Pub Date : 2017-10-01DOI: 10.1215/00666637-4229701
Vivek Gupta
abstract:In Persian and Arabic 'ain carries several meanings, including "eye, vision, a fountain, wellspring, or source." The poetry of the Sufi shaikh Shah Ni'matullah Vali (Kirman-Mahan, Iran, 1330–1431) inscribed in the shrine of the Bahmani sultan Ahmad Shah al-Wali al-Bahmani (Ashtur, Deccan India, r. 1422–1436) is full of wordplay on 'ain. Just as the inscriptions in Ahmad Shah's shrine (khānqāh) draw heavily on each of these meanings, its murals give sight to these 'ains. The paintings recognizably depict poetic allusions, and calligraphic talismans intensify each utterance. The shrine is surrounded by water sources, placing emphasis on instances when 'ain means fountain. This article offers an interpretation of the decorative program in the shrine of Ahmad Shah, and argues that this monument demonstrates a phenomenon where a poetic text is integrated into a profoundly aestheticized space.The Bahmani empire of Gulbarga and Bidar was the first Islamicate court culture to flourish in South-Central India and unified a vast territory from which the Deccani sultanates later emerged. This article demonstrates how the shrine of Ahmad Shah exemplifies a broader genealogy of Deccani refractions of the Timurid International Style. While the large-scale migration of Ni'matullahi Sufis from Iran to the Deccan imported certain aesthetic sensibilities, this research also draws attention to how local visual culture is reflected in the shrine's murals. It speculates how the careful planning of this site would have involved the collaboration of Indian and Iranian nobility, architects, and painters.
{"title":"Interpreting the Eye ('ain): Poetry and Painting in the Shrineof Aḥmad Shāh al-Walī al-Bahmanī (r. 1422–1436)","authors":"Vivek Gupta","doi":"10.1215/00666637-4229701","DOIUrl":"https://doi.org/10.1215/00666637-4229701","url":null,"abstract":"abstract:In Persian and Arabic 'ain carries several meanings, including \"eye, vision, a fountain, wellspring, or source.\" The poetry of the Sufi shaikh Shah Ni'matullah Vali (Kirman-Mahan, Iran, 1330–1431) inscribed in the shrine of the Bahmani sultan Ahmad Shah al-Wali al-Bahmani (Ashtur, Deccan India, r. 1422–1436) is full of wordplay on 'ain. Just as the inscriptions in Ahmad Shah's shrine (khānqāh) draw heavily on each of these meanings, its murals give sight to these 'ains. The paintings recognizably depict poetic allusions, and calligraphic talismans intensify each utterance. The shrine is surrounded by water sources, placing emphasis on instances when 'ain means fountain. This article offers an interpretation of the decorative program in the shrine of Ahmad Shah, and argues that this monument demonstrates a phenomenon where a poetic text is integrated into a profoundly aestheticized space.The Bahmani empire of Gulbarga and Bidar was the first Islamicate court culture to flourish in South-Central India and unified a vast territory from which the Deccani sultanates later emerged. This article demonstrates how the shrine of Ahmad Shah exemplifies a broader genealogy of Deccani refractions of the Timurid International Style. While the large-scale migration of Ni'matullahi Sufis from Iran to the Deccan imported certain aesthetic sensibilities, this research also draws attention to how local visual culture is reflected in the shrine's murals. It speculates how the careful planning of this site would have involved the collaboration of Indian and Iranian nobility, architects, and painters.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"189 - 208"},"PeriodicalIF":0.5,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42248427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-26DOI: 10.1215/00666637-3788636
M. Aitken
Nineteenth-century court painters in India’s princely states reconfigured traditional portraiture to address British, Indian courtly and local values and conventions. At Bikaner, a father and son, Rahim and Chotu, experimented with a number of different styles and compositions to devise a royal portrait that confirmed monarchic ideals in uncertain times yet also modernized the genre in step with broader trends. Until recently the creative agency of such artists was mostly set aside as insufficiently modern to be art historically significant, with the result that detailed studies of colonial court painting are only now emerging, and the discipline still has little sense of how developments in this period related within the princely states or with the contemporaneous visual arts of British India. This paper begins to address the disciplinary lacuna on three fronts: first, by drawing out a critique from dispersed local studies to exert more forceful pressure on the discipline; second, by examining the pictorial strategies with which Chotu and Rahim addressed the cultural transformations of the late nineteenth century to test the field’s frameworks against the complex, particular visual thinking of court artists; and third, by comparing the strategies of Chotu and Rahim with the visual rhetoric of Bengal School painters to expand on colonial conceptions of past and present, of Western and non-Western, and of the affective power of images. These three approaches are directed at estranging colonial modernism from art historical narratives that give preference to internationalized terms and tastes.
