Pub Date : 2019-09-24DOI: 10.3998/ars.13441566.0049.006
C. Foxwell
{"title":"Access Granted: Art-Historical Art and Woodblock-Printed Books in Eighteenth-Century Japan","authors":"C. Foxwell","doi":"10.3998/ars.13441566.0049.006","DOIUrl":"https://doi.org/10.3998/ars.13441566.0049.006","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43684161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-12DOI: 10.3998/ARS.13441566.0048.011
A. Bianchi
{"title":"East Asian Textual Scholarship in the Digital Age: The Ten Thousand Rooms Project","authors":"A. Bianchi","doi":"10.3998/ARS.13441566.0048.011","DOIUrl":"https://doi.org/10.3998/ARS.13441566.0048.011","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44233508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-12DOI: 10.3998/ars.13441566.0048.012
Olivia Mendelson
{"title":"Expanding Access to Manchu Sources: Collaborative Transcription in the Digital Archive","authors":"Olivia Mendelson","doi":"10.3998/ars.13441566.0048.012","DOIUrl":"https://doi.org/10.3998/ars.13441566.0048.012","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47404290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-08DOI: 10.3998/ARS.13441566.0048.007
Xiaofei Li
This paper focuses on several new discoveries in Huancui tang yuanjing tu (Illustrations of the Garden of the Hall Encircled by Jade), a special woodblock print published by Wang Tingne in the Huizhou region during the late Ming period (1573– 1644), which portrays Wang’s private garden. The particularity of this print lies in its entry into elite culture; at the same time, it represents a typical case of the integration and interaction between various visual media in the late Ming era. Previous researchers mostly view the print as a “garden painting,” and thus presuppose the validity of the images. Yet many noticeable issues remain regarding the structure and layout of this picture. An investigation of the original site of the garden has yielded the special artistic technique and functional definition hidden in the print. Moreover, such features are skillfully embodied in the context of both the geographic terrain and social culture of the Huizhou area. This article attempts to address these questions and further our understanding of the visual culture of the late Ming.
{"title":"Printing Fairyland: Expression of Space and Intention in Huancui tang yuanjing tu","authors":"Xiaofei Li","doi":"10.3998/ARS.13441566.0048.007","DOIUrl":"https://doi.org/10.3998/ARS.13441566.0048.007","url":null,"abstract":"This paper focuses on several new discoveries in Huancui tang yuanjing tu (Illustrations of the Garden of the Hall Encircled by Jade), a special woodblock print published by Wang Tingne in the Huizhou region during the late Ming period (1573– 1644), which portrays Wang’s private garden. The particularity of this print lies in its entry into elite culture; at the same time, it represents a typical case of the integration and interaction between various visual media in the late Ming era. Previous researchers mostly view the print as a “garden painting,” and thus presuppose the validity of the images. Yet many noticeable issues remain regarding the structure and layout of this picture. An investigation of the original site of the garden has yielded the special artistic technique and functional definition hidden in the print. Moreover, such features are skillfully embodied in the context of both the geographic terrain and social culture of the Huizhou area. This article attempts to address these questions and further our understanding of the visual culture of the late Ming.","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44116900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-08DOI: 10.3998/ARS.13441566.0048.002
Sraman Mukherjee
{"title":"Relics in Transition: Material Mediations in Changing Worlds","authors":"Sraman Mukherjee","doi":"10.3998/ARS.13441566.0048.002","DOIUrl":"https://doi.org/10.3998/ARS.13441566.0048.002","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41673272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-08DOI: 10.3998/ars.13441566.0048.006
Yudong Wang
This essay examines the factural and phenomenological aspects of some relief works of the remote and recent past, ranging from Buddhist sculptural and pictorial reliefs made in China, Central Asia, and India to relief works by Donatello (ca. 1386– 1466) and the American sculptor Natalie Charkow Hollander (b. 1933). While some of the works under discussion are historically connected to one another, most are not. By zooming in on relief works and the verbal descriptions about them, the essay reveals the signification that relief, as a liminal art medium between painting and sculpture in the round, enforces on its maker and viewer across cultures and throughout history, due to the visual and tactile ambiguity that it effects between concealment and disclosure. Three Experiments with Relief in Early Medieval China The introduction of Indic art practices and theories, which traveled along with Buddhism, intensified art production in early medieval China. The three artistic experiments discussed in the first half of this essay took place during this age of artistic intensification, the fifth and sixth centuries CE. They demonstrate the different ways in which artists in China, in the grip of things Indic, reflected upon and grappled with the nature and