中国艺术研究关连书籍目录（2）

中国艺术研究关连书籍目录（2）


Farrer, Anne. The Brush Dances & the Ink Sings: Chinese Paintings and Calligraphy from the British Museum. London: Hayward Gallery, 1990. Catalog of an exhibition sponsored both by the British Museum and the Hayward Gallery, where David Hockneys A Day on the Grand Canal with the Emperor of China was also shown.

Flowering in the Shadows: Women in the History of Chinese and Japanese Painting, edited by Marsha Weidner. Honolulu: University of Hawaii Press, 1990. However little known or rarely written about, women were active as artists in both China and Japan. The articles, brought together by the editor, complement the catalog of the exhibition Views from Jade Terrace: Chinese Women Artists, 1300-1912.

Fong, Wen ... [et al.] Images of the Mind: Selections from the Edward L. Elliott Family and John B. Elliott Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University. Princeton: Art Museum, Princeton University, 1984. Exhibition catalog of a fine collection of Chinese painting and calligraphy mainly from the Ming and Qing dynasties.

Fong, Wen Beyond Representation: Chinese Painting and Calligraphy 8th-14th Century. New York: The Metropolitan Museum of Art ; New Haven: Yale University Pres, 1992. A historical survey of early Chinese painting and calligraphy from the Tang and Song to the Yuan dynasty, based on a selection of masterpieces at the Metropolitan Museum, covering a range of themes, such as narrative representation, monumental landscape, literati painting, Song imperial art, Southern Song painting, Buddhist and Daoist themes, Yuan renaissance and literati painting.

Fong, Wen and James C. Y. Watt. Possessing the Past: Treasures from the National Palace Museum, Taipei. New York: The Metropolitan Museum of Art and National Palace Museum, 1996. Published on the occasion of one of the largest scale exhibitions of Chinese art with rarely seen masterpieces from the National Palace Museum. The 648-page catalog provides background information on the foundations of Chinese civilization and basic cultural features for dynasties from the Song to the Qing for cross-cultural understanding of Chinese art. The catalog of the exhibition is entitled Splendors of Imperial China: Treasures from the National Palace Museum, Taipei, by Maxwell K. Hearn. A symposium was held for the occasion and the papers were published with the title: Arts of the Sung and Yüan, edited by Maxwell K. Hearn and Judith G. Smith.

Fu, Shen and Marilyn Fu. Studies in Connoisseurship: Chinese Paintings from the Arthur M. Sackler Collection in New York and Princeton. Princeton: Art Museum, Princeton University, 1973. Catalog of a traveling exhibition of Dr. Sacklers collection during 1973-75, the discussion of issues regarding connoisseurship and criteria for authenticity are very useful.

Giacalone, Vito. The Eccentric Painters of Yangzhou. New York: China House Gallery, 1990. Catalog of an exhibition focusing on a group of Qing painters known as Eight Eccentrics of Yangzhou.

Gulik, Robert H. van. Chinese Pictorial Art as Viewed by the Connoisseur. Rome: Istituto Italiano per Medio ed Estremo Oriente, 1958. As the additional title information indicates the work discusses the Ameans and methods of traditional Chinese connoisseurship of pictorial art, based upon a study of the art of mounting scrolls in China and Japan.@ The second part discusses brush strokes, pigments, basic principles for identifying scrolls, seals, and aspects of collecting. Still widely used, especially by painting conservators.

Harrist, Robert E. Painting and Private Life in Eleventh-century China: Mountain Villa by Li Gonglin. Princeton: Princeton University Press, 1998. The focus of Chinese painting in the 11th century (Northern Song) shifted from the earlier works shared heritage of political, religious and literary themes to reflections of personal experience, inspiration by the painters restless imagination and intense observation of nature. The Mountain Villa, a handscroll by Li Gonglin (ca. 1041-1106), is, according to the author, most representative of the period.

Ho, Wai-kam, et al. The Chinese Scholars Studio. New York: The Asia Society Galleries, 1987. An exhibition catalog focusing on the 17th-century Chinese art of the scholar class, illustrating objects, many of them paintings, from the collections of the Shanghai Museum.