{"title":"Colonial-Period Court Painting and the Case of Bikaner","authors":"M. Aitken","doi":"10.1215/00666637-3788636","DOIUrl":"https://doi.org/10.1215/00666637-3788636","url":null,"abstract":"Nineteenth-century court painters in India’s princely states reconfigured traditional portraiture to address British, Indian courtly and local values and conventions. At Bikaner, a father and son, Rahim and Chotu, experimented with a number of different styles and compositions to devise a royal portrait that confirmed monarchic ideals in uncertain times yet also modernized the genre in step with broader trends. Until recently the creative agency of such artists was mostly set aside as insufficiently modern to be art historically significant, with the result that detailed studies of colonial court painting are only now emerging, and the discipline still has little sense of how developments in this period related within the princely states or with the contemporaneous visual arts of British India. This paper begins to address the disciplinary lacuna on three fronts: first, by drawing out a critique from dispersed local studies to exert more forceful pressure on the discipline; second, by examining the pictorial strategies with which Chotu and Rahim addressed the cultural transformations of the late nineteenth century to test the field’s frameworks against the complex, particular visual thinking of court artists; and third, by comparing the strategies of Chotu and Rahim with the visual rhetoric of Bengal School painters to expand on colonial conceptions of past and present, of Western and non-Western, and of the affective power of images. These three approaches are directed at estranging colonial modernism from art historical narratives that give preference to internationalized terms and tastes.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"25 - 59"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49222312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-26DOI: 10.1215/00666637-3788627
N. Gunji
The Heike monogatari (Tale of the Heike) is a warrior chronicle represented in a variety of formats: not just texts but narration, performing arts, and paintings, among others. This paper explores the elite reception of Heike paintings in the Edo period by connecting it closely to the reception of other formats. Studying the “Chishakuin group”—a canonical group of paintings for elites depicting two battles in the Heike monogatari—and analyzing in particular the pair of screens in the British Museum, I will bring to light some intended functions of a social, political, and ideological nature that the Edo warrior elite expected of these paintings: most centrally, to edify the audience and legitimize the Tokugawa rule. As will be shown, these functions relied closely on the similar ones expected of other formats of the Heike monogatari. In fact, I will argue that Heike paintings, as well as the tale itself, were targeted to and received by elite women, not just men. I will investigate an interesting case of appreciation of Heike picture scrolls in 1632 by Tōfukumon’in, a daughter of the second Tokugawa shogun Hidetada and the imperial consort of Emperor Go-Mizunoo. It will be made clear that political and ideological reasons stemming from her particular background and circumstances were behind Tōfukumon’in’s practice of reading the Heike paintings.
{"title":"Heike Paintings in the Early Edo Period: Edification and Ideology for Elite Men and Women","authors":"N. Gunji","doi":"10.1215/00666637-3788627","DOIUrl":"https://doi.org/10.1215/00666637-3788627","url":null,"abstract":"The Heike monogatari (Tale of the Heike) is a warrior chronicle represented in a variety of formats: not just texts but narration, performing arts, and paintings, among others. This paper explores the elite reception of Heike paintings in the Edo period by connecting it closely to the reception of other formats. Studying the “Chishakuin group”—a canonical group of paintings for elites depicting two battles in the Heike monogatari—and analyzing in particular the pair of screens in the British Museum, I will bring to light some intended functions of a social, political, and ideological nature that the Edo warrior elite expected of these paintings: most centrally, to edify the audience and legitimize the Tokugawa rule. As will be shown, these functions relied closely on the similar ones expected of other formats of the Heike monogatari. In fact, I will argue that Heike paintings, as well as the tale itself, were targeted to and received by elite women, not just men. I will investigate an interesting case of appreciation of Heike picture scrolls in 1632 by Tōfukumon’in, a daughter of the second Tokugawa shogun Hidetada and the imperial consort of Emperor Go-Mizunoo. It will be made clear that political and ideological reasons stemming from her particular background and circumstances were behind Tōfukumon’in’s practice of reading the Heike paintings.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"1 - 24"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46420924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-26DOI: 10.1215/00666637-3788645
De-nin D. Lee
Whereas texts on painting by Chinese literati have had a profound impact on art history, women’s writings are almost unknown. This article examines poems by the Qing-dynasty poet-painter Luo Qilan (b. 1755), using her as a case study to argue for a literatae tradition in painting. Luo’s tihuashi (poems on paintings) and related poems bear witness to vigorous participation in the culture of Chinese painting. Her poems evidence learning from male teachers and female exemplars, adaptation of masculine conventions, and adroit use of poetic and painterly skills to cultivate supporters who disseminated her reputation beyond the Inner Chambers.