characteristics of both painting and sculpture. In different ways, these experiments were the result of new understandings about the potential of the wall surface as an artistic support, with “wall” used in its broadest sense. Such attempts were trials with modes of wall reliefs and wall paintings. The first experiment pertains to stone carving. A Buddhist stele from Chengdu (Sichuan) dated 523 can help us appreciate the tactics that the artist employed to realize an artistic ideal in stone relief carving. On the back of the stele is a relief on two planes, a mode of relief also seen frequently in preBuddhist carvings in various regions of China during the Han period (206 BCE– 220 CE), including Sichuan (fig. 1).1 Relief as such developed from outline drawing, and the end result does not go much beyond a drawing; the surface around the outline of the figures is cut back to leave raised silhouettes that are then made into more elaborate images by incising details and faintly modeling the surface. To borrow L.R. Rogers’s words in describing this kind of relief, figures are not treated “as corporeal bodies in their own right, but are, so to speak, bound to the surface, or spread upon it, or otherwise integrated with it in ways that
{"title":"The Relief Problem: Some Notes from an Art Historian","authors":"Yudong Wang","doi":"10.3998/ars.13441566.0048.006","DOIUrl":"https://doi.org/10.3998/ars.13441566.0048.006","url":null,"abstract":"This essay examines the factural and phenomenological aspects of some relief works of the remote and recent past, ranging from Buddhist sculptural and pictorial reliefs made in China, Central Asia, and India to relief works by Donatello (ca. 1386– 1466) and the American sculptor Natalie Charkow Hollander (b. 1933). While some of the works under discussion are historically connected to one another, most are not. By zooming in on relief works and the verbal descriptions about them, the essay reveals the signification that relief, as a liminal art medium between painting and sculpture in the round, enforces on its maker and viewer across cultures and throughout history, due to the visual and tactile ambiguity that it effects between concealment and disclosure. Three Experiments with Relief in Early Medieval China The introduction of Indic art practices and theories, which traveled along with Buddhism, intensified art production in early medieval China. The three artistic experiments discussed in the first half of this essay took place during this age of artistic intensification, the fifth and sixth centuries CE. They demonstrate the different ways in which artists in China, in the grip of things Indic, reflected upon and grappled with the nature and characteristics of both painting and sculpture. In different ways, these experiments were the result of new understandings about the potential of the wall surface as an artistic support, with “wall” used in its broadest sense. Such attempts were trials with modes of wall reliefs and wall paintings. The first experiment pertains to stone carving. A Buddhist stele from Chengdu (Sichuan) dated 523 can help us appreciate the tactics that the artist employed to realize an artistic ideal in stone relief carving. On the back of the stele is a relief on two planes, a mode of relief also seen frequently in preBuddhist carvings in various regions of China during the Han period (206 BCE– 220 CE), including Sichuan (fig. 1).1 Relief as such developed from outline drawing, and the end result does not go much beyond a drawing; the surface around the outline of the figures is cut back to leave raised silhouettes that are then made into more elaborate images by incising details and faintly modeling the surface. To borrow L.R. Rogers’s words in describing this kind of relief, figures are not treated “as corporeal bodies in their own right, but are, so to speak, bound to the surface, or spread upon it, or otherwise integrated with it in ways that","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41594434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-08DOI: 10.3998/ars.13441566.0048.001
S. Ray
{"title":"Introduction: Translation as Art History","authors":"S. Ray","doi":"10.3998/ars.13441566.0048.001","DOIUrl":"https://doi.org/10.3998/ars.13441566.0048.001","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45465072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-10-08DOI: 10.3998/ars.13441566.0048.005
Catherine Stuer
This essay analyzes the narrative structures of forms of graphic autobiography in premodern China. Focusing on three woodblockprinted picturetexts by the painter Zhang Bao (b. 1763), the poet Zhang Weiping (1780– 1859), and the official Linqing (1791– 1846), this study shows that these authors experimented with the representational and expressive affordances of landscape imagery and the printed book, to reconfigure the stories of their lives through a “language of vision.” By restructuring their life stories both formally and figuratively in spatial ways, these authors crafted multilayered but coherent images of their moral, intellectual, social, and personal identities, often against the grain of their personal and social predicaments. These imaginative interventions in the generic practices of selfrepresentation invite renewed attention to historical and cultural constructions of personal and collective identity, relations between landscape and subjecthood, and narrative structure in premodern and modern literary and pictorial texts. As narrative representation of the self in time, autobiographical writing is a privileged medium for the articulation of identity and subjecthood. This essay is an investigation of a form of autobiographical writing from China that could be thought of as graphic autobiography avant la lettre, in that it tells the life story of a single person, by substituting pictorial images for what otherwise would be the body of the narrative text. These pictorial life narratives, which seem unique in premodern forms of lifewriting worldwide, became a site of intense experimentation with new ways of imagining the self in nineteenthcentury China (fig. 1). This essay will show how these nineteenthcentury authors availed themselves, in striking ways, of the narrative and representational affordances of the pictorial image and the woodblockprinted book. In so doing, these authors expanded and reconfigured narrative models through a “language of vision,” in which landscape images and spatial figures stand central.1 As very public acts of selfimaging, these projects raise acute questions about the politics and performance of personal and collective identity in nineteenthcentury China. The strategic play with representational form in these publications frames such questions at the intersection of three lines of inquiry: the interrelation of landscape and subjecthood, temporal and spatial modes of selfapprehension and expression, and narrative structure in Chinese literary and pictorial texts. Figure 1. Above: Zhang Bao (b. 1763), Fancha tu (Images of the Floating Raft), frontispiece and first scene, 1822. Woodblockprinted book, ink on paper; 26.3 × 16.5 cm. The University of Chicago, Regenstein Library Below: Zhang Weiping (1780– 1859), Huajia xiantan (Leisurely Conversations at Sixty), frontispiece and first scene, 1840. Woodblockprinted book, ink on paper; 26.5 × 14.5 cm. The University of Chicago, Regenstein Library
{"title":"Affective Landscapes: Vision and Narrative in Nineteenth-Century Chinese Picture-Texts","authors":"Catherine Stuer","doi":"10.3998/ars.13441566.0048.005","DOIUrl":"https://doi.org/10.3998/ars.13441566.0048.005","url":null,"abstract":"This essay analyzes the narrative structures of forms of graphic autobiography in premodern China. Focusing on three woodblockprinted picturetexts by the painter Zhang Bao (b. 1763), the poet Zhang Weiping (1780– 1859), and the official Linqing (1791– 1846), this study shows that these authors experimented with the representational and expressive affordances of landscape imagery and the printed book, to reconfigure the stories of their lives through a “language of vision.” By restructuring their life stories both formally and figuratively in spatial ways, these authors crafted multilayered but coherent images of their moral, intellectual, social, and personal identities, often against the grain of their personal and social predicaments. These imaginative interventions in the generic practices of selfrepresentation invite renewed attention to historical and cultural constructions of personal and collective identity, relations between landscape and subjecthood, and narrative structure in premodern and modern literary and pictorial texts. As narrative representation of the self in time, autobiographical writing is a privileged medium for the articulation of identity and subjecthood. This essay is an investigation of a form of autobiographical writing from China that could be thought of as graphic autobiography avant la lettre, in that it tells the life story of a single person, by substituting pictorial images for what otherwise would be the body of the narrative text. These pictorial life narratives, which seem unique in premodern forms of lifewriting worldwide, became a site of intense experimentation with new ways of imagining the self in nineteenthcentury China (fig. 1). This essay will show how these nineteenthcentury authors availed themselves, in striking ways, of the narrative and representational affordances of the pictorial image and the woodblockprinted book. In so doing, these authors expanded and reconfigured narrative models through a “language of vision,” in which landscape images and spatial figures stand central.1 As very public acts of selfimaging, these projects raise acute questions about the politics and performance of personal and collective identity in nineteenthcentury China. The strategic play with representational form in these publications frames such questions at the intersection of three lines of inquiry: the interrelation of landscape and subjecthood, temporal and spatial modes of selfapprehension and expression, and narrative structure in Chinese literary and pictorial texts. Figure 1. Above: Zhang Bao (b. 1763), Fancha tu (Images of the Floating Raft), frontispiece and first scene, 1822. Woodblockprinted book, ink on paper; 26.3 × 16.5 cm. The University of Chicago, Regenstein Library Below: Zhang Weiping (1780– 1859), Huajia xiantan (Leisurely Conversations at Sixty), frontispiece and first scene, 1840. Woodblockprinted book, ink on paper; 26.5 × 14.5 cm. The University of Chicago, Regenstein Library","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45209143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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