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שנה"ל תשע"ט

  נוף כמושג: "הר ומים" ומשמעותם באמנויות סין
  Landscape as Concept, and its Meaning in Chinese Art  
0821-6242-01
אמנויות | חוג לתולדות האמנות
סמ'  ב'1800-2000200 מכסיקושיעור ד"ר זהר אילת
דרישות קדם   רשימת התפוצה  
ש"ס:  2.0

סילבוס מקוצר

בעוד שבמסורת הציור במערב, ציור נוף כסוגה עצמאית התפתח רק בהולנד במאה ה17, בסין היה לציור הנוף מקום מרכזי, דומיננטי, מופשט ופילוסופי, אשר שלט בכל צורות האמנות – מציור ועד גינון, מפיסול ועד שירה. הקורס, שפותח על ידי פרופסור זילברגלד, יועבר ביחד עם ד"ר זהר, ויתמקד בחיבורים שבין פילוסופיה והאמנויות, מושגים ורעיונות של נוף בספרות ושירה, וייצוגים של מחשבה ועשייה אנושית באמנויות הציור, גינון, ואדריכלות – מתקופת חאן (מאה 3 לפנה"ס) ועד אמנות בת זמננו. מחציתו הראשונה של הקורס תועבר על ידי דר" זהר בעברית, ומחציתו השניה על ידי פרופסור זילברגלד באנגלית. הגשת העבודות יכולה להיות בעברית או באנגלית (אנו מעודדים הגשות באנגלית!).

 

הקורס יועבר בימי רביעי בחלקו הראשון, ובימי ראשון ורביעי בחלקו השני (פרופ' זילברגלד) + הרצאה פתוחה ביום ה' 2 במאי כל המגשים הם חלק מהקורס ובעלי חובת נוכחות. שימו לב לתאריכים:

27.2.19, 6.3.19, 13.3.19, 17.3.19, 27.3.19, 3.4.19, 10.4.19, 28.4.19, 2.5.19, 5.5.19, 12.5.19, 15.5.19, 19.5.19.

 

Course description

While in Western Art, landscape painting as an autonomous genre developed only in Holland of the 17th c., in China, it served as the central, dominant, most abstract and philosophical genre which dominated all forms of art – from painting to gardening, sculpturing to poetry. The course, which was developed by Professor Silbergeld, and will be co-taught with Dr. Zohar, focuses on the links between philosophy and the arts, concepts of nature in literature and poetry, and representations of human thought and practice in painting, landscape arts, gardening and architecture – from the Han period (3rd c. bce) to contemporary art. The first half of the course is taught by Dr. Zohar in Hebrew, the second half of the course is taught by Professor Silbergeld in English. Paper submission can be in either language.

Course will be taught on Wednesdays on its first part, and Sundays and Wednesdays on its second part (taught by Prof. Silbergeld) + public lecture on May 2nd. All meetings are part of the course and presence is compulsory.

These are the course dates (6-8pm):

Class meetings:

27.2.19, 6.3.19, 13.3.19, 20.3.19, 27.3.19, 3.4.19, 10.4.19, 28.4.19, 2.5.19, 5.5.19, 12.5.19, 15.5.19, 19.5.19.

סילבוס מפורט

אמנויות | חוג לתולדות האמנות
0821-6242-01 נוף כמושג: "הר ומים" ומשמעותם באמנויות סין
Landscape as Concept, and its Meaning in Chinese Art
שנה"ל תשע"ט | סמ'  ב' | ד"ר זהר אילת

סילבוס מפורט/דף מידע

 

נוף כמושג: "הר ומים" ומשמעותם באמנויות סין

Landscape as Concept, and its Meaning in Chinese Art

פרופ' אמריטוס, ג'רום זילברגלד, אוניברסיטת פרינסטון

Professor Emeritus, Jerome Silbergeld, Princeton University

Dr. Ayelet Zohar  ד"ר אילת זהר 

שעור בחירה 2 ש"ס 0821624201

ימי ד' 18:00-20:00

Elective 2 hours

 

