Thesis (Ph. D.)--Princeton University, 1987. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 391-406).

Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 571-597).

Thesis (Ph. D.)--Princeton University, 1965. / English and Chinese. Includes bibliographical references (leaves 207-212).

Thesis (Ph. D.)--Princeton University, 1978. / Typescript. Includes bibliographical references (leaves 388-405).

Thesis (Ph. D.)--University of Kansas, 1988. / Includes bibliographical references (p. 191-199).

This thesis focuses on two early and middle Ming (1368-1580) artists and deals with the role of Chinese historiography in the perpetuation of the dichotomy between the so-called "professional" and the so-called "scholar-amateur" artist. While traditional Chinese historical and biographical sources are an invaluable tool for the sinologist, including the Chinese art historian, the convention adopted by Chinese historians of casting subjects into standard characterized roles has contributed to this dichotomy and resulted in the ongoing debate over the value of the professional artist in China. Historically, Chinese critics and collectors have made a distinction between professional and amateur artists. The traditional Chinese critical bias has been in favour of the scholar-amateur artist. In fact, in much critical literature there is a stigma attached to professionalism in painting. The major initial Western studies of Chinese painting represented a continuation of the traditional Chinese dichotomies. More recently, various kinds of positions have been taken up by Western scholars. James Cahill suggests that a correlation can be made between an artist's painting style and social and economic factors (such as lifestyle, formal training, means of livelihood, demands of patrons, and so on). Richard Barnhart instead defends the professional artist: He believes that Cahill perpetuates the bias in favour of the amateur artist, and that a correlation between an artist's style and social and economic factors is not useful, being too restrictive and general. Their debate was taken up in a series of letters, and this debate has continued down to the present. Some of the most recent Western interpretations attempt to try to break down the earlier dichotomies, and my research supports this interpretive trend. In this context the thesis examines the life and works of two relatively minor artists of the Ming dynasty, the "professional" artist Wu Wei (1459-1508) and the "scholar-amateur" artist Lu Zhi (1496-1576). I discuss the Chinese biographical tradition and have translated the appropriate texts and biographies. Then by examining the paintings themselves in the context of the two artists' environments — Wu Wei in Beijing and Nanjing and Lu Zhi in Suzhou — I show that both of these artists enjoyed the freedom of working in a wide variety of different painting traditions. Early and middle Ming painting criticism is also examined, in addition to the influence of Late Ming (1580-1644) painting criticism and its effect on our perception of Chinese artists. In terms of style, aesthetics, and intellectual outlook, Wu Wei and Lu Zhi may, at first, appear to stand at opposite poles. However, my study of the life circumstances of Wu Wei and Lu Zhi reveals that they share surprisingly similar backgrounds, concerns, and views on their artwork. In addition, an examination of the works of these two artists suggests that a greater fluidity of style and of subject matter existed in the early and middle Ming period than one would expect from the theories based on Late Ming criticism. In other words, the distinction between professional and scholar-amateur artists is overdrawn: Wu Wei and Lu Zhi do not fit neatly into the later understandings of accepted categories or roles, nor do their paintings entirely accord with the theories originating in the Late Ming Period. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