Ho, Wai-kam, et al. Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art, with essays by Wai-kam Ho ... [et al.] Cleveland: The Cleveland Museum of Art, 1980. Catalog of a joint exhibition of two of the finest museums whose painting collections complement each other. The large scale exhibition held from Nov. 1980 to Mar. 1981 was the first such exhibition since 1960s.

Ho, Wai-kam, Judith G. Smith. The Century of Tung Chi-chang, 1555-1636, Kansas City: The Nelson-Atkins Museum of Art, 1992. Produced as the catalog of an exhibition organized by the Nelson-Atkins displaying 55 paintings, 19 calligraphic works, and 34 model writings in rubbings of Dong Qi-chang, the most important and influential Ming painter both in theory and in practice. The volumes are an invaluable reference tool of images, information, interpretation, and historiography for the study of scholar-amateur painting in the later Ming and early Qing. (It was the first Shimada, 1907-1994, prize winner in 1993.) Proceedings of the Tung Chi-chang International Symposium, published by the Nelson-Atkins Museum, Kansas City, in 1991, also edited by Wai-kam Ho, contains papers delivered at the symposium.

Lachman, Charles Henry. Evaluations of Sung Dynasty Painters of Renown: Liu Tao-chuns Sung-chao ming-hua ping, [Toung pao monographie ; 16], translated with an introduction by Charles Lachman. Leiden, The Netherlands: Brill, 1989. Understanding of Chinese painting must be based, to a large extent, on historical records and writings by Chinese critics. This translation of a work written in 1059 consists of a collection of biographical sketches and critical comments for 91 painters of the 10th and 11th centuries. The work was originally the author=s dissertation.

Laing, Ellen Johnston. An Index to Reproductions of Paintings by Twentieth Century Chinese Artists (Asian Studies Program publication ; no. 6). Eugene, OR: Asian Studies Program, University of Oregon, 1984. Covers the time period of 1912 to around 1980 and includes about 3500 artists, listing their works reproduced in Chinese publications, and biographical information. These are mostly artists of traditional style.

Li, Chu-tsing Artists and Patrons: Some Social and Economic Aspects of Chinese Painting, Kansas City: University of Kansas, The Nelson-Atkins Museum of Art, 1989. As the result of the Workshop on Chinese Painting at the Nelson-Atkins Museum of Art in 1980, in conjunction with the exhibition, Eight Dynasties of Chinese Painting, this work contains 16 papers and a special lecture by James Cahill, covering the social and economical aspects of Chinese painting from the Song to the late Qing dynasties, mainly on court patronage and patronage in various cities. Papers of the last session on Chinese art collecting are not included.

Li, Chu-tsing. Trends in Modern Chinese Painting: the C. A. Drenowatz Collection (Artibus Asiae supplement ; 36). Ascona, Switzerland: Artibus Asiae, 1979. Discussion of the Ming and Qing paintings in the Drenowatz collection was published in 1974 entitled A Thousand Peaks and Myriad Ravines. This publication is concerned with contemporary Chinese painters. The author outlines new elements of the 20th century Chinese painting, discusses traditionalism in Peking, innovation in Shanghai and modernization in Canton. Individual artists are discussed in detail. Their styles are mostly traditional.

Loehr, Max. The Great Painters of China. New York: Harper & Row, 1980. A concise survey of Chinese painting, with a bibliography.

Lust, John. Chinese Popular Prints [Handbook of Oriental Studies ; 4]. Leiden, The Netherlands: Brill, 1996. There has been more interest in Chinese woodblock prints but one can find very little scholarly work on the subject. This extensive work with bibliographical references and index gives a historical survey of Chinese popular prints, covering mainly the Ming and Qing periods, with three centers, Suzhou, Yangliuqing and Mianzhu. It provides extensive information on printmaking, types of popular prints, techniques, and some of the most popular images used in prints, such as the Eight Immortals, Door Gods, Fortune Gods, Kitchen God.