תיאור הקורס ודרישות הקורס

נוכחות מלאה חובה

הגשת דוח קריאה של שני מאמרים במהלך הקורס – 20%

(עבודת הגמר תהיה רפרט בהיקף של 2500 מילה – 80% (מי שמגיש באנגלית – 3500 מילים)

תקציר

בעוד שבמסורת הציור במערב, ציור נוף כסוגה עצמאית התפתח רק בהולנד במאה ה17, בסין היה לציור הנוף מקום מרכזי, דומיננטי, מופשט ופילוסופי, אשר שלט בכל צורות האמנות – מציור ועד גינון, מפיסול ועד שירה. הקורס, שפותח על ידי פרופסור זילברגלד, יועבר ביחד עם ד"ר זהר, ויתמקד בחיבורים שבין פילוסופיה והאמנויות, מושגים ורעיונות של נוף בספרות ושירה, וייצוגים של מחשבה ועשייה אנושית באמנויות הציור, גינון, ואדריכלות – מתקופת חאן (מאה 3 לפנה"ס) ועד אמנות בת זמננו. מחציתו הראשונה של הקורס תועבר על ידי דר" זהר בעברית, ומחציתו השניה על ידי פרופסור זילברגלד באנגלית. הגשת העבודות יכולה להיות בעברית או באנגלית (אנו מעודדים הגשות באנגלית!).

 

הקורס יועבר בימי רביעי בחלקו הראשון, ובימי ראשון ורביעי בחלקו השני (פרופ' זילברגלד) + הרצאה פתוחה ביום ה' 2 במאי כל המפגשים הם חלק מהקורס ובעלי חובת נוכחות.

!שימו לב לתאריכים

27.2.19, 6.3.19, 13.3.19, 17.3.19, 27.3.19, 3.4.19, 10.4.19, 28.4.19, 2.5.19, 5.5.19, 12.5.19, 15.5.19, 19.5.19.

 

 

Abstract

While in Western Art, landscape painting as an autonomous genre developed only in Holland of the 17th c., in China, it served as the central, dominant, most abstract and philosophical genre which dominated all forms of art – from painting to gardening, sculpturing to poetry. The course, which was developed by Professor Silbergeld, and will be co-taught with Dr. Zohar, focuses on the links between philosophy and the arts, concepts of nature in literature and poetry, and representations of human thought and practice in painting, landscape arts, gardening and architecture – from the Han period (3rd c. bce) to contemporary art. The first half of the course is taught by Dr. Zohar in Hebrew, the second half of the course is taught by Professor Silbergeld in English. Paper submission can be in either language.

Course will be taught on Wednesdays on its first part, and Sundays and Wednesdays on its second part (taught by Prof. Silbergeld) + public lecture on May 2nd. All meetings are part of the course and presence is compulsory.

These are the course dates (6-8pm):

Class meetings:

27.2.19, 6.3.19, 13.3.19, 20.3.19, 27.3.19, 3.4.19, 10.4.19, 28.4.19, 2.5.19, 5.5.19, 12.5.19, 15.5.19, 19.5.19.

 

27.2.19 שעור 1 - למה אנו מתכוונים במושג "נוף" בציורי נוף סיניים? באור המושג "הר ומים" שאן-שווי 山水

בשעור זה נעסוק בשאלות של הקו בציור דיו, הקשר בין קליגרפיה וציור, סוגי הקווים וסוגי הקליגרפיה, וטכניקות נוספות. נדון במושג "צפון ודרום של דונג צ'יצ'אנג. דיון על מושג הנוף.

6.3.19-13.3.19 שעורים 2-3 - ללמוד מהנוף, לשכפל את הנוף

תאוריות מוקדמות של ציור נוף בסין: אפיסטמולוגיה ואונטולוגיה; קנה מידה, מיניאטורה ומונומנטליות; העתקה ומקוריות. נקרא גם באידאלים הסינים של טבע: קונפוציאניזם ודאואיזם; אידאלים של האדם: קונפוציאניזם, דאואיזם ומואיזם.

קריאת חובה

קטעים מתוך "מאמרות", קונפוציוס.   פרק 1.

קטעים מתוך "ספר הדרך והסגולה", לאו דזה.

