Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan
出版地
Michigan, US [密西根州, 美國]
資料類型
期刊論文=Journal Article
使用語言
英文=English
附註項
CURRENT DIRECTION IN YUAN PAINTING
摘要
In the later fourteenth century Buddhist monasteries remained centers of art production and consumption as they had been in the Song and earlier periods, and highly educated monks continued to share aesthetic interests with the secular elite. Yet we encounter few monks or monasteries in modern accounts of painting and calligraphy of the late Yuan and Ming dynasties. The tendency to look away from religious society at this juncture is largely explained by two powerful art-historical narratives that intersect in the Yuan period: the Japanese account of the trajectory of "Chan art" and the Chinese formulation of a literati painting canon that hinges on certain Yuan-dynasty painters of the scholar-official class. Nevertheless, monks' writings preserved in literary collections, in art catalogues, and on extant scrolls provide abundant information about the collection and appreciation of art in monasteries in the late early Ming dynasties. After a brief review of the historiography and historical circumstances that have obscured our view of monks and monasteries in the aesthetic life of the Yuan-Ming transition period, this essay presents a number of episodes that illustrate the artistic prectices of such eminent clerics as Zongle and Daoyan and their relationships with scholars and artists among the laity, most notably Song Lian and Wang Meng. These accounts shed light on aesthetic environments cultivated in monasteries and on ways in which monasteries were comparable to scholars' studios as venues for artistic exchange.
目次
Closing the Monastery Gate 50 Reopening the Monastery Gate 54 Repositioning 66 Conclusion 71
