Matching Items (31)
Description
Morgan Library MS M.905 (the Geese Book) is the last known illuminated gradual produced for the Church of St. Lorenz in Nuremberg, Germany. The Geese Book, which was created during the early sixteenth century, has been in the collection of the Morgan Library since 1961. This thesis describes the iconography of the eight historiated initials that illustrate the earthly life of Christ from the Annunciation to the Ascension. A detailed description of the content of each initial is followed by a brief history of the iconographic development of the identified event in order to determine whether or not the Geese Book uses a standard or nonstandard iconography. The results of this analysis reveal how this manuscript fits into the broader contexts of Christian art as well as the specific time and place of its creation. It shows that the iconography of the Geese Book reflected current theological beliefs and societal norms and allowed contemporary viewers of the Geese Book to feel a strong connection to the depicted events.
ContributorsDankert, Rebecca Lynn (Author) / Schleif, Corine (Thesis advisor) / Schier, Volker (Committee member) / Brown, Claudia (Committee member) / Arizona State University (Publisher)
Created2011
Description
This dissertation is the first detailed and extensive study dedicated to the life and art of the master artist and scholar-official Chen Rong (active 13th century), and offers an expanded analysis of his most famous work, the Nine Dragons scroll (1244). It provides a reconstruction of Chen Rong's biography, character and political career, and discusses his significance and impact in the study of Chinese painting during the late Southern Song dynasty (1127-1279) and beyond, by highlighting the reception and interpretation of the Nine Dragons scroll in the past and in modern times. This is achieved by addressing writings such as eulogies, poems and commentary about Chen Rong by his contemporaries and later biographers, and also analysis of recent works by contemporary Chinese artists that reinterpret Chen Rong's Nine Dragons motif directly. In addition to offering an expanded reading and interpretation of Chen Rong's inscriptions on the Nine Dragons scroll and inscriptions by subsequent viewers of the scroll, this study sheds light on the artistic context, significance, and historical development of dragons and dragon painting in China. This dissertation also offers the first full English transcription and translation of Emperor Qianlong's inscription on the Nine Dragons scroll, and that of his eight officials. Furthermore, this dissertation includes two detailed appendices; one is a detailed appendix of all of Chen Rong's paintings documented to exist today, and the second is a list of paintings attributed to Chen Rong that have been mentioned in historical documents that no longer appear extant. This interdisciplinary study provides insight into the processes that influence how an artist's work is transformed beyond his time to that of legendary status. This clarification of Chen Rong's biography and artistic activity, particularly with respect to his most famous work the Nine Dragons scroll, contributes to modern scholarship by providing an expanded understanding of Chen Rong's life and art, which in turn, adjusts prevailing perceptions of his life and work.
ContributorsChao, Jacqueline (Author) / Brown, Claudia (Thesis advisor) / Codell, Julie (Committee member) / Baker, Janet (Committee member) / Arizona State University (Publisher)
Created2012
Description
The research presented explores traditional Chinese visual design elements with a goal of incorporating them into contemporary design. It seeks to provide insight into how Chinese and non-Chinese designers and non-designers recognize common visual design elements as being associated with Chinese design. As a result, the research explores three characteristics: a) handicraft; b) naturalism; and c) design with meaning, which can be key points in understanding traditional Chinese design. Furthermore, the research explores two sets of design criteria that can guide designers to apply these representative design elements into contemporary design in order to express Chinese culture.
ContributorsRen, Liqi (Author) / Giard, Jacques (Thesis advisor) / Brown, Claudia (Committee member) / Cheung, Patrick (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Vimalakirti Sutra is one of the classics of early Indian Mahayana Buddhism. The sutra narrates that Vimalakirti, an enlightened layman, once made it appear as if he were sick so that he could demonstrate the Law of Mahayana Buddhism to various figures coming to inquire about his illness. This dissertation studies representations of The Vimalakirti Sutra in Chinese painting from the fourth to the nineteenth centuries to explore how visualizations of the same text could vary in different periods of time in light of specific artistic, social and religious contexts. In this project, about forty artists who have been recorded representing the sutra in traditional Chinese art criticism and catalogues are identified and discussed in a single study for the first time. A parallel study of recorded paintings and some extant ones of the same period includes six aspects: text content represented, mode of representation, iconography, geographical location, format, and identity of the painter. This systematic examination reveals that two main representational modes have formed in the Six Dynasties period (220-589): depictions of the Great Layman as a single image created by Gu Kaizhi, and narrative illustrations of the sutra initiated by Yuan Qian and his teacher Lu Tanwei. The latter mode, which became more popular than the former in the Tang Dynasty (618-907), experienced adaptation from handscroll to panoramic mural. It is also during this period that a minor scenario, the Heavenly Maiden Scattering Flowers, became a necessary vignette for representation of the sutra. Since the Song Dynasty (960-1279), the Heavenly Maiden Scattering Flowers gradually became an independent theme. This author investigates the thematic shift caused by various factors. These include the transformation of later Chinese narrative painting and the prevalence of shinu hua 仕女畫, painting of beauties, in later Chinese painting. There is also a change in the role of the Heavenly Maiden from one of many maidens to the only and necessary partner of Vimalakirti. Ultimately, the image of the Heavenly Maiden evolves from a Buddhist heavenly being to a Daoist fairy and later to a symbol representing auspicious meanings.