קטעים מתוך "קולות האדמה", ז'ואנג דזה.

Hearn, Maxwell. "Pictorial Maps, Panoramic Landscapes, and Topographic Paintings: Three Modes of Depicting Space during the Early Qing Dynasty." In Jerome Silbergeld, Dora Ching, et al., Bridges to Heaven: Esays on East Asian Art in Honor of Professor Wen C. Fong, 93-113. Princeton: Tang Center for East Asian Art and Princeton University Press, 2011:93-113.

Zong Bing, "An Introduction to Painting Mountains and Water," translated by Jerome Silbergeld. Unpublished ms.

Silbergeld, Jerome. "Re-reading Zong Bing's Fifth-Century Essay on Landscape Painting: A Few Critical Notes." In Shelagh Vainker and Xin Chen, eds., A Life in Chinese Art: Essays in Honour of Michael Sullivan, 30-39. Oxford: Ashmolean Museum, 2012:30-39.  

Lothar Ledderose, Ten Thousand Things: Module and Mass Production in Chinese Art, Princeton: Princeton NJ, 2000:103-137.

Ching Hao, translated by Kiyohiko Munakata, Notes on Brushwork, Ascona: Artibus Asiae Supplementum,1974:11-16

 

קריאת רשות

Lothar Ledderose, "The Earthly Paradise: Religious Elements in Chinese Landscape Art," in: Susan Bush and Christian Murck, eds., Theories of the Arts in China, Princeton: Princeton University Press, 19 83:165-183。

Viewing:

Jing Hao, Winter Landscape

Fan Kuan, Travelers Among Streams and Mountains

Emperor Huizong, attributed, Cranes Over Kaifeng and Five-Colored Parakeet

Ma Yuan, Album of Water Paintings

Li Kan, Bamboo and Rock

             Bronze chariot canopy pole from Sanpanshan

Gu Kaizhi, Admonitions of the Court Instructress, detail

 

17.3.19 שעור 4 - הסטוריה קצרה של סוגת ציורי "הר ומים"

מסורות מוקדמות: גאורפיה פיזית ואסכולות מקומיות

מסורת הליטראטי: שושלת סגנוניות, סגנון כנושא, נוזא כסימן, טיפולוגיה כסגנון

אמנות כהיסטוריה: צורת הזמן בהיסטוריה של ציור סיני

קריאת חובה

(*) James Cahill, Chinese Painting, Lausanne: Skira, 1960. chapters 1-3, 5-10

Jerome Silbergeld, "On the Origins of Literati Painting in the Song Dynasty," in Martin Power and Katherine Tsiang, eds. Blackwell's Companion to Chinese Art, Malden, MA, Oxford, and Chichester: Wiley-Blackwell, 2016:474-498.

קריאת רשות

James Cahill, The Compelling Image: Nature and Style in Seventeenth Century Chinese Painting, Cambridge: Harvard University Press, 1982:1-69

Wen Fong, "Review of James Cahill, The Compelling Image," Art Bulletin, 68 (1986), 504-508.

 

Viewing:

"Jannings" hu

Sanpanshan bronze tube

Gu Kaizhi, attributed, Spirit of the Luo River

Gu Kaizhi, attributed, Admonitions of the Court Instructress, landscape detail

Li Zhaodao, attributed, Minghuang's to Shu

Li Cheng, attributed, Twin Pines and Level View

Fan Kuan, Travellers Among Streams and Mountains

Dong Yuan, attributed, Wintry Banks, Old Trees

Zhao Mengfu, The Mind-Landscape of Xie Youyu, Twin Pines and Level View, and The Water Village

Dong Qichang, The Qingbian Mountains

Zhang Hong, The Zhi Garden album

 

27.3.19 שעור 5 – עלייה לרגל, גלות, וקולוניאליזם

קריאת חובה

 

Confucius, The Analects, 1.1

Kiyohiko Munakata, Sacred Mountains in Chinese Art, including translation of Gu Kaizhi, "On Painting Mt. Yuntai," Urbana and Chicago: University of Illinois Press, 1991:20-48

Robert Rorex, Eighteen Songs of a Nomad Flute: The Story of Lady Wenji New York: Metropolitan Museum of Art, 1975:(unpaginated; complete)

קריאת רשות

 Richard Strassberg, Inscribed Landscapes: Travel Writing from Imperial China, Berkeley and Los Angeles: University of California Press,1994:67-71, 104-109, 154-159, 297-302.

