Phoebus 6, Number 2: A Journal of Art History - Table of Contents
“Preface” p. 207.
“Figure, Fiction, and Figment in Eighteenth-century Chinese Painting” by Richard Vinograd, p. 209-227.
“Yuan Jiang: Image Maker” by Alfreda Murck, p. 228-260.
“Zheng Xie's Price List: Painting as a Source of Income in Yangzhou” by Ginger Cheng-chi Hsü, p. 261-271.
“Jin Nong: The Eccentric Painter with a Wintry Heart” by Marshall P. S. Wu, p. 272-294.
“An Overview of Li Jian’s Painting” by Christina Chu, p. 295-315.
“Eighteenth-century Foundations in Modern Chinese Painting” by Chu-tsing Li, p. 316-327.
“Rubric and Art History: The Case of the Eight Eccentrics in Yangzhou” by Ju-hsi Chou, p. 329-350.
“Notes” p. 351-379.
“Glossary” p. 381-391.
“Index” p. 393-418
Phoebus 8: A Journal of Art History - Table of Contents
“Preface” by Ju-hsi Chou, p. 9-10.
“The Significance of the Nineteenth Century for Modern Chinese History” by Stephen R. Mackinnon, p. 11-17.
“Looking at Late Qing Painting with New Eyes” by Chu-Tsing Li, p. 18-37.
“Qian Du to Zhang Jing: The Artist and the Patron” by Ju-hsi Chou, p. 38-66.
“Zhou Xian's Fabulous Construct: The Thatched Cottage of Fan Lake” by Britta Erickson, p. 67-93.
“A Forgotten Celebrity: Wang Zhen (1867-1938), Businessman, Philanthropist, and Artist” by Hsing-yuan Tsao, p. 94-109.
“Satire and Situation: Images of the Artist in Late Nineteenth-Century China” by Richard Vinograd, p. 110-133.
“Painters and Publishing in Late Nineteenth-century Shanghai” by Jonathan Hay, p. 134-188.
“Calligraphy at the Close of the Chinese Empire” by Lothar Ledderose, p. 189-207.
“Glossary of Chinese Names and Terms” p. 211-219
Phoebus 9: A Journal of Art History - Table of Contents
“Preface” by J. Robert Wills, p. 9-10.
“Collecting Chinese Art” by Roy and Marilyn Papp, p. 13.
“Catalog of the Inaugural Gift from the Roy and Marilyn Papp Collection to Phoenix Art Museum” p. 15-43.
“Exhibitions From the Roy and Marilyn Papp Collection” p. 44-45.
“Additional Publications” p. 47.
“Romanization Note” p. 48.
“The Daoist Symbolism of Immortality in Shen Zhou’s ‘Watching the Mid-Autumn Moon at Bamboo Villa’” by Chun-yi Lee, p. 49-78.
“Wu Shi'en's ‘Liang Hong and Meng Guang’: A Misreading” by Xiaoping Lin, p. 79-99.
“From the Profound to the Mundane: Depictions of Lohans in Late Ming China” by Janet Baker, p. 101-116.
“Glimpses of the Duanwu Festival by Fang Xun (1736-1799): Commemorative Painting or Private Souvenir?” by Anne Kerlan-Stephens, p. 117-141.
“Pleasure and Pain” by Marion S. Lee, p. 143-165.
“From Narrative to Transformed Narrative: Visualizations of the Heavenly Maiden and the Maiden Magu” by Chen Liu, p. 167-182.
“Glossary of Chinese Names and Terms” p. 185-195
Phoebus 3: A Journal of Art History - Table of Contents
“Preface” by Jack Breckenridge, p. 5.
“A Possible Interpretation of the Bird-man Figure Found on Objects Associated with the Southern Cult of the Southeastern United States, A.D. 1200 to 1350” by Lee Anne Wilson, p. 6-18.
“John Milton’s ‘Unholy Trinity’: (Satan, Sin, and Death)” by Anthony Gully, p. 19-36.
“Arizona Portfolio” p. 38-84.
“Voyage of the Sesostris: Elihi Vedder in Egypt” by Hugh Broadley, p. 39-51.
“Theodore Roszak’s ‘Emergence: Transition I’ at Arizona State University” by Joan
Seeman Robinson, p. 52-53.
“‘La peur donnant des ailes au courage by Jean Cocteau: a Drawing in the Phoenix Art
Museum” by Anne Gully and Susan Benforado Gunther, p. 54-63.
“John Mix Stanley, a ‘Hudson River’ Painter in Arizona” by James K. Ballinger, p. 64-72.
“‘Corn Husking’ by Winslow Homer” by Gerald Eager, p. 73-79.
“A Plate from the Meissen Swan Service in the Phoenix Art Museum” by Barbara
Nachtigall, p. 80-84.
“Death in the Darkroom: Poisonings of Nineteenth Century Photographers” by Bill Jay, p. 85-98.
“Oral History in Art: A New Tool” by Winberta Yao, p. 99-108.
“A Note from a Reader” p. 109.
“Contributors” p. 110-112
Art historians typically consider Chinese porcelain a decorative art, resulting in scholars spending little time analyzing it as a fine art form. One area that is certainly neglected is porcelain produced during the late 19th and early 20th century during the late Qing dynasty (1644–1911) into the early Republic period (1912–1949). As the Qing dynasty weakened and ultimately fell in 1911, there was a general decline in the quantity of porcelain produced in China. Due to this circumstance, porcelain of this era has not received the detailed analysis, characterization of styles, comprehension of themes, and understanding of patronage evident in other periods of Chinese porcelain production. Ultimately, limited research has been conducted to establish the styles associated with late dynastic porcelain into the early Republic’s establishment.
This dissertation utilizes a new perspective that considers the patronage of the Empress Dowager Cixi (1835-1908) as a high point of late dynastic porcelain. Concrete documentation establishes that motifs were appropriated from Cixi’s painting, suggesting a direct connection between schools of painting and the imagery selected for porcelain during her reign. The porcelain Cixi influenced directly guided the porcelain produced during the Hongxian era (1915-1916), making Cixi’s patronage the key turning point from dynastic porcelain to early Republic porcelain. Utilizing predominately British collections, this study identifies the styles, symbols, and themes associated with porcelain of the 19th and 20th century, elevating late dynastic and early Republic wares to the status of fine art.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.