{"title":"More Than Mere Diversion: Painting and Tihuashi in the Life of Luo Qilan","authors":"De-nin D. Lee","doi":"10.1215/00666637-3788645","DOIUrl":"https://doi.org/10.1215/00666637-3788645","url":null,"abstract":"Whereas texts on painting by Chinese literati have had a profound impact on art history, women’s writings are almost unknown. This article examines poems by the Qing-dynasty poet-painter Luo Qilan (b. 1755), using her as a case study to argue for a literatae tradition in painting. Luo’s tihuashi (poems on paintings) and related poems bear witness to vigorous participation in the culture of Chinese painting. Her poems evidence learning from male teachers and female exemplars, adaptation of masculine conventions, and adroit use of poetic and painterly skills to cultivate supporters who disseminated her reputation beyond the Inner Chambers.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"61 - 82"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43877870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-26DOI: 10.1215/00666637-3788663
S. R. Quintanilla
This essay proposes a chronology of sculptural embellishment at the recently excavated Buddhist stūpa at Kanaganahalli in the state of Karnataka in southwestern India. Included is the interpretation of caption inscriptions as later additions, applied during the second century ce in order to alter and update the meaning of older, preexisting imagery from the first century bce. Transforming the meaning of visual images by the addition of new descriptive inscriptions indicates a shift in interests and priorities in the Buddhist community at Kanaganahalli over the span of about 150 years.The narrative episode from the life of the Buddha Śākyamuni in which his mother presents him as a newborn to the deity of a tree-shrine is featured as a key example of this phenomenon. While the sculpted image depicts the spirit of a tree venerating the infant, the caption inscription identifies the scene as the presentation of Śākyamuni to the deity of his father’s ancestral clan, described in textual sources as performed by men at a structural temple. The shift in meaning of this and other images at Kanaganahalli indicate that Buddhist narrative sources and emphases from predominantly patriarchal northern regions rose to greater prominence in the south during the second century ce. The new identities of older imagery diminish the role of vernacular women’s rites, which were important in the southern regions of Karnataka and Andhra Pradesh, where the social structure of local populations was matriarchal.
{"title":"Transformations of Identity and the Buddha’s Infancy Narratives at Kanaganahalli","authors":"S. R. Quintanilla","doi":"10.1215/00666637-3788663","DOIUrl":"https://doi.org/10.1215/00666637-3788663","url":null,"abstract":"This essay proposes a chronology of sculptural embellishment at the recently excavated Buddhist stūpa at Kanaganahalli in the state of Karnataka in southwestern India. Included is the interpretation of caption inscriptions as later additions, applied during the second century ce in order to alter and update the meaning of older, preexisting imagery from the first century bce. Transforming the meaning of visual images by the addition of new descriptive inscriptions indicates a shift in interests and priorities in the Buddhist community at Kanaganahalli over the span of about 150 years.The narrative episode from the life of the Buddha Śākyamuni in which his mother presents him as a newborn to the deity of a tree-shrine is featured as a key example of this phenomenon. While the sculpted image depicts the spirit of a tree venerating the infant, the caption inscription identifies the scene as the presentation of Śākyamuni to the deity of his father’s ancestral clan, described in textual sources as performed by men at a structural temple. The shift in meaning of this and other images at Kanaganahalli indicate that Buddhist narrative sources and emphases from predominantly patriarchal northern regions rose to greater prominence in the south during the second century ce. The new identities of older imagery diminish the role of vernacular women’s rites, which were important in the southern regions of Karnataka and Andhra Pradesh, where the social structure of local populations was matriarchal.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"111 - 142"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44922047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-03-26DOI: 10.1215/00666637-3788654
K. Chiem
From the conquest of the Ming dynasty in 1644 by the Manchurians through the literary inquisitions of the eighteenth century, seemingly innocuous paintings of peony flowers kept alive a discourse of Ming loyalism among Chinese artists and poets. While the peony’s appearance in poetic imagery was deemed seditious by the Qianlong emperor (r. 1736–1795), paintings by Yun Shouping, Shitao, Hua Yan, and Jin Nong, among many others, endured a century and a half of censorship, all the while contributing to portrayals of the flower in court imagery. This study examines peony paintings by several artists active in the Jiangnan region to consider how their works demonstrated traces of dissent or used loyalist imagery to deepen social ties. It reveals how these garden subjects were made powerfully subversive after centuries of dormant conventionality, seen merely as auspicious symbols until the Qing dynasty. Their multivalent imagery allowed them to exist in multiple, conflicted contexts: north and south, literati and academic, private and public, and, in the ultimate coup, amid both loyalists and the Manchu court.