Kathlyn Liscomb, Learning From Mt. Hua: A Chinese Physician's Illustrated Travel Record and Painting Theory, Cambridge: Cambridge University Press,1995:110-128.

Laura Hostetler, Qing Colonial Enterprise, Chicago and London: University of Chicago Press, 2002:80-100.

 

Viewing:

Map of the Traces of Yu (Yu ji tu)

Zhang Ji, The White Lotus Society

Xia Yong, The Prince of Teng Pavilion and The Yueyang Pavilion

Anonymous Ming, Eighteen Songs of a Nomad Flute

Anonymous, "Miao album" leaves

 

3.4.19-10.4.19 – שעורים 6-7  להאניש את הנוף: פיתוח עצמי, בטוי עצמי, שימור עצמי, וקידום עצמי; אופיו של האמן

קריאת חובה

Robert Harrist, Painting and Private Life in Eleventh-Century China, Princeton NJ: Princeton University Press, 1998: 89-104.

Jerome Silbergeld, "Chinese Concepts of Old Age and Their Role in Chinese Painting, Painting Theory and Criticism," Art Journal 44.2 (Summer 1987), 103-114.

Peter Sturman, "The Art of Reclusion," in: Peter Sturman (ed.) The Artful Recluse: Painting, Poetry, and Politics in Seventeenth Century China, Santa Barbara: Santa Barbara Museum of Art, 2012:12-49.

קריאת רשות

Anne Clapp, Commemorative Landscape Painting in China, Princeton NJ: Tang Center for East Asian Art and Princeton University Press, 2012: 78-110.

 

Viewing:

Wang Meng, Dwelling in the Qingbian Mountains

Ni Zan, Six Gentlemen, Rongxi Studio, and Twin Trees by the South Bank

Zhou Chen, The Northern Sea

Shen Zhou, Return from 10,000 Leagues

Shen Zhou, Viewing the Mid-Autumn Moon

Dong Qichang, The Qingbian Mountains

 

28.4.19 – שעור 8  לשנות את הטבע: טבע כהיסטוריה, טבע כאלגוריה

קריאת חובה

Jerome Silbergeld, "Back to the Red Cliff: Reflections on the Narrative Mode in Early Literati Landscape Painting," Ars Orientalis, 25 (1995), 19-38.

Jerome Silbergeld, "Kung Hsien's Self-Portrait in Willows, With Notes on the Willow in Chinese Painting and Literature," Artibus Asiae 42.1 (1980), 5-38.

 

Viewing:

Guo Xi, Early Spring

Wu Yuanzhi, attributed, First Ode on the Red Cliff

Wang Hong, Eight Views of the Xiao-Xiang Rivers

Gong Xian, Winter Willows and A Thousand Peaks and Myriad Ravines

 

2.5.19 – שעור 9 - (יום ה'!) הרצאה לקהל הרחב (חובה למשתתפי הקורס)

שתי מסורות באמנות סינית עכשווית, והמשכיותן מן העת העתיקה ועד לאמנות מודרנית

Two Modes of Representation in Chinese Landscape Arts, and their Persistence from Ancient to Modern Art

As early as the 17th century, Chinese writers were aware of two historical modes of approaching nature in the visual arts, and by the early 20th century partisans of each mode were "weaponizing" them to help define Chinese modernity and defend China's historical greatness. The two modes differed along lines of intuition, spontaneity, and artist-centerdness  vs. rationality, technical precision, and subject-centerdness. The persistence of this dual impetus in contemporary Chinese art is exemplified in this presentation by two prominent artists, the photographer Qiu Mai and the painter/installation artist Zhang Hongtu.

 

 

5.5.19 – שעור 10 אנתרופומורפיזם וזואומורפיזם

קריאת חובה

Alfreda Murck, Poetry and Painting in China: The Subtle Art of Dissent, Cambridge MA: Harvard University Asia Center, 2000: 6-50.

