Annotated Bibliography on Ancient Chinese Figure

This article asserts that techniques of categorizing can never be exhaustively conclusive since new manners of interpreting traditional Chinese paintings are continually evolving and it is a subjective process, the most conventional ways of classifying Chinese paintings is by groping them into three broad genres: landscape paintings, figure paintings, figure paintings, and flower painting.

LEE-KALISCH, J. H. (2017). Representation of the Non-Representable: Synaesthetic Concepts in Chinese Landscape Painting. 立命館言語文化研究, 28(4), 3-20. Retrieved from: http://www.ritsumei.ac.jp/acd/re/k-rsc/lcs/kiyou/pdf_28-4/lcs_28_4_lee-kalisch.pdf

Seeking reference from the traditional theory of landscape painting this paper examines aspects of nature are considered as non-representable in Chinese landscape painting and how Chinese painters handled the restrictions of representing sublime in life. Grounded on an examination of some selected examples of the traditional landscape painting, this article further explores ways in Chinese painters used synaesthesia to extend the dimension of their figure painting. According to the author is technique aimed to shed light on a conceptual significance that objects or elements depicted in the painting or phases or even calligraphy of the poem inscribed on painting serve as an essential synaesthetic stimulate the exciting innovation. In turn, the beholder will observe the things not depictable via the sensory perception and the perception processing made possible called synesthesia.

Laing, Ellen Johnston. 1998. “Daoist Qi, Clouds and Mist in Later Chinese Painting.” Orientations 29 (April): 32–39. Retrieved from: http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505737146&site=ehost-live

Laing discloses concerning the portrayal of cloud and fog in Daoist painting. Mists and fogs are portrayed in numerous Daoist paintings, assuming a vital role in conveying the full repercussions of the theme. As early on time as the middle of the first thousand years BCE in China, it was believed that clouds were coagulated qi or astronomical breath created by the earth; therefore, it was thought their appearance had suggestions for the human world, and they were among the familiar wonders watched to forecast what's to come. Showing up in different setups and colors that pass on various implications, they are available in figure artworks, for example, those of transcendent or divinities, as well as in scenes with Daoist grottoes, delineations of the Lands or the Five Isles of the Immortals, architectural displays demonstrating the palaces of the immortals, and scenes of dawn day, and night. Liang proceeds to clarify the significances of cloud and fog in 13 Daoist artistic paintings.

Song, Houmei. 1999. “Liu Jun, the Great Master of Figure Painting in the Ming Court.” Oriental Art 45 (3): 65–78. http://search.ebscohost.com/login.aspx?direct=true&db=aft&AN=505836792&site=ehost-live.

The author traces a biography of the expert court painter Liu Jun, apparently the most imaginative and powerful master of Chinese figure painting in the Ming period, and discusses his artworks. Song further claim that after she noted that there was ambiguity regarding when and how the artist started his vocation as a court painter, she maintains that Liu was offered the position of a military craftsman around the 1450s based on the military accomplishments of his father who was an authority enrolled in the supreme in the imperial guard unit. Based on a title found on a portion of his prominent works, she evaluates that in a lifetime that spanned from the 1430s to the 1490s, his career in court endured from the 1460s to the 1480s. She proceeds to discuss his extant paintings of historical figures, figures in the scene, and Taoist figures, in which he showed proficient discipline and innovativeness.

Cahill, James, and James Cahill. Pictures for Use and Pleasure: Vernacular Painting in High Qing China. Berkeley: University of California Press, 2010. Retrieved from: https://www.ucpress.edu/book/9780520258570/pictures-for-use-and-pleasure

In this book, James Cahill develops the field of Chinese pictorial craft history, opening both academic examinations and famous gratefulness to vernacular painting, "pictures for use and delight." This book is among works authorized and acknowledged amid the seventeenth and eighteenth hundreds of years by the non-elites of Chinese society, entailing women. Customary Chinese authorities, similar to contemporary researchers of Chinese painting, have favored the "literati" artworks of the Chinese male world-class, slandering vernacular works, frequently proposed as designs or created to stamp an extraordinary event. Cahill challenges the overwhelming authoritative opinion and tenet of the literati, indicating how the vernacular pictures, both excellent and engaging, reinforce our comprehension of High Qing society. They expose the Qing or Manchu heads' interest with sensual culture in the flourishing urban areas of the Yangtze Delta and show the development of figure painting in and around Beijing's Supreme Court additionally these writing modifies comprehension of sexual orientation roles and show how Chinese artisans made utilization of European styles. By presenting an extensive, rich assortment of works, Pictures for Use and Pleasure opens new windows on later Chinese life and society.

