黃佩賢. / 書名原題: 「臥遊」山水與程正揆《江山臥遊圖》 / 論文(碩士) -- 香港中文大學硏究院藝術學部,1995. / 參考文獻: leaves 135-142. / Huang Peixian. / 前言 --- p.1 / 前言 --- p.4 / Chapter 第一章 --- 「臥遊」山水 --- p.10 / Chapter 一. --- 「臥遊」的來源和定義 --- p.11 / Chapter 二. --- 「臥遊」的哲學內涵 --- p.14 / Chapter 三. --- 「臥遊」山水的理論發展 --- p.20 / Chapter 第二章 --- 程正揆的「臥遊」山水 --- p.50 / Chapter 一. --- 程正揆的生平 --- p.51 / Chapter 二. --- 程正揆的「臥遊」思想 --- p.62 / Chapter 第三章 --- 程正揆的《江山臥遊圖卷》 --- p.71 / Chapter 一. --- 「欲作《臥遊圖》五百卷」的願望 --- p.72 / Chapter 二. --- 《江山臥遊圖》的創作動機 --- p.79 / Chapter 三. --- 《江山臥遊圖》的次第問題 --- p.85 / Chapter 四. --- 《江山臥遊圖》的風格面貌 --- p.91 / 餘論 --- p.113 / 附錄一 程正揆生平年表 --- p.120 / 附錄二 程正揆《江山臥遊圖》傳世簡表 --- p.128 / 參考書目 --- p.134 / 圖版目錄 --- p.143

李志綱. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 95-102). / 中英文摘要. / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Li Zhigang. / Zhong Ying wen zhai yao. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 95-102).

Chau, Cheuk Ying. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 265-275). / Abstracts in English and Chinese; includes Chinese. / List of Illustrations --- p.vi / Acknowledgements --- p.ix / Introduction： a Psychological Approach to the Art of Mounting --- p.1 / The Significance of Mounting --- p.3 / Classical Literature and Past Research on Chinese Mounting --- p.10 / a psychological approach --- p.18 / Dissertation Structure --- p.24 / Chapter Chapter One： --- Scrolling' through History --- p.33 / Desire to Display´ؤFrom the Warring States to the Tang Dynasty --- p.33 / Splendid Adornment - The Song Dynasty --- p.40 / Emergence of the Literati - The Ming Dynasty --- p.60 / Subtlest of Pastels - The Qing Dynasty --- p.74 / Virtual Invisibility - The Republican Period and After --- p.84 / A Thousand Years of Hanging Scroll Mounting --- p.92 / Chapter Chapter Two： --- Seeing through the Enchanting Borders --- p.97 / Palette and Induction --- p.99 / Depth and Window --- p.109 / Oversized Outfit and Illusionary Size --- p.120 / Stave Strips and Composition --- p.126 / psychology and chinese hanging scroll mounting --- p.133 / Chapter Chapter Three： --- Experiment on Aesthetic Quality of Mounting --- p.137 / Method --- p.141 / Results --- p.146 / Discussion --- p.149 / Limitations --- p.152 / Conclusion： Subordination of Mounting --- p.153 / Appendix A： Experiment Questions --- p.157 / Appendix b： List of Artworks Included in the Experiment --- p.159 / Appendix c: Artworks Presentation Sequence in Different Groups --- p.161 / Appendix d： Aesthetic Quality Rating Sections of Different Groups --- p.162 / Group k --- p.162 / Group L --- p.168 / Chapter 1.1 --- Group M --- p.174 / Group n --- p.180 / Appendix E： Means (Standard Deviations) for Aesthetic Quality Ratings --- p.186 / Plates --- p.187 / Bibliography --- p.265

This thesis is purposefully limited to examining the status of China’s professional guohua (Chinese national painting) painters and their relation to the Party-State. It tackles the above subject by studying the contents of important official documents issued by the party-state, by retelling the interactions between professional guohua painters and the party-state in several crucial social-political contexts, and by analysing the experiences, opinions, observations and critiques of four professional guohua painters. The time span of this study extends from 1949 to the late 1990s, while acknowledging the year of 1978, when China officially launched its reform program, as a critical dividing juncture for comparative reasons. This thesis finds that a new favorable partnership was forged between the party-state and the professional guohua painters in the reform era. This was due to the impact of China’s political culture, changes in the ideology and policies of the ruling elite, the commercialization of art, and an emerging need to preserve guohua that is more instrumental to promote China’s cultural heritage and national soft power. It argues that the sustainability of such a partnership has been reinforced through a conscious differentiation between categories of art -- elite and non-elite, official and non-official, high and popular, public and non-public -- by Chinese cultural authorities as well as the artists themselves. This thesis further asserts that the significantly improved economic conditions and the social status that professional guohua painters enjoyed in the 1980s and 1990s did not reflect on their cultural and political autonomy. Most of them consciously chose to be part of the institutional establishments under the party-state and showed limited aspiration in the quest for cultural and political autonomy. The “organized dependence” of professional guohua painters prior to the reform era was replaced by “conformity” of these artists towards the party-state. Finally it suggests that, although China’s changing political environment will eventually give way to economics and the scale of ideological movements and cultural control will continue to decline, many professional guohua painters are likely to stay within the ideological and aesthetic boundaries set by the party-state and to be part of official arts agencies and institutions.

This thesis is purposefully limited to examining the status of China’s professional guohua (Chinese national painting) painters and their relation to the Party-State. It tackles the above subject by studying the contents of important official documents issued by the party-state, by retelling the interactions between professional guohua painters and the party-state in several crucial social-political contexts, and by analysing the experiences, opinions, observations and critiques of four professional guohua painters. The time span of this study extends from 1949 to the late 1990s, while acknowledging the year of 1978, when China officially launched its reform program, as a critical dividing juncture for comparative reasons. This thesis finds that a new favorable partnership was forged between the party-state and the professional guohua painters in the reform era. This was due to the impact of China’s political culture, changes in the ideology and policies of the ruling elite, the commercialization of art, and an emerging need to preserve guohua that is more instrumental to promote China’s cultural heritage and national soft power. It argues that the sustainability of such a partnership has been reinforced through a conscious differentiation between categories of art -- elite and non-elite, official and non-official, high and popular, public and non-public -- by Chinese cultural authorities as well as the artists themselves. This thesis further asserts that the significantly improved economic conditions and the social status that professional guohua painters enjoyed in the 1980s and 1990s did not reflect on their cultural and political autonomy. Most of them consciously chose to be part of the institutional establishments under the party-state and showed limited aspiration in the quest for cultural and political autonomy. The “organized dependence” of professional guohua painters prior to the reform era was replaced by “conformity” of these artists towards the party-state. Finally it suggests that, although China’s changing political environment will eventually give way to economics and the scale of ideological movements and cultural control will continue to decline, many professional guohua painters are likely to stay within the ideological and aesthetic boundaries set by the party-state and to be part of official arts agencies and institutions.

Thesis (M. Arch.)--Carleton University, 2004. / Includes bibliographical references (p. 136-138). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of California, San Diego, 2005. / Vita. Includes bibliographical references (leaves 263-269).

Thesis (Ph.D.)--University of Kansas, 1997. / Co-Chairs: Chu-tsing Li; Marsha Weidner. Includes bibliographical references.

Thesis (Ph. D.)--Dept. of Art, Stanford University. / Bibliography: leaves 291-311.

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