ContributorsLiu, Chen (Author) / Brown, Claudia (Thesis advisor) / Chou, Ju-hsi (Committee member) / Wu, Jiang (Committee member) / Arizona State University (Publisher)
Created2011
Description
China's wildlife and the deep connection I felt with it fuelled "What the Dragons Know," a self-published children's book that I wrote and illustrated. My objective was to create a fun and interesting book for children that gave abroad introduction to Chinese wildlife, art and animal mythology. The Chinese landscape has a captivating and unique beauty, which competes daily with the devastating effects of pollution. This project was the manifestation of the passion and sorrow I felt for that landscape. I drew on these feelings, as well as personal past experiences and research into Chinese art, to portray the magnificence of that world and hopefully inspire others. My approach to this challenge consisted of researching Chinese art theories, styles, and techniques, and choosing aspects from all eras that I felt would most engage young readers. I then interpreted and transformed what I'd learned, filling it with my personal style and character. Dong Qichang, a Ming scholar-official, artist and art theorist, emphasized transformation of older models. He, among others, believed that artists should refer to the masters for guidance: using old models as inspiration, imbuing them with one's own style, and creating their own works. His ideas and those of other literati painters drove my approach to this project. This was not so much an effort to make the pictures "look Chinese" per se, but instead my own interaction with and response to Chinese art and art history. My approach to the writing process began with researching Chinese animal symbolism, which I planned to incorporate into my writing. I then outlined an interesting plot and began writing the story, which in turn influenced the illustrations. Like artists of Emperor Huizong's court who painted pictures based on lines of poetry, I also based my compositions around what was happening in the narrative \u2014 using each picture to capture a moment in the story. The illustrations, although primarily intended to be aesthetically appealing, were an experiment with how I reacted to and interacted with the long and intriguing history of Chinese painting. Essentially, I intended to complete a book that was both enjoyable to read and appealing to look at; that would portray the splendor of the Chinese landscape and reflect my feelings for it. The final book will be self-published using CreateSpace.com, and copies will be available for purchase during the Celebrating Honors Symposium or through Amazon.com.
ContributorsSilving, Justine (Author) / Brown, Claudia (Thesis director) / Schutte, Jerry (Committee member) / Videan, Ann (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Art (Contributor)
Created2013-05
Description
Phoebus 6, Number 1: A Journal of Art History - Table of Contents
“Preface” p. 7-8.
“The Time of Qianlong (1736-1795)” by Wen Fong, p. 9-16.
“The Intellectual Climate in Eighteenth-century China: Glimpses of Beijing, Suzhou, and Yangzhou in the Qianlong Period” by Frederick Mote, p. 17-55.
“The Qianlong Emperor’s Skill in the Connoisseurship of Chinese Painting” by Kohara Hironobu, p. 56-73.
“An Overview of Stylistic Development in the Qianlong Painting Academy” by She Cheng, p. 74-90.
“Document and Portrait: the Southern Tour Paintings of Kangxi and Qianlong” by Maxwell Hearn, p. 91-131.
“Tangdai: A Biographical Sketch” by Ju-hsi Chou, p. 132-140.
“For the Love of God: Castiglione at the Qing Imperial Court” by Howard Rogers, p. 141-160.
“Approaches to Painting at the Qianlong Court” by Claudia Brown, p. 163-168.
“Notes” p. 169-198.
ContributorsFong, Wen (Author) / Mote, Frederick (Author) / Hironobu, Kohara (Author) / Cheng, She (Author) / Hearn, Maxwell (Author) / Chou, Ju-hsi (Author) / Rogers, Howard (Author) / Brown, Claudia (Author)
Created1988
Description
Phoebus 2: A Journal of Art History - Table of Contents
“Preface” by Jack Breckenridge, p. 3.
“Contributors” p. 4-5.
“Table of Contents” p. 6-7.
“The Problem of Antisolimenismo in Neapolitan Baroque Painting” by Donald Rabiner, p. 8-16.
“Mid-Fourteenth Century Painting in Suchou: Some Lesser Masters” by Claudia Brown, p. 17-30.
“A Re-Examination of the Cult of Demeter and the Meaning of the Eleusinian Mysteries” by Sherly Farness, p. 31-38.
“Arizona Portfolio” p. 39-53.
“Wooden Cross” by Mildred Monteverde, p. 40-43.
“Le Petit Tablier” by Rosalind Robinson, p. 44-47.
“La Réunion des plus Célèbres Monuments Antiques de la France” by Vicki C. Wright, p.
48-53.