Jerome Silbergeld, "The Political Animal: Metaphoric Rebellion in Zhao Yong's Painting of Heavenly Horses," in Silbergeld and Eugene Wang, eds., The Zoomorphic Imagination in Chinese Art and Culture, Honolulu: University of Hawai'i Press, 2016: 289-340.

Hou-mei Sung, Decoded Messages: The Symbolic Language of Chinese Animal Painting, "Introduction," New Haven and London: Yale University Press, 2010:1-5.

 

Viewing:Muqi, Gibbons

Anonymous, Song Dynasty, Gibbons and Egrets

Luo Zhichuan, Crows in Old Trees

Zhao Mengfu, Sheep and Goat

Gong Kai, Lean Horse

Ren Renfa, Two Horses, Fat and Lean

Zhao Yong, Noble Steeds

 

12.5.19 – שעור 11 לבנות בטבע, ליצור הרמוניה בין שמים-וארץ: ארכיטקטורה ופנג-שווי

 

קריאת חובה                                                                                                                                                                                                                                     

Ronald Knapp, "Siting and Situating a Dwelling: Fengshui, House Building Rituals, and Amulets," in Ronald Knapp and Kai-yin Lo, editors, House, Home, Family: Living and Being Chinese, Honolulu and New York: University of Hawai'I Press and China Institute in America, 2005: 98-137

Klaas Ruitenbeek, "The Process of Building a House" and "Building Magic," in Klaas Ruitenbeek, Carpentry and Building in Late Imperial China, Leiden: E.J. Brill, 1993: 45-89

 

Viewing

Fengshui diagram

Ming dynasty copy after Wang Wei, The Wang River Villa

Wang Yuanqi, copy after Wang Wei, The Wang River Villa

 

 

15.5.19 – שעור  12  להתגורר בטבע, שמים-על-הארץ, ומקומות קדושים: המקדש והגן

קריאת חובה

 

John Hay, Kernels of Energy, Bones of Earth: The Rock in Chinese Art, New York: China Institute in America, 1985: 40-80.

Jerome Silbergeld, "The Chinese Garden as an Intellectual Enterprise," in Haun Saussy, ed., Texts and Transformations: Fest shrift for Victor H. Mair, Amherst NY: Cambria Press, 2018: 219-238.

Wei-cheng Lin, Building a Sacred Mountain: The Buddhist Architecture of China's Mount Wutai, Seattle and London: University of Washington Press, 2014:3-18.

 

קריאת רשות

Cao Xueqin, translated by David Hawkes, The Story of the Stone, London and New York: Penguin Books, 1973: 324-347.

James Hargett, "Huizong's Magic Marchmount: The Genyue Pleasure Park of Kaifeng," Monumenta Serica 38 (1988-89):1-48.

 

 

Viewing:

Shen Zhou, Lu Zhi, and Shitao, versions of Zhang Gong's Cave

Dunhuang mural, cave 61: Temple Landscape of Mt. Wutai

Li Gonglin, Dwelling in the Longmian Mountains                                  

Anonymous Song, The Seventh Month

Emperor Huizong, attributed, Streams and Mountains in Autumn Hues

Ma Yuan, Composing Poetry on a Spring Outing

Zhang Hong, The Zhi Garden album

Garden of the Master of Nets, ground plan

 

19.5.19 שעור 13– אקולוגיה ומציאות, עבר והווה: פילים, זאבים, ופנדות: חיתוכים עתיקים וסכרים מודרנים

קריאת חובה

Jerome Silbergeld, "Trading Places: An Introduction to Zoomorphism and Anthropomorphism in Chinese Art," in:  Silbergeld and Eugene Wang, eds., The Zoomorphic Imagination in Chinese Art and Culture, Honolulu: University of Hawai'i Press, 2016:1-20.

Mark Elvin, The Retreat of the Elephants: An Environmental History of China, 9-18.

George Schaller, The Last Panda, New Haven and London: Yale University Press, 2004:152-168.