本文環繞1892至1996中國歷史背景，以「晚期風格」概念為樞紐，藉以探討當代水墨畫家朱屺瞻（1892-1996）晚期創作的形成原因和特色，並提出「遊戲身心觀」以思考現今水墨繪畫藝術的歷史轉變。 / 朱氏早年專攻油畫，曾東渡日本學習，晚年以水墨為主要創作媒介，文革時專注臨摹古畫，其後風格大變，是為「衰年變法」。本文分析形成朱屺瞻晚期繪畫的歷史與人文因素，風格分期與特色，對比上海畫派的風格流變，探討朱氏作品的繼承與出新之處，並指出朱氏《癖斯居畫譚》與現代畫論的關係，綜觀朱氏繪畫的藝術史意義與人文價值。 / 引言部分縷述中國書畫藝術古代文獻中的「風格」意涵，提出個人風格與時代風格結合研究的方法，重視在歷史事實和創作者思想發展歷程中探尋「畫意」的根源，並說明「晚期風格」的定義。第一章陳述朱屺瞻早年學習油畫和水墨繪畫的經驗，及至日本進修所受到同儕影響，藉以探討留日藝術界對畫史問題的認識狀況。另外，朱屺瞻藉由早期書畫活動建立起國族意識，此意識在其晚年繪畫中得以深化。第二章分析五、十年代中朱屺瞻回應繪畫政治化與去政治化的問題，以及在寫生中參考古人技法，並運用不同的社會題材抒發個人的感思。第三章提出「勞動性」的概念分析六、七十年代中朱屺瞻如何運用老人身體顛覆英雄化的肖像繪畫，並在六法論與個人風格的繪畫研究史上，進一步深化繪畫理論的思考，為《癖斯居畫譚》的背景。另外，本文從風格上分析朱屺瞻在寫生活動中發展出運用對比色、黃藍綠合色呼應楊升沒骨山水傳統、重視日光與季節的表現，及運用文學題材。在七十年代時臨習古畫奠下晚年變法的根基，其後探索哲理題材，使格調一新。八十年代的新藝術環境底下，圖與史有了新的定義，而朱屺瞻以悼念國族的方式來抒寫戰時感懷。他於晚年通過與社會各階層的互動，確立了海派畫家的地位。本文探討賀壽活動在中國水墨繪畫中特殊文化意義。第四章評說朱氏與海派繪畫的關係與繼承，並分析朱氏的書法學習過程，紀錄他與收藏家的交流，曾到訪的美術館等文化活動。其於美國、英國、香港及新加坡等地的事蹟更促進中西繪畫的融合及國族間的文化互動，可見他在水墨繪畫「現代化」過程中的貢獻。第五章分析朱氏畫論《癖斯居畫譚》的緣起、內容和評價，審視他於晚年對「風格」概念的總結，從其理論中提出「遊戲身心觀」來分析當今水墨繪畫的精神內涵。 / 由「西畫」走向「中畫」，朱氏的創作歷程，反映八十年代，中國新藝術誕生的轉捩點，藝術家對「真實」的重構是其中一大命題。朱氏晚年創作，承載着傳統中哪些藝術觀？怎樣從現實環境中發掘內心的「真實」，開創水墨繪畫的新道路？本文嘗試縷述分析。 / By examining the historical background from 1892 to 1996 in China, this paper adopts the concept of "later style" to discuss the artistic development and characteristics of the pictures created by the contemporary painter Zhu Qizhan. The author also proposes the idea of "playfulness in body and mind" as a vision to reflect the historical change of modern ink paintings. / Zhu Qizhan studied oil painting in Japan in his early years and returned to ink painting in his old age. During the period of Cultural Revolution, he put a lot of effort on analyzing and studying traditional paintings. He successfully established his personal style after 1980s. This paper describes the historical and cultural aspects on Zhu’s late year paintings. With comparison to various creation periods, the problem of how Zhu succeeded and broke through traditional painting techniques, the reflection of stylistic change of the Shanghai School and the relationship between Zhu’s painting theory with the modern one are being elaborated. The author tried to give an account for Zhu’s contributions to the Chinese art history and cultural value. / The preface tries to explain "style" in terms of ancient texts of Chinese painting and calligraphy, and proposes to combine the analytic method of individual style and period style. It stresses on tracing the historical fact and the mind development of the artist in order to define "later period style". Chapter one describes Zhu’s experience on learning oil painting and ink painting in his early years, and the influence of peer during his study in Japan so as to explore the common concerns and general problems on painting history at that time. Besides, Zhu Qizhan established the concept of nationality during his early writing and drawing activities and reinforced this concept in his late years paintings. Chapter two analyzes Zhu’s response to the politicalization and depoliticalization during 50s and 60s period. He interested in the techniques from the ancient paintings, and applied them to various social themes in order to express his personal feeling. Chapter three proposes the concept of "labour" to explain how Zhu Qizhan used the body of old man to redefine heroism in figure paintings. He developed his own painting theory on the basis of theory of six principles of painting and the research of painting history of individual style. The publication of Pi Si Ju Hua Tan summarized his thoughts. Moreover, this article analyses the aspects of using contrast color, the combination of yellow, blue and green colors as the echo of Yang Sheng’s "mo-ku" landscape tradition, the emphasis of light and season and the use of literal theme in Zhu Qizhan’s life paintings. During the 1970s, Zhu built up a firm foundation for late year’s reform by imitating ancient paintings, after that, he tried to develop a new style through his exploration based on philosophical themes. In the 1980s, the new definition of picture and history arose, Zhu Qizhan expressed his grieve of war period and mourn for the nation under the new artistic environment. He interacted with different social stratum and established his position as a Shanghai School painter. This article discussed the cultural significance of birth celebration activities in the circle of Chinese ink painters. Chapter four comments on the relationship and succession of Zhu and Shanghai School by analyzing the learning process of Zhu’s calligraphy and recording his interaction with collectors and the experiences gained from visiting museums. His visit to America, Britain, Hong Kong and Singapore accelerated the integration of Eastern and Western paintings and the cultural interaction between different nations. This was part of his contribution during the process of "modernization" of ink painting. Chapter Five analyses the background of Zhu’s painting theory Pi Si Ju Hua Tan and introduces its content and comment. It summarizes Zhu’s viewpoint on "style" in his late years, and uses the concept of "playfulness of body and mind" to analyze the possible spirit inside contemporary ink paintings. / Zhu’s creation experience reflects the turning point of Chinese art in the 80s. The struggle of Western and Eastern art has never been stopped. The definition of "reality" is one of the prominent propositions. In Zhu’s later paintings, what are the elements constituting the traditional art value? How did he express the "reality" in his mind and engaging in the new path of ink paintings? This paper tries to solve these problems by focusing on the modern historical context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 戴淑芳 = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 293-332). / Abstracts also in English. / Dai Shufang = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong.