“An Unpublished Rowlandson Sketchbook” by Anthony Gully, p. 54-74.
“Are We Ready for Shih-T'ao?” by Ju-hsi Chou, p. 75-87.
“A Conversation Between Adolph Gottlieb and Jack Breckenridge” transcribed by Jack Breckenridge, p. 88-96.
“Three Recent Art Reference Books” by Winberta Yao, p. 97-102
ContributorsBreckenridge, Jack (Author, Transcriber) / Rabiner, Donald, 1949- (Author) / Brown, Claudia (Author) / Farness, Sherly (Author) / Monteverde, Mildred (Author) / Robinson, Rosalind (Author) / Wright, Vicki C. (Vicki Christine) (Author) / Gully, Anthony (Author) / Chou, Ju-hsi (Author) / Yao, Winberta M. (Author)
Created1979
Description
The early to mid 20th century saw the rise of two woodblock print movements, shin-hanga and sosaku-hanga. Both movements involved changes in style and production in a time of changing landscapes and tastes. Increased industrialization and greater international contact impacted both movements, while an awareness of a market abroad and embracing modern art sensibilities defined shin- hanga and sosaku-hanga respectively. Ten prints by 6 sosaku-hanga artists and 4 shin-hanga artists demonstrate the conventions and variations of their respective styles. A close analysis of two prints applies the history of Japan and printmaking to two prints from different movements. A catalogue of all ten prints provides a brief overview of works in relation to their historical influences. Comparisons with the ukiyo-e prints from earlier Japan create a greater understanding of the shin-hanga prints discussed, while the lives of the artists themselves help elucidate readings of sosaku-hanga prints. Analyzing the work of sosaku-hanga artist Shiko Munakata demonstrates the tension that results from the combination of modern art and traditional craft that inform the perspectives of artists in that movement. A print by Takahashi Shotei reveals shin-hanga's approach to portraying modernizing Japan. Both movements addressed changes in Japanese society and formed relationships with the international art community.
ContributorsRandall, Madeleine Elise (Author) / Brown, Claudia (Thesis director) / Hoy, Meredith (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Gai Qi 改琦 was a Chinese painter and poet active during the three Qing dynastyreigns of Qianlong (1736-1796), Jiaqing (1796-1821), and Daoguang (1821-1851). His name can be often seen in publications that are associated with the history of Qing painting, the genre of shi-nü-hua 仕女畫 or illustrations related to Chinese classic novels. However, past works on painting history only offer a brief introduction to Gai Qi and barely mention his other works. Besides being well-known for Illustration of Dream of the Red Chamber 紅樓夢圖詠, very little is studied about this artist.
There are various publications that mention Gai Qi and his works, however, questions have been asked but never carefully addressed, such as the function of specific paintings, his painting techniques, and the connection between his religious background and artworks. This thesis explores these issues by examining three of Gai Qi’s extant paintings in American collections, Portrait of Lüzhu (綠珠小像圖), Famous Women (列
女圖冊) and Four Luminaries of Mount Shang (商山四皓圖). The study fills in gaps in
the understanding of Gai Qi as a Muslim painter in the Qing dynasty and on his works in shi-nü-hua and other genres. In addition, this work begins to reveal the contribution of Gai Qi’s paintings to the history of Chinese painting during the 18th to 19th century, the period of transition between 18th-century styles, and the rise of Shanghai painting styles in the mid to late 19th century
ContributorsJiang, Chenxi (Author) / Brown, Claudia (Thesis advisor) / Codell, Julie (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2021
Description
This dissertation studies the artist Wang Hui 王翬 (1632-1717) from the perspective of his friendship with Yun Shouping 惲壽平 (1633-1690). Both artists are famous for their paintings in the early Qing dynasty. The work of Wang Hui has received considerable scholarly attention. This dissertation, however, will take a new approach to his work. A major aspect of the research is to examine the collaborative work by Wang Hui and Yun Shouping and the inscriptions written by both of them as primary sources, in an attempt to illuminate the artist’s theory and practice of art. Far from denying the artist’s talent, the emphasis on friendship enriches the exploration of the artist’s possible perception which reinforced his expression through art and situates the artist in his time and place. With elegant gatherings, travels, in-depth discussions, and collaborative art creations, this close friendship amplified Wang Hui’s talent by way of mutual inspiration, and provided the artist with confirmation of his own views, as well as a source of different yet constructive opinions that only a close friend could give. There have been many studies of artists as individual geniuses. In contrast, this study offers the exploration of a friendship between artists that led to new accomplishments. By viewing the artist and his artwork from the perspective of artists’ interactions, I intend to describe and explain early modern painting-related activities in terms of their fundamental connection with human relationships. I argue that painting, especially in the formats and social functions developed in the late Ming and early Qing dynasties, played an essential role in the lives of artists in the early modern period. By emphasizing perceptual experience and creative process, I intend to underline the deep connection between art and life.
ContributorsSheng, Xiao (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2021