Paolillo, Maurizio. "Forging the Garden: The" Yuanye" and the Significance of the Chinese Garden in the 17th Century." East and West 53, no. 1/4 (2003): 209-239. Retrieved from: https://www.jstor.org/stable/29757578?seq=1#page_scan_tab_contents

At the end of the 16th century, the change underway in the Chinese world, precisely into the area of Jiangnan- accompanied by a high rate of economic advancement. During this era, in the world of the intelligentsia, a condition that has particular connections with of art of gardening. From 1590 to o1630, the practice of publishing or reprinting treatises on objects estimated indispensable in the residence of a man of letter underwent unprecedented advancement. Their possession symbolized a measure of the magnitude of refinement and social status. These objects entailing both the fruit of human artifices, such as painting and calligraphy and expression of nature such as rocks and flowers, these aspects were a must for the man of letter’s study.

WAN, Lai Na. "Portrayals of women in Chen Hongshou’s figure paintings." (2014).Retrieved from:https://commons.ln.edu.hk/vs_etd/6/

The three parts of this dissertation consider Chen's portrayals of women from different points of view. It starts by dissecting Chen's appointments and advancements uncovered in his female figures as far as iconographic and thematic viewpoints. The artist's works exhibit recognizable highlights credited to the past compositions that demonstrate his impressive recognition with the subject built up in the comprehensive history. In the meantime, they are recognized by imaginative characteristics which show his familiarity with familiar patterns voluntarily and his facility in reinvention. This work continues to look at Chen's frame of mind towards women by situating his portrayals of female figures in connection to the social and social setting in the seventeenth century. It is discovered that Chen's depictions of women, in general, uncover the artist's ambivalent position towards women as he, on the one hand, indicates positive on female ability, holding and enthusiastic divulgence, however then again regards women as object of desire. His clashing frames of mind in certainty relate to the perplexing status of women at that time. The last part of this proposition investigates the target group and elements of Chen's rendering of women, from which the artist's double ways of life as an educated man and an expert painter in his late life are unequivocally uncovered.

Song, H. (2006). The Unknown the Ming Court Painters: The Ming Painting Academy. Liberal Arts Press.

Painters of Late Ming Suzhou established a distinctive topographical vocabulary and site-specifics perceptive to the different specific visual experience. This research examined two kinds of Suzhou place paintings to clarify the specific visual experiences they carried to a range of 17th-century audiences. Honorific paintings present a bird’s eye research of important sites under the jurisdiction of a prominent official. Paintings of famous sites capture an outline of outlooks experienced in a tour of the locations and lent the fame of their subject matter and inscribers to the owners. Nevertheless, both classification of site painting are well known, the visual experience they represent are unknown as they frequently misidentified or branded ‘landscape’ this article seeks to identify and comprehend various historical and systems of visuality theses two kinds of Suzhou site paintings symbolized for current viewers

Homma, Miki. "The Influence of Chinese Art on Persian Paintings in the Saray and Diez Albums." 早稲田大学総合人文科学研究センター研究誌= WASEDA RILAS JOURNAL 5 (2017): 241-260. Retrieved from: https://www.waseda.jp/flas/rilas/assets/uploads/2017/10/241-260_Miki-HOMMA.pdf

The article claims that the Saray and Diez albums are often mentioned in debates of the effect of Chinese art on Persian Paintings. Nevertheless, due to the deficiency of details on the site or year of their production, the paintings in these albums have not been analyzed thoroughly with Chinese paintings of the same era. This paper concentrates on four famous Chinese paintings of themes and styles. The first painting, Tieguai and Hai-ch’an are one of the most famous painting themes in East Asia. Its theme and style are the same as the woodcut printing of Ooka Shumboku(1680-1763). The sequent painting, Water-moon Kuan-yin in the Saray albums, lacks the principal object of worship, but the remaining three figures and the painting style make it precise that these paintings are initially one hanging scroll of Water- moon Kuan-yin created during the Ming period the third work, The Tiger that is drawn like a depiction of animals that perhaps come from Chines painting themes, given that brush techniques and utilization of black ink implies that animal painting theme in East Asia and there are extensive examples of paintings are drawings with same poses in Korean and Japanese painting. Finally, the eagle on a perch is a popular Chinese- derived painting theme, and there are adequate examples in Korean and Japanese painting themes in East Asia in the Ming period. The Chinese painting was shipped not only but also to West Asia in the Ming period, and those paintings were and the duplicates accepted.

Burkus-Chasson, Anne. “Between Representations: The Historical and the Visionary in Chen Hongshou’s Yaji.” Art Bulletin 84, no. 2 (June 2002): 315. doi:10.2307/3177271.

Burkus-Chasson in this article claims that between late 1646 and early 1647, Chen Hongshou (1598-1652) painted an extraordinary image of nine men assembled in a wooden close, their company uninterrupted by the appearance of a bodhisattva. He presented the hand scroll currently called Yaji or Elegant Gathering, to Tao Qubing whose ends up appear beneath Chen’s devotion. This article suggests that Tao was an associate from that era of violent disruption after Manchu armies have settled the southeastern provinces of China in the summer and fall in 1646. Burkus-Chasson implies that summer Chen wok refuge in Buddhist monastery South of Shaoxing deep within the Yunmen or Cloudy Gate mountains. Suggesting his uncertainty as Buddhist Monk, he sig...