1990. -----. In Pursuit of Antiquity. Princeton, N.J.: Princeton Univ. Press., 1969. Wilkinson, Stephen. "Paintings of 'The Red Cliff Prose Poems' in Sung Times." Oriental Art n.s. 27 (1981), pp. 76-89. COPY Wilson, Marc. "Kung Hsien: Theorist and Technician in Painting." The Nelson Gallery and Atkins Museum Bulletin, no. 4 (1969). Wu, William. "Tung Ch'i-ch'ang: Apathy in Government and Fervor in Art." In Confucian Personalities, Arthur Wright, ed. Stanford: Stanford University Press, 1962, 12 Fine Arts 61 Spring 2004 pp. 260-293. 13