קריאת רשות

Ah Cheng, "King of the Trees," in Ah Cheng, Three Kings, London: Collins Harville, 1990:97-153.

Judith Shapiro, Mao's War Against Nature, Cambridge: Cambridge University Press, 2001: 21-65.

 

Viewing:

Shang-Zhou bronze figures: elephant, rhinoceros, crocodile, "hunting hu"

Anonymous Ming, Searching for Demons on Mt. Guankou

Wu Zhen, The Central Mountain

Zheng Shengtian et al., Man's Whole World Is Mutable

Zhang Hongtu, Re-Make of Ma Yuan's Water Album (780 Years Later)

Qiu Mai (Michael Cherney), Twilight Cranes (digital photograph)

Yang Yongliang, Artificial Wonderland II: Travelers Among Mountains and Streams (composite photograph)

 

 

 

                       

 

1 W  Feb 27

 

What Do We Mean by "Landscape" in Chinese Landscape Painting? The Genre of Mountains-and-Water, Shan shui

[3. Line as Method: The links between calligraphy and painting

4. Types of Lines: The lines in different calligraphic styles, and cun fa 皴法

5. Further techniques: water, pigments, brushes, substances. Xie yi 写意 vs. Gongbi 工笔

6. Dong Qichang and the concept of North and South in Chinese Art History] [Description and/or expression]

                        Open discussion: what is landscape? What is landscape painting?

 

 

 

2 W  Mar 6

3 W  Mar 13

 

Learning from Nature, Replicating Nature

Early Chinese painting theories: ontology and epistemology; scale,miniature and monument; copywork and originality

[1. Chinese Ideals - Nature: Confucianism (Kongzi) vs. Daoism (Laozi)

2. Chinese Ideals - Man: Confucianism (Xunzi and Mengzi), Daoism (Zhuangzi) and Moism (Mozi)]

 

Reading:

Kongzi – Analects (excerpts, in Hebrew)

Laozi – Dao De Jing (excerpts, in Hebrew)

Zhunagzi – Sounds of the Land (excerpts, in Hebrew)

Maxwell Hearn, "Pictorial Maps, Panoramic Landscapes, and Topographic Paintings: Three Modes of Depicting Space During the Early Qing Dynasty," in Jerome Silbergeld, Dora Ching, et al., Bridges to Heaven: Esays on East Asian Art in Honor of Professor Wen C. Fong, 93-113

Zong Bing, "An Introduction to Painting Mountains and Water," translated by Jerome Silbergeld

Jerome Silbergeld, "Re-reading Zong Bing's Fifth-Century Essay on Landscape Painting: A Few Critical Notes," in Shelagh Vainker and Xin Chen, eds., A Life in Chinese Art: Essays in Honour of Michael Sullivan, 30-39

Lothar Ledderose, Ten Thousand Things: Module and Mass Production in Chinese Art, 103-137

Ching Hao, translated by Kiyohiko Munakata, Notes on Brushwork,           11-16

Lothar Ledderose, "The Earthly Paradise: Religious Elements in Chinese Landscape Art," in Susan Bush and Christian Murck, eds., Theories of the Arts in China, 165-183

Viewing:

Jing Hao, Winter Landscape

Fan Kuan, Travelers Among Streams and Mountains

Emperor Huizong, attributed, Cranes Over Kaifeng and Five-Colored Parakeet

Ma Yuan, Album of Water Paintings

Li Kan, Bamboo and Rock

             Bronze chariot canopy pole from Sanpanshan

Gu Kaizhi, Admonitions of the Court Instructress, detail

 

 

4  S  Mar 17

 

A Short History of the Mountains-and-Water Painting Genre

Early traditions: natural geography and local "schools"

The literati tradition: stylistic lineage, style as subject, subject as sign

Typology and style

                        Art as history: the shape of time in Chinese painting history

Reading:

(*) James Cahill, Chinese Painting, chapters 1-3, 5-10

Jerome Silbergeld, "On the Origins of Literati Painting in the Song Dynasty," in Martin Power and Katherine Tsiang, eds., Blackwell's Companion to Chinese Art, 474-498