{"title":"Painting, Peonies, and Ming Loyalism in Qing-Dynasty China, 1644–1795","authors":"K. Chiem","doi":"10.1215/00666637-3788654","DOIUrl":"https://doi.org/10.1215/00666637-3788654","url":null,"abstract":"From the conquest of the Ming dynasty in 1644 by the Manchurians through the literary inquisitions of the eighteenth century, seemingly innocuous paintings of peony flowers kept alive a discourse of Ming loyalism among Chinese artists and poets. While the peony’s appearance in poetic imagery was deemed seditious by the Qianlong emperor (r. 1736–1795), paintings by Yun Shouping, Shitao, Hua Yan, and Jin Nong, among many others, endured a century and a half of censorship, all the while contributing to portrayals of the flower in court imagery. This study examines peony paintings by several artists active in the Jiangnan region to consider how their works demonstrated traces of dissent or used loyalist imagery to deepen social ties. It reveals how these garden subjects were made powerfully subversive after centuries of dormant conventionality, seen merely as auspicious symbols until the Qing dynasty. Their multivalent imagery allowed them to exist in multiple, conflicted contexts: north and south, literati and academic, private and public, and, in the ultimate coup, amid both loyalists and the Manchu court.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"109 - 83"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43913487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reverse glass paintings, a form of Chinese export art, were extensively traded in the nineteenth century. Several examples are on display in prominent Thai Buddhist monasteries in Bangkok. King Nangklao of Siam, Rama III, encouraged Sino-Siamese trade that brought Chinese objects and images to nineteenth-century Siam. The ideals of accretion and abundance characteristic of Thai Buddhism and the sinophilia of Rama III facilitated the construction of “Chinese-style” Thai temples. Glass paintings with scenes of the Pearl River Delta, Romance of the Three Kingdoms, auspicious objects, and bird-and-flower compositions were installed in temples and inspired new directions in Thai mural painting.
{"title":"Chinese Glass Paintings in Bangkok Monasteries","authors":"J. Patterson","doi":"10.1353/AAA.2016.0015","DOIUrl":"https://doi.org/10.1353/AAA.2016.0015","url":null,"abstract":"Reverse glass paintings, a form of Chinese export art, were extensively traded in the nineteenth century. Several examples are on display in prominent Thai Buddhist monasteries in Bangkok. King Nangklao of Siam, Rama III, encouraged Sino-Siamese trade that brought Chinese objects and images to nineteenth-century Siam. The ideals of accretion and abundance characteristic of Thai Buddhism and the sinophilia of Rama III facilitated the construction of “Chinese-style” Thai temples. Glass paintings with scenes of the Pearl River Delta, Romance of the Three Kingdoms, auspicious objects, and bird-and-flower compositions were installed in temples and inspired new directions in Thai mural painting.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"153 - 185"},"PeriodicalIF":0.5,"publicationDate":"2016-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66580754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract: The Kherlen-Bars Pagoda is a little-known, undocumented monument in Dornad province of eastern Mongolia. This article argues that the pagoda was built during the period of Khitan rule in North Asia. It begins by comparing it with dated and undated pagodas of the Liao dynasty in eastern Inner Mongolia and Liaoning. The discussion then turns to less tangible aspects of Liao pagoda architecture that are observed at Kherlen-Bars: the relation between a tall monument and lower ones within viewing range, and the relation between a tall Khitan structure and a nearby walled town. A newly discovered Liao pagoda site in Xishanpo, Inner Mongolia, is presented. Finally, the article proposes sources for the three-monument arrangement at Kherlen-Bars in Northern Wei, Northern Qi, and the Silla kingdom of Korea.