An investigation into the relation between objects and colors is essential in understanding how color perception is evolved in ancient China. First, the separation of objects and colors is a major step to establish a color system. Second, the advanced understanding of a unifying framework between colors and objects has been passed down through generations, which not only made its impact on traditional Chinese paintings' theory with regards to color such as "using color to portray color", "coloring by physical appearance", but also in a way restrained ancient people's thoughts on color's intrinsic properties. To satisfy the taste and understanding in color of their time, the ancients opted for the physical coordinates of an object as their final choice of color to be depicted, indicating their belief in the unification of object and color. When being reflected in paintings, such belief is shown as a pursuit of stable and organized color compositions. / Behind this rich tapestry of colors, the physical production of color pigments is instrumental in the art production in Dunhuang. In the Tang dynasty, the flourishing printing and dyeing industry fuelled the development of plant dyes, some of which could be employed in paintings to make their contributions in art. Mineral pigments made their way to Dunhuang amid the frequent cultural exchanges between China and the West, which formed the material basis for the vibrant Dunhuang art. However, when weighting their color options amid the exported pigments, Central China-culture genes helped to make a conscious decision to reflect local cultural spirit. / Dunhuang in the Tang dynasty is not a simple phrase describing a physical location during a certain time; it is rather an interrelated and compound concept. The rich color culture of the Tang dynasty was preserved through art in Dunhuang and the special nature of Dunhuang culture made it possible for us to understand the complexity of Tang color concept. Through depictions of secular life in both words and images, Dunhuang helped to construct a complete picture of Tang color theory. / In Tang dynasty, the nation's perception of color matured in discipline and art forms are manifested in a mirage of colors. The secular quality in the Tang society dictates the use of natural colors. The different hues of red and green became the color codes for Tang spirit, which are also the dominant colors used in Dunhuang's mural art. The frequent use of red colors reflects the uplifting spirit of its time. / 王冬松. / Advisers: Kam Tang Tong; Jin Zhou. / Source: Dissertation Abstracts International, Volume: 73-06, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 278-286). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wang Dongsong.

何崇謙. / Thesis (M.A.)--香港中文大學硏究院藝術系 / Includes bibliographical references (leaves 147-160). / He Chongqian. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan yi shu xi. / 序言 --- p.I / Chapter 第一章 --- 導言 --- p.1 / Chapter 第二章 --- 摺扇的沿革 --- p.8 / Chapter (一) --- 摺扇的起源 --- p.8 / Chapter (二) --- 摺扇在中國的發展 --- p.14 / Chapter 第三章 --- 摺扇繪畫概說 --- p.25 / Chapter 第四章 --- 明代摺扇山水畫的藝術 --- p.35 / Chapter (一) --- 吳派 --- p.39 / Chapter 甲 --- 沈周 --- p.39 / Chapter 乙 --- 文徵明 --- p.43 / Chapter 丙 --- 吳門子弟 --- p.49 / Chapter 1 --- 陳淳 --- p.50 / Chapter 2 --- 陸治 --- p.51 / Chapter 3 --- 文嘉 --- p.53 / Chapter 4 --- 文伯仁 --- p.57 / Chapter 5 --- 錢穀 --- p.59 / Chapter 丁 --- 小結 --- p.61 / Chapter (二) --- 院體派 --- p.61 / Chapter 甲 --- 周臣 --- p.62 / Chapter 乙 --- 唐寅 --- p.66 / Chapter 丙 --- 仇英 --- p.70 / Chapter 丁 --- 小結 --- p.74 / Chapter (三) --- 松江派 --- p.75 / Chapter 甲 --- 莫是龍 --- p.75 / Chapter 乙 --- 宋旭 --- p.77 / Chapter 丙 --- 董其昌 --- p.79 / Chapter 丁 --- 趙左 --- p.85 / Chapter 戊 --- 宋懋晉 --- p.87 / Chapter 己 --- 小結 --- p.89 / Chapter (四) --- 變形派 --- p.90 / Chapter 甲 --- 丁雲鵬 --- p.91 / Chapter 乙 --- 吳彬 --- p.94 / Chapter 丙 --- 藍瑛 --- p.97 / Chapter 丁 --- 陳洪綬 --- p.99 / Chapter 戊 --- 小結 --- p.102 / Chapter 第五章 --- 結論 --- p.104 / 註釋 --- p.115 / 參考書目 --- p.147 / 圖錄 --- p.161

published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy