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Bodyscapes

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Many cultures find connections between humans and nature. Chinese philosophies such as Daoism assert that mountains are sacred beings of cosmic energy. These cosmic beings have elements that coincide with parts of the human body: rocks are bones, water is blood and veins, trees and grass are hair, clouds and…

Many cultures find connections between humans and nature. Chinese philosophies such as Daoism assert that mountains are sacred beings of cosmic energy. These cosmic beings have elements that coincide with parts of the human body: rocks are bones, water is blood and veins, trees and grass are hair, clouds and mist are breath, the mountains themselves are the body. "Bodyscapes" is an exploration of these concepts using charcoal and ink to merge the human form with natural landscape.
ContributorsMonar, Kayci Leilani (Author) / Solis, Forrest (Thesis director) / Pittsley, Janice (Committee member) / Brown, Claudia (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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Transreligious and Transethnic Aesthetics in the Yuan and Qing Periods

Description
This dissertation will examine particular aspects of Yuan and Qing dynasty Chinese art historiography and argue that Chinese artistic creation is built on a transreligious and transethnic aesthetic, rather than an aesthetic centered on a single unitary culture. My project has two primary goals. The first is to propose that…

This dissertation will examine particular aspects of Yuan and Qing dynasty Chinese art historiography and argue that Chinese artistic creation is built on a transreligious and transethnic aesthetic, rather than an aesthetic centered on a single unitary culture. My project has two primary goals. The first is to propose that transreligious and transethnic factors fundamentally altered Chinese aesthetics, and discuss specifically what those changes were. The second goal of this dissertation is to evaluate the importance of interdisciplinary research approaches — including literature, ceremonial traditions, religious scriptures, and multiethnic material culture — to the study of art history, and specifically to non-Han Chinese art historiography. By studying four artists of different ethnic backgrounds — Uyghur (Gao Kegong, 1248–1310), Nepali (Anige, 1245–1306), Manchu (Manggūri, 1672–1736) and Mongol (Fashishan, 1753–1813) — this dissertation intends to answer several questions: how did these artists’ native cultural and religious aesthetics influence their artworks? Might further examination of the transethnic and transreligious aspects of later Imperial artistic production bring new focus to previously unnoticed aspects of Chinese art? And, on the individual level, what new insights can be uncovered when art historians consider the works of a non-Han Chinese artist from these transethnic and transreligious perspectives? The materials used for this research include a close visual study of artworks from the Rubin Museum of Art, the Cleveland Museum of Art, the Philadelphia Museum of Art, and the Los Angeles County Museum of Art.
ContributorsAIERKEN, YIPAER (Author) / Brown, Claudia (Thesis advisor, Committee member) / Berger, Patricia (Committee member) / Bokenkamp, Stephen (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2023