| The World Around the Chinese Artist: Aspects of Realism in Chinese Painting Volume 2 Contributor(s): Edwards, Richard (Author) |
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ISBN: 0892641436 ISBN-13: 9780892641437 Publisher: U of M Center for Chinese Studies OUR PRICE: $37.13 Product Type: Paperback - Other Formats Published: January 2000 Annotation: In this series of lectures on the painters Hsia Kuei (twelfth-thirteenth centuries), Shen Chou (fifteenth-sixteenth centuries), and Shih-t'ao (seventeenth-eighteenth centuries), Richard Edwards explores the special relationship between the self and landscape in Chinese art. These three painters, each important in his own time and deemed a master by later critics, were all concerned with the subjective in the objective world. In Chinese painting there is no clear desire to separate these two realms; rather, there is a constant, conscious play between the physical reality of the world and the subjective vision of the artist. The artist is continually imitating the world--sometimes more, sometimes less--but he never denies its appearance to the point of total abstraction; nor, in the other extreme, does he claim for the physical world an existence independent of his own involvement. Richard Edwards is Professor Emeritus of East Asian Art and Art History, University of Michigan. |
| Additional Information |
| BISAC Categories: - Art | Asian - General - Art | History - General - Art | Techniques - Painting |
| Dewey: 759.951 |
| LCCN: 00055527 |
| Series: Michigan Studies in Chinese Studies |
| Physical Information: 0.42" H x 7.45" W x 10.23" (0.83 lbs) 160 pages |
| Themes: - Cultural Region - Chinese - Ethnic Orientation - Chinese |
| Descriptions, Reviews, Etc. |
| Publisher Description: In Chinese painting there is no clear desire to separate the subjective world and the objective world. Rather, there is a constant, conscious play between the physical reality of the world and the subjective vision of the artist. The artist is continually imitating the world--sometimes more, sometimes less--but he never denies its appearance to the point of total abstraction; nor, in the other extreme, does he claim for the physical world an existence independent of his own involvement.The World around the Chinese Artist explores this special relationship between the self and the landscape in Chinese art through studies of painters Hsia Kuei (12th-13th centuries), Shen Chou (15th-16th centuries), and Shih-t'ao (17th-18th centuries). Each of these three was important in his own time and deemed a master by later critics. Hsia Kuei was Painter-in-attendance in the Academy of Painting during the reign of Emperor Ning-tsung, and he was concerned with presenting a directly observable view of a physically believable landscape. Shen Chou can be described as the inheritor of Yüan ideals and the recipient of traditional training, yet he developed his own style and sensitivity characterized by walking the hair-line between involvement in and detachment from the world he observed. Shih-t'ao was a Buddhist priest and Confucian who viewed narrow adherence to the past as unacceptable slavery and countered it with conscoius rebellion, painting with special notions of style, independence, and individuality that included freedom and abstraction. |