James Cahill, The Compelling Image: Nature and Style in Seventeenth Century Chinese Painting, 1-69

Wen Fong, "Review of James Cahill, The Compelling Image," Art Bulletin, 68 (1986), 504-508

 

Viewing:

"Jannings" hu

Sanpanshan bronze tube

Gu Kaizhi, attributed, Spirit of the Luo River

Gu Kaizhi, attributed, Admonitions of the Court Instructress,                          landscape detail

Li Zhaodao, attributed, Minghuang's to Shu

Li Cheng, attributed, Twin Pines and Level View

Fan Kuan, Travellers Among Streams and Mountains

Dong Yuan, attributed, Wintry Banks, Old Trees

Zhao Mengfu, The Mind-Landscape of Xie Youyu, Twin Pines and                               Level View, and The Water Village

Dong Qichang, The Qingbian Mountains

Zhang Hong, The Zhi Garden album

 

 

5 W  Mar 27

 

Pilgrimage, Exile, Pilgrimage, Exile, Colonization

 

Reading:

Confucius, The Analects, 1.1

Kiyohiko Munakata, Sacred Mountains in Chinese Art, including translation of Gu Kaizhi, "On Painting Mt. Yuntai," 20-48; Richard Strassberg, Inscribed Landscapes: Travel Writing from Imperial China, 67-71, 104-109, 154-159, 297-302

Robert Rorex, Eighteen Songs of a Nomad Flute: The Story of Lady Wenji (unpaginated; complete)

Kathlyn Liscomb, Learning From Mt. Hua: A Chinese Physician's Illustrated Travel Record and Painting Theory, 110-128

Laura Hostetler, Qing Colonial Enterprise, 80-100

 

Viewing:

Map of the Traces of Yu (Yu ji tu)

Zhang Ji, The White Lotus Society

Xia Yong, The Prince of Teng Pavilion and The Yueyang Pavilion

Anonymous Ming, Eighteen Songs of a Nomad Flute

Anonymous, "Miao album" leaves

 

 

 

6 W  Apr 3

7  W  Apr10

 

Humanizing Nature: Self-Cultivation, Self-Expression, Self-Preservation, Self-Promotion; Artistic Personality

 

Reading:

Robert Harrist, Painting and Private Life in Eleventh-Century China, 89-104

Jerome Silbergeld, "Chinese Concepts of Old Age and Their Role in Chinese Painting, Painting Theory and Criticism," Art Journal 44.2 (Summer 1987), 103-114

Peter Sturman, "The Art of Reclusion," in Peter Sturman, ed., The Artful Recluse: Painting, Poetry, and Politics in Seventeenth Century China, 12-49

Anne Clapp, Commemorative Landscape Painting in China, 78-110

 

Viewing:

Wang Meng, Dwelling in the Qingbian Mountains

Ni Zan, Six Gentlemen, Rongxi Studio, and Twin Trees by the South Bank

Zhou Chen, The Northern Sea

Shen Zhou, Return from 10,000 Leagues

Shen Zhou, Viewing the Mid-Autumn Moon

Dong Qichang, The Qingbian Mountains

 

 

(S  Apr 21

W  Apr 24

NO CLASS)

 

 

*8  S  Apr 28

*10  S May 5

 

Transforming Nature: Landscape as History, Landscape as Allegory, Anthropomorphism and Zoomorphism

 

Reading:

Jerome Silbergeld, "Back to the Red Cliff: Reflections on the Narrative Mode in Early Literati Landscape Painting," Ars Orientalis 25 (1995): 19-38.

Jerome Silbergeld, "Kung Hsien's Self-Portrait in Willows, With Notes on the Willow in Chinese Painting and Literature," Artibus Asiae 42.1 (1980), 5-38.

Alfreda Murck, Poetry and Painting in China: The Subtle Art of Dissent, 6-50.

Jerome Silbergeld, "The Political Animal: Metaphoric Rebellion in Zhao Yong's Painting of Heavenly Horses," in Silbergeld and Eugene Wang, eds., The Zoomorphic Imagination in Chinese Art and Culture, 289-340.