Maeda, Robert J. Two Sung Texts on Chinese Painting and the Landscape Styles of the 11th and 12th Centuries. New York: Garland, 1978. Originally a Ph.D. thesis at Harvard in 1969, the work is a translation with annotations of two texts entitled Shanshui chunquanji (1121) by Han Zho, devoted to landscape painting, and Huaji (1167) by Deng Chun containing information on Emperor Huizong=s painting academy in the later Northern Song period.

Munakata, Kiyohiko. Sacred Mountains in Chinese Art. Urbana: University of Illinois Press,1991. A catalog of an exhibition at Krannert Art Museum and at the Metropolitan Museum, it analyzes the religious concepts surrounding the early development of landscape art and the secularization in later times of the depiction of mountains, which is significant for the study of Chinese painting.

Po, Sung-nien and David Johnson. Domesticated Deities and Auspicious Emblems: the Iconography of Everyday Life in Village China. Berkeley: Chinese Popular Culture Project, 1992. Using popular prints and papercuts in the collection of Bo Songnian, the work represents a growing interest in Chinese popular culture with great regional diversity. These prints, especially New Year pictures, and papercuts used by ordinary people for religious and auspicious blessings as well as for home decoration, also reflect their lives and their aesthetic tastes.

Po, Sung-nien. Chinese New Year Pictures. Beijing: Cultural Relics Pub. House, 1996. Translated from Chinese, the work gives a general survey of Chinese New Year folk paintings and prints, consisting chiefly of colored illustrations.

Silbergeld, Jerome. Chinese Painting Style: Media, Methods, and Principles of Form. Seattle: University of Washington Press, 1982. Originally written for the author=s students, the work focuses on painting techniques, introducing painting materials, format, elements of painting, and compositions.
The Single Brushstroke: 600 Years of Chinese Painting from the Ching Yüan Chai Collection. Vancouver, B.C.: Vancouver Art Gallery, 1985. Catalog of an exhibition at Vancouver Art Gallery (whose responsibility had been exclusively for western art), showing for the first time works from James Cahills private collection, with an introduction by James O. Caswell.

Siren, Osvald. Chinese Painting: Leading Masters and Principles. New York: Ronald Press, 1956-1958.The 7-volume work is still a good reference source.

Solonin, K.Y. 19th Century Paintings of Life in China. Reading, U.K.: Garnet, 1995. Catalog containing illustrations of paintings in the collection of the Institute of Oriental Studies in St. Petersburg, Russia, depicting life in China. The collections are called Bretschneider (1833-1901) albums.

Stanley-Baker, Joan. Transmission of Chinese Idealist Painting to Japan: Notes on the Early Phase (1661-1799). Ann Arbor, Mich.: Center for Japanese Studies, University of Michigan, 1992. Mainly deals with Chinese influence on Japanese painting.

Sullivan, Michael. Symbols of Eternity: The Art of Landscape Painting in China. Stanford: Stanford University Press, 1979. The book, grown out of the author=s lectures at Stanford, gives an overview of the history of Chinese landscape painting from pre-Tang to the 20th century.

Sullivan, Michael. Chinese Landscape Painting. V. II: The Sui and Tang Dynasties. Berkeley: University of California Press, 1980. A continuation of the authors earlier work, The Birth of Landscape Painting in China, published in 1962, covering the periods from 581 to 907.

Sullivan, Michael. Three Perfections: Chinese Painting, Poetry and Calligraphy. New York: Braziller, 1980, 1999 reprint. As the subtitle indicates, the work discusses the interrelationship of painting, poetry and calligraphy.

Weidner, Marsha. Painting and Patronage at the Mongol Court of China, 1260-1368. Ph.D. thesis, University of California at Berkeley, 1982. The study discusses painting in the Yuan dynasty, the official collections, and imperial patronage, focusing on three Yuan artists.

Weidner, Marsha. Views from Jade Terrace: Chinese Women Artists 1300-1912. Indianapolis: Indianapolis Museum of Art; New York: Rizzoli, 1988. Catalog of a traveling exhibition displaying paintings of Chinese women artists.

