This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general. / Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene. / With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School. / 徐麗莎. / 呈交日期: 2005年8月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. i-x (2nd group)). / Cheng jiao ri qi: 2005 nian 8 yue. / Advisers: Jao Tsung-i; Harold Mok Kar-leung. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355. / 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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. i-x (2nd group)). / Xu Lisha.

Lee, Wun Sze Sylvia. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 261-268). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

羅欣欣. / 論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998. / 附參考文獻. / 中英文摘要. / Luo Xinxin. / 序言 --- p.1 / 論文摘要 --- p.2 / 插圖目錄 --- p.5 / 緒論 --- p.14 / Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949) / Chapter I. --- 毛澤東政治地位的確立 --- p.28 / Chapter II. --- 土地革命戰爭時期(1927-1937)：毛澤東繪畫圖像的起源 --- p.30 / Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31 / Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32 / Chapter 2. --- 晉西北木刻工廠1941 --- p.33 / Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34 / Chapter 4. --- 赤色郵政 1944 --- p.40 / Chapter 5. --- 中共黨報 1945 --- p.41 / Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43 / 小結 --- p.47 / Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966) / Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53 / Chapter 1. --- 中華人民共和國的成立194 9 --- p.53 / Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54 / Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56 / Chapter 2. --- 土地改革 1950-1952 --- p.59 / Chapter a. --- 新年畫創作運動 --- p.59 / Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66 / Chapter a. --- 革命歷史畫創作計劃 --- p.67 / Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70 / Chapter 1. --- 全盤蘇化1950-55 --- p.70 / Chapter a. --- 蘇聯宣傳畫的影響 --- p.70 / Chapter b. --- 蘇聯油畫的影響 --- p.72 / Chapter c. --- 蘇聯領袖像選材的影響 --- p.74 / Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76 / Chapter 1. --- 第一個五年計劃1953-1957 --- p.76 / Chapter a. --- 中國畫的改造 --- p.78 / Chapter b. --- 油畫民族化 --- p.81 / Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84 / Chapter 3. --- 社會主義教育運動1962-65 --- p.88 / Chapter a. --- 革命歷史繪畫運動 --- p.59 / 小結 --- p.91 / Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976) / Chapter I. --- 文化大革命發動的原因 --- p.105 / Chapter 1. --- 文化大革命序幕：海瑞罷官1965 --- p.105 / Chapter 2. --- 毛澤東個人崇拜 --- p.107 / Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107 / Chapter 1. --- 紅衛兵運動1966 --- p.107 / Chapter a. --- 紅衛兵藝術 --- p.108 / Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113 / Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115 / Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117 / Chapter a. --- 工農兵繪畫運動 --- p.118 / Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124 / Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125 / 小結 --- p.126 / Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997) / Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132 / Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132 / Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133 / Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134 / Chapter c. --- 毛主席紀念堂的落成 --- p.136 / Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137 / Chapter 2. --- 傷痕藝術1978-1979 --- p.139 / Chapter 3. --- 星星美展1979-1980 --- p.140 / Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141 / Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141 / Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143 / Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151 / Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152 / 小結 --- p.156 / 結語 --- p.161 / 附錄一 ：1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1 / 2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6 / 附錄二：參考書目 --- p.2-1 / 附錄三：現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1 / 附錄四：圖版 --- p.4-1

Chan, Yuen Lai. / Thesis submitted in: December 2007. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 125-133). / Abstracts in English and Chinese ; some text in appendix also in Chinese. / Abstract / Acknowledgement / Table of Contents / Chapter 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1 / Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2 / Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5 / Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9 / Chapter 1.3 --- RESEARCH MATERIALS --- p.10 / Chapter 1.3.1 --- "Forms, words and images" --- p.10 / Chapter 1.3.2 --- Research materials --- p.11 / Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11 / Chapter 1.4.1 --- Study of gardens from paintings --- p.11 / Chapter 1.4.2 --- Research methodology --- p.14 / Chapter 1.5 --- OUTLINE OF THESIS --- p.14 / Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17 / Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17 / Chapter 2.1.1 --- Early landscape depictions --- p.17 / Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18 / Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19 / Chapter 2.2 --- EARLY QING NANJING --- p.20 / Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20 / Chapter 2.2.2 --- Garden culture --- p.21 / Chapter 2.2.3 --- Artistic milieu --- p.23 / Chapter 2.3 --- CHAPTER SUMMARY --- p.26 / Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32 / Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32 / Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32 / Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34 / Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38 / Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39 / Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41 / Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43 / Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47 / Chapter 3.3.1 --- Ambiguous boundary --- p.48 / Chapter 3.3.2 --- Everyday social encounters --- p.49 / Chapter 3.3.3 --- Narrated landscape of the past --- p.52 / Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53 / Chapter 3.4 --- CHAPTER SUMMARY --- p.54 / Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60 / Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60 / Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61 / Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62 / Chapter 4.2 --- ZHAN YUAN --- p.67 / Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68 / Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68 / Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69 / Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70 / Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77 / Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77 / Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80 / Chapter 4.4 --- CHAPTER SUMMARY --- p.82 / Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90 / Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90 / Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90 / Chapter 5.2.1 --- Garden boundary and conception --- p.90 / Chapter 5.2.2 --- Archetypal garden readings --- p.91 / Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92 / Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92 / Append --- p.ix / Bibliography

Lam, Ka Man. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 2007-2008, design report." / Includes Chinese characters.

published_or_final_version / Fine Arts / Master / Master of Philosophy

This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.