Hou-mei Sung, Decoded Messages: The Symbolic Language of Chinese Animal Painting, "Introduction," 1-5

 

Viewing:

Guo Xi, Early Spring

Wu Yuanzhi, attributed, First Ode on the Red Cliff

Wang Hong, Eight Views of the Xiao-Xiang Rivers

Gong Xian, Winter Willows and A Thousand Peaks and Myriad                Ravines

Muqi, Gibbons

Anonymous, Song Dynasty, Gibbons and Egrets

Luo Zhichuan, Crows in Old Trees

Zhao Mengfu, Sheep and Goat

Gong Kai, Lean Horse

Ren Renfa, Two Horses, Fat and Lean

Zhao Yong, Noble Steeds

 

*9  Th  May 2

 

PUBLIC LECTURE: "Two Modes of Tradition in Contemporary Chinese Art"

 

*11  S  May 12

Building in Nature, Heaven-and-Earth: Architecture and Fengshui

 

Reading:

Ronald Knapp, "Siting and Situating a Dwelling: Fengshui, House-Building Rituals, and Amulets," in Ronald Knapp and Kai-yin Lo, editors, House, Home, Family: Living and Being Chinese, 98-137

Klaas Ruitenbeek, "The Process of Building a House" and "Building Magic," in Klaas Ruitenbeek, Carpentry and Building in Late Imperial China, 45-89

 

Viewing

Fengshui diagram

Ming dynasty copy after Wang Wei, The Wang River Villa

Wang Yuanqi, copy after Wang Wei, The Wang River Villa 9

 

 

*12  W May 15         

 

Dwelling in Nature, Heaven-on-Earth:

The Temple and the Garden

 

Reading:

John Hay, Kernels of Energy, Bones of Earth: The Rock in Chinese Art, 40-80

Jerome Silbergeld, "The Chinese Garden as an Intellectual Enterprise," in Haun Saussy, ed., Texts and Transformations: Festshrift for Victor H. Mair, 219-238

Wei-cheng Lin, Building a Sacred Mountain: The Buddhist Architecture of China's Mount Wutai, 3-18

James Hargett, "Huizong's Magic Marchmount: The Genyue Pleasure  Park of Kaifeng," Monumenta Serica 38 (1988-89), 1-48

Cao Xueqin, translated by David Hawkes, The Story of the Stone, 324-347

Viewing:

Shen Zhou, Lu Zhi, and Shitao, versions of Zhang Gong's Cave

Dunhuang mural, cave 61: Temple Landscape of Mt. Wutai

Li Gonglin, Dwelling in the Longmian Mountains                 Anonymous Song, The Seventh Month

Emperor Huizong, attributed, Streams and Mountains in Autumn Hues

Ma Yuan, Composing Poetry on a Spring Outing

Zhang Hong, The Zhi Garden album

Garden of the Master of Nets, ground plan

 

 

 

 

*13 S  May 19

Ecology and Reality, Past and Present: Elephants, Wolves, and Pandas, Ancient Clear-Cuts and Modern Power Dams

                                   

Reading:

Jerome Silbergeld, "Trading Places: An Introduction to Zoomorphism and Anthropomorphism in Chinese Art," in: Silbergeld and Eugene Wang, eds., The Zoomorphic Imagination in Chinese Art and Culture, 1-20.

Mark Elvin, The Retreat of the Elephants: An Environmental History of China, 9-18.

Ah Cheng, "King of the Trees," in Ah Cheng, Three Kings, 97-153

Judith Shapiro, Mao's War Against Nature, 21-65

George Schaller, The Last Panda, 152-168

 

Viewing:

Shang-Zhou bronze figures: elephant, rhinoceros, crocodile, "hunting hu"

Anonymous Ming, Searching for Demons on Mt. Guankou

Wu Zhen, The Central Mountain

Zheng Shengtian et al., Man's Whole World Is Mutable

Zhang Hongtu, Re-Make of Ma Yuan's Water Album (780 Years Later)

Qiu Mai (Michael Cherney), Twilight Cranes (digital photograph)

Yang Yongliang, Artificial Wonderland II: Travelers Among Mountains and Streams (composite photograph)

 

 

 

 

 

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