{"title":"The Pagoda in Kherlen-Bars: New Understandings of Khitan-Period Towering Pagodas","authors":"N. Steinhardt","doi":"10.1353/AAA.2016.0016","DOIUrl":"https://doi.org/10.1353/AAA.2016.0016","url":null,"abstract":"Abstract: The Kherlen-Bars Pagoda is a little-known, undocumented monument in Dornad province of eastern Mongolia. This article argues that the pagoda was built during the period of Khitan rule in North Asia. It begins by comparing it with dated and undated pagodas of the Liao dynasty in eastern Inner Mongolia and Liaoning. The discussion then turns to less tangible aspects of Liao pagoda architecture that are observed at Kherlen-Bars: the relation between a tall monument and lower ones within viewing range, and the relation between a tall Khitan structure and a nearby walled town. A newly discovered Liao pagoda site in Xishanpo, Inner Mongolia, is presented. Finally, the article proposes sources for the three-monument arrangement at Kherlen-Bars in Northern Wei, Northern Qi, and the Silla kingdom of Korea.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"187 - 212"},"PeriodicalIF":0.5,"publicationDate":"2016-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66581697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Nelson-Atkins Museum of Art’s Illustration to the Second Prose Poem on the Red Cliff, attributed to Qiao Zhongchang, has been long celebrated as a major achievement of early Chinese literati painting. Nevertheless, the lifelike portraiture of Su Shi and the depiction of an actual site, as well as the contemporary colophons, all point to a memorial function for the scroll. The early provenance of this handscroll indicates that Liang Shicheng, the eunuch at Emperor Huizong’s court, was the one who commissioned it. The painting bears witness to the appropriation of the Li Gonglin style in the late Northern Song court.
{"title":"The Literati, the Eunuch, and a Memorial: The Nelson-Atkins’s Red Cliff Handscroll Revisited","authors":"Lei Xue","doi":"10.1353/AAA.2016.0011","DOIUrl":"https://doi.org/10.1353/AAA.2016.0011","url":null,"abstract":"Abstract:The Nelson-Atkins Museum of Art’s Illustration to the Second Prose Poem on the Red Cliff, attributed to Qiao Zhongchang, has been long celebrated as a major achievement of early Chinese literati painting. Nevertheless, the lifelike portraiture of Su Shi and the depiction of an actual site, as well as the contemporary colophons, all point to a memorial function for the scroll. The early provenance of this handscroll indicates that Liang Shicheng, the eunuch at Emperor Huizong’s court, was the one who commissioned it. The painting bears witness to the appropriation of the Li Gonglin style in the late Northern Song court.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"25 - 49"},"PeriodicalIF":0.5,"publicationDate":"2016-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The eighteenth-century Korean painter Kim Hong-do 金弘道 (1745–ca. 1806) still dazzles today’s viewers with his paintings of genre scenes and Daoist immortals, just as he astonished his contemporaries with his talent and versatility. Although he had numerous patrons, none had as much impact on his art as King Jeongjo 正祖 (r. 1776–1800). By examining written records and Kim’s extant paintings, this paper explores and assesses the significance of King Jeongjo’s patronage in unlocking the opportunities that enabled Kim Hong-do to reach his full potential as the most versatile painter in Korea.
{"title":"King Jeongjo’s Patronage of Kim Hong-do","authors":"K. Kim","doi":"10.1353/AAA.2016.0012","DOIUrl":"https://doi.org/10.1353/AAA.2016.0012","url":null,"abstract":"The eighteenth-century Korean painter Kim Hong-do 金弘道 (1745–ca. 1806) still dazzles today’s viewers with his paintings of genre scenes and Daoist immortals, just as he astonished his contemporaries with his talent and versatility. Although he had numerous patrons, none had as much impact on his art as King Jeongjo 正祖 (r. 1776–1800). By examining written records and Kim’s extant paintings, this paper explores and assesses the significance of King Jeongjo’s patronage in unlocking the opportunities that enabled Kim Hong-do to reach his full potential as the most versatile painter in Korea.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"51 - 80"},"PeriodicalIF":0.5,"publicationDate":"2016-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66579133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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