Whitfield, Roderick. Fascination of Nature: Plants and Insects in Chinese Painting and Ceramics of the Yuan Dynasty (1279-1368). Seoul: Yekyong Publications, 1993. Discusses the 14th-century artist Xie Zhufang and the motifs and themes in his work. Vol. 2 is the painter=s work Jiankun shengyi issued in a folded handscroll.

Wu, Hung. The Double Screen: Medium and Representation in Chinese Painting. Chicago: The University of Chicago Press, 1996. The work offers a different approach to understanding Chinese painting: A painting is not only a pictorial representation, but also has a physical form. The screen is used as example, that is, a screen can be an object, a painting medium, a pictorial representation, or all three.

Wu, Tung. Tales from the Land of Dragons: 1000 Years of Chinese Painting. Boston: Museum of Fine Arts, Boston, 1997. Published in conjunction with the 1997 exhibition at the Museum, one of the earliest and finest collections, the first comprehensive exhibition of early Chinese painting in nearly a century. 153 pieces, including some earliest and one only extant example of the kind, were on display.

Wu, Tung. Masterpieces of Chinese Painting from the Museum of Fine Arts Boston: Tang Through Yuan Dynasties. Tokyo: Otsuka Kogeisha, 1996. 2-volume deluxe catalog of the collection, upon which most of the entries in the above exhibition catalog are based.

Yü, Fei-an. Chinese Painting Colors: Studies of Their Preparation and Application in Traditional and Modern Times [Chung-kuo hua yen se ti yen chiu. English], translated by Jerome Silbergeld and Amy McNair. Hong Kong: Hong Kong University Press; Seattle: University of Washington Press, 1988. The work provides information on the varieties and nature of Chinese painting colors, including mineral and plant pigments, gold and silver, the development of Chinese painting colors, the characteristics of Chinese ink, folk artisans= and early masters= use of colors, modern methods, etc. The translators= introduction is worth reading for its explanation of why there was so little use of color in Chinese painting.

Portrait / Figure Painting

Brinker, Helmut. Shussan Shaka-Darstellungen in der Malerei Ostasiens: Untersuchungen zu einem Bildthema der buddhistischen Figurenmalerei. NewYork: Peter Lang, 1983. Originally the authors thesis, the work is an illustrated study of the iconography, typology and historical development in depiction of the birth of Buddha in Chinese and Japanese painting.

Brinker, Helmut. AChan portraits in a landscape. Archives of Asian Art 27 (1973-74), p. 8-29. One of the earlier writings on Chinese portraiture.

Lawton, Thomas. Freer Gallery of Art Fiftieth Anniversary Exhibition. II. Chinese Figure Painting. Washington, DC: Smithsonian Institution, 1973. The work provides an excellent guide to some of the finest Chinese figure paintings in the Freer collection, with each object thoroughly described, researched and documented.

Seckel, Dietrich. Das Portr?t in Ostasien. Heidelberg: C. Winter, 1997-1999. This multi-volume work deals with portrait painting in Asia, including China.

Spiro, Audrey G. Contemplating the Ancients: Aesthetic and Social Issues in Early Chinese Portraiture. Berkeley: University of California Press, 1990. Based on her dissertation Early Chinese Portraiture: Character as Social Ideal, the work describes the portraiture on the 4th and 5th century tomb reliefs and expounds on the nature and meaning of them.

Stuart, Jan. ACalling back the ancestors shadow: Chinese ritual and commemorative portraits in the Arthur M. Sackler Gallery.@ Oriental Art, vol. 43, no. 3 (Autumn 1997), p. 8-17. Describes a recent acquisition of Chinese ancestor portraits, a rarely researched subject.

Vinograd, Richard. Boundaries of the Self: Chinese Portraits, 1600-1900. Cambridge, U. K.: Cambridge University Press, 1992. The work gives the definitions of two kinds of portraits: portrait as effigy and portrait as emblem, and describes the period of the 17th-19th centuries when there was a vast production of painted portraits in China, the majority of which were posthumous ancestor portraits. But there was also an explosion of informal portraits commissioned by or for living people. The book deals with this type.

来源：网络