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The Figurative Works of Chen Hongshou (1599-1652)
Despite the importance of Chen Hongshou (1599-1652) as an artist and scholar of the late Ming period, until now no full length study in English has focused on his work. Author Tamara H. Bentley takes a broadly interdisciplinary approach, treating Chen's oeuvre in relation to literary themes and economic changes, and linking these larger concerns to visual analyses. In so doing, Bentley sheds new light not only on Chen, but also on an important cultural moment in the first half of the seventeenth century, when Chinese scholar artists began to direct their work towards anonymous public markets.
Repentant Monk
"Repentant Monk: Illusion and Disillusion in the Art of Chen Hongshou is organized by Julia M. White, Senior Curator for Asian Art, UC Berkeley Art Museum and Pacific Film Archive. The catalogue is made possible with major support from the Bei Shan Tang Foundation. The exhibition is made possible with lead support from The American Friends of the Shanghai Museum and The Robert H. N. Ho Family Foundation"--Copyright page.
Making Saints in Modern China
"Sainthood" has been, and remains, a contested category in China, given the commitment of China's modern leadership to secularization, modernization, and revolution, and the discomfort of China's elite with matters concerning religion. However, sainted religious leaders have succeeded in rebuilding old institutions and creating new ones despite the Chinese government's censure. This book offers a new perspective on the history of religion in modern and contemporary China by focusing on the profiles of these religious leaders from the early 20th century through the present. Edited by noted authorities in the field of Chinese religion, Making Saints in Modern China offers biographies of promin...
The Figurative Works of Chen Hongshou (1599?652)
Despite the importance of Chen Hongshou (1599-1652) as an artist and scholar of the Ming period, until now no full length study in English has focused on his work. Author Tamara H. Bentley takes a broadly interdisciplinary approach, treating Chen's oeuvre in relation to literary themes and economic changes, and linking these larger concerns to visual analyses. Considering Chen's paintings and prints alongside Chen's romance drama commentaries and prefaces and his collected writings (particularly poetry), Bentley sheds new light not only on Chen, but also on an important cultural moment in the first half of the seventeenth century. Through analysis of Chen's figure paintings and print designs...
The Eternal Present of the Past
This study draws together various elements in late Ming culture – illustration, theater, literature – and examines their interrelation in the context of the publication of drama. It examines a late Ming conception of the stage as a mystical space in which the past was literally reborn within the present. This temporal conflation allowed the past to serve as a vigorous and immediate moral example and was considered a hugely important mechanism by which the continuity of the Confucian tradition could be upheld. By using theatrical conventions of stage arrangement, acting gesture, and frontal address, drama illustration recreated the mystical character of the stage within the pages of the book, and thus set the conflation of past and present on a broader footing.
Dimensions of Originality
This book investigates the issue of conceptual originality in art criticism of the seventeenth century, a period in which China dynamically reinvented itself. In art criticism, the term which was called upon to indicate conceptual originality more than any other was "qi", literally, "different"; but secondarily, "odd," like a number and by extension, "the novel," and "extraordinary." This work finds that originality, expressed through visual difference, was a paradigmatic concern of both artists and critics. Burnett speculates on why many have dismissed originality as a possible "traditional Chinese" value, and the ramifications this has had on art historical understanding. She further demonstrates that a study of individual key terms can reveal social and cultural values and provides a linear history of the increase in critical use of "qi" as "originality" from the fifth through the seventeenth centuries, exploring what originality looks like in artworks by members of the gentry elite and commoner classes, and explains how the value lost its luster at the end of the seventeenth century.
The Social Imperative
This book contains multiple short critiques, reflections and manifestos, affording each contributing architect and intellectual the time and space to imagine new social paradigms in China. Emerging from a tumultuous history of high culture and complex territorial conditions, there is nothing straightforward about the social development of China. The complexity of the social practices developed by architects and shapers of the built environment can be explained in part by the last three decades of an intensified adoption of the market economy by the Communist Party of China, after an equally short three decades of closed-door communist control. There is no political meltdown like the democrat...
Geo-Narratives of a Filial Son
Huang Xiangjian, a mid-seventeenth-century member of the Suzhou local elite, journeyed on foot to southwest China and recorded its sublime scenery in site-specific paintings. Elizabeth Kindall’s innovative analysis of the visual experiences and social functions Huang conveyed through his oeuvre reveals an unrecognized tradition of site paintings, here labeled geo-narratives, that recount specific journeys and create meaning in the paintings. Kindall shows how Huang created these geo-narratives by drawing upon the Suzhou place-painting tradition, as well as the encoded experiences of southwestern sites discussed in historical gazetteers and personal travel records, and the geography of the ...
Worldly Stage
"In seventeenth-century China, as formerly disparate social spheres grew closer, the theater began to occupy an important ideological niche among traditional cultural elites, and notions of performance and spectatorship came to animate diverse aspects of literati cultural production. In this study of late-imperial Chinese theater, Sophie Volpp offers fresh readings of major texts such as Tang Xianzu’s Peony Pavilion (Mudan ting) and Kong Shangren’s Peach Blossom Fan (Taohua shan), and unveils lesser-known materials such as Wang Jide’s play The Male Queen (Nan wanghou). In doing so, Volpp sheds new light on the capacity of seventeenth-century drama to comment on the cultural politics of...