No description available.

The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.

萬曆四十七年（1619），會稽文人王驥德（1540-1622）刊印出版了《元人古雜劇二十種》（或稱《古雜劇》），該書彙集元代雜劇20篇，并配有精美的版畫插圖，《唐明皇秋夜梧桐雨》即為其中的第17篇。 / 作為晚明徽派版畫風格的典型例證，顧曲齋所刊《唐明皇秋夜梧桐雨》中的4幅版畫插圖，可與明代中晚期蘇州地區職業畫家的人物故事畫作品進行比勘。筆者基於比對結果，運用圖像學理論，提出徽派版畫系仇英風格人物畫在版畫中餘續的假說。不僅如此，白樸(1226-1306後)《唐明皇秋夜梧桐雨》這一劇目本身即包含著明皇故事的文學創作傳統，且與之對應的明皇题材故事畫作亦廣受歡迎。尤其在明代，明皇題材故事畫與蘇州地區的商業創作緊密相關，為版畫的創稿提供了豐富的圖像資源。 / 最後，筆者通過對顧曲齋本《唐明皇秋夜梧桐雨》圖文關係及刊刻者王驥德個人經歷的考察，證實《古雜劇》的商品屬性及刊刻者所掌握的圖像資源。最終解答版畫史上關於徽派版畫風格來源問題：版畫繪刻者深受仇英人物畫風格的影響，或直接對部份畫作進行圖像挪用。同時亦說明在晚明江南，文人積極參與商業活動為文學與藝術兩個領域所帶來的雅俗標準的變更。 / In the 47th year of Wan-li, Wang Jide (1540-1622), a literatus in Guiji County, published the anthology of Yuan comedies named Guzaju in his personal printing house Guquzhai. In this book, he compiled 20 plays written in the Yuan dynasty with beautiful book illustrations. Rain on the Phoenix Tree was the 17th play in this book. / The illustrations for Rain on the Phoenix Tree in Guzaju were good examples for “Hui School of woodblock prints. Compared these woodcuts with those in the same style and paintings existing in the same period, I argued that the “Hui School of woodblock prints actually followed the style of narrative paintings made by Qiu Ying. Moreover, the story of the Tang emperor Minghuang has become a popular theme in the field of both Chinese literature and painting. Those traditions not only contributed to the birth of Bai Pu’s (1226-1306) comedy Rain on the Phoenix Tree, but also prided fruitful paintings as patterns for the professional painters like Qiu Ying. Since Qiu’s work prevailed the painting market in Jiangnan, thousands of narrative paintings including the theme of emperor Minghuang followed Qiu’s style. These paintings acted as commercial products as well as pictorial drafts for the engravers in late Ming. / Finally, the form of Guzaju and Wang Jide’s publication activities both showed that Wang, as owner of Guquzhai, aimed to use the illustrations to cater to the market and he did conversely get the pictorial resources from the market. Besides, the booming commercial trade of paintings in Jiangnan helped us finally get the answer for the origin of “Hui School of woodblock prints as well as showing the transformation of art criteria in the late Ming dynasty. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 賴妮. / "2013年7月". / "2013 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 86-95). / Abstract in Chinese and English. / Lai Ni. / 致謝 / 論文摘要 --- p.i / 緒論 --- p.1 / Chapter 第一章 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源 --- p.6 / Chapter 第一節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖的風格來源問題 --- p.7 / Chapter 第二節 --- 顧曲齋刊《古雜劇·唐明皇秋夜梧桐雨》插圖風格來源試探 --- p.10 / 小結 --- p.25 / Chapter 第二章 --- 《唐明皇秋夜梧桐雨》的圖文傳統 --- p.27 / Chapter 第一節 --- 白樸《唐明皇秋夜梧桐雨》的故事來源 --- p.27 / Chapter 第二節 --- 明皇題材繪畫作品的特點 --- p.35 / Chapter 第三節 --- 人物故事畫傳統中的明皇故事圖 --- p.40 / Chapter 第四節 --- 明皇故事畫在明代江南地區的流傳與創作 --- p.47 / 小結 --- p.50 / Chapter 第三章 --- 《古雜劇·唐明皇秋夜梧桐雨》的刊刻背景 --- p.53 / Chapter 第一節 --- 顧曲齋刊《古雜劇》的商品屬性 --- p.54 / Chapter 第二節 --- 流通的私藏·雅化的俗曲 --- p.59 / Chapter 第三節 --- “棄儒就賈與通俗文化生產 --- p.67 / 結論 --- p.74 / 附表1 --- p.77 / 附表2 --- p.82 / 附表3 --- p.83 / 附表4 --- p.85 / 參考書目 --- p.86 / 圖版目錄 --- p.95 / 圖版 --- p.105