中国艺术研究关连书籍目录（1）

中国艺术研究关连书籍目录（1）
Painting
Acker, William Reynolds Beal. Some Tang and pre-Tang Texts on Chinese Painting. Reprint ed. Westport, CT: Hyperion Press, 1979, 1954-1974. Originally published in Leiden, The Netherlands, by Brill in 1954-1974, in Sinica Leidensia, no. 8 and 12, part 1, it contains translation and annotations of Zhang Yanyuans (9th cent.)Lidai minghuaji, chapter 4-10., a significant work for studying Tang and pre-Tang painting.

Barnhart, Richard M. Peach Blossom Spring: Garden and Flowers in Chinese Paintings. New York: The Metropolitan Museum of Art, 1983. A catalog of an exhibition of flower-and bird and garden paintings which direct ones attention to nature and its detail. The title originates from the fifth-century poet Tao Jian who believed that the ideal paradise on earth could exist at Peach Blossom Spring.

Barnhart, Richard M. Along the Border of Heaven: Sung and Yüan Painting from the C. C. Wang Family Collection. New York: The Metropolitan Museum of Art, 1983.Catalog of the private collection of C. C. Wang, one of the best known collectors of Chinese art, living in New York.

Barnhart, Richard M. Painters of the Great Ming: The Imperial Court and the Zhe School. Dallas: The Dallas Museum of Art, 1993. A catalog of an exhibition at the Met and Dallas Museum of Art (its first major Asian art exhibition) in 1993, investigating the work of the professional painters of the Ming dynasty who came from the area of Zhejiang and whose works created a regional style, called the Zhe School.

Barnhart, Richard M. The Jade Studio: Masterpieces of Ming and Qing Painting and Calligraphy from the Wong Nan-p=ing Collection. New Haven: Yale University Press, 1993. Catalog and exhibition of a private collection formed in the 2nd half of the 20th century, of Ming and Qing painting and calligraphy, illustrating the canon of orthodox painting in China between 1450 and 1850.

Barnhart, Richard M. Wen C. Fong and Maxwell K. Hearn. Mandate of Heaven: Emperors and Artists in China: Chinese Painting and Calligraphy from the Metropolitan Museum of Art, New York. Zurich: Museum Rietberg, 1996. Catalog of an exhibition held at Rietberg Museum in 1996 of 42 of the finest pieces from the Metropolitan Museum, focusing on imperial patronage (with paintings formerly in imperial collections) as well as literati paintings.

Barnhart, Richard M. et al. Three Thousand Years of Chinese Painting. New Haven, CT: Yale University Press, 1997. Hailed as a historical publishing event, the book was the first volume of a 75-book series called The Culture & Civilization of China, a joint publishing venture of Yale and a Chinese publishing group. Written by six scholars, the book serves as a textbook, tracing the history of Chinese painting from the Neolithic flower and animal designs painted on pottery, rocks and murals to the 20th century, highlighting painting traditions, trends, major artists and regions where Chinese painting flourished.

Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-painting Genre. Cambridge: Cambridge University Press, 1996. Based on her 1988 dissertation, the work discusses the origins and evolution of a new painting genre within the cultural context of flowering plum that had become a definitive stylistic and iconographic form by the 14th century.

Brinker, Helmut. Zen in the Art of Painting [Zen in der Kunst des Malens. English] New York: Arkana, 1987. Discusses Zen painting of China and Japan with a bibliography.

Brown, Claudia & Ju-hsi Chou. Transcending Turmoil: Painting at the Close of Chinas Empire, 1796-1911. Phoenix: Phoenix Art Museum, 1992. An exhibition catalog, the work provides a systematic overview of the 19th-century painting in China, a period which had not been well researched, with discussions on the fusion of pictorial, calligraphic and seal-carving aesthetics.

Bush, Susan. The Chinese Literati on Painting: Su Shih (1037-1101) to Tung Chi-chang (1555-1636). Cambridge: Harvard University Press, 1971. Examines scholarly writings of different periods of art, from Northern Song (960-1127) with the views of the literati and their influence, the Yüan dynasty with the literati=s art theory, to the Ming dynasty.

Bush, Susan. and Hsio-yen Shih. compiled and edited. Early Chinese Texts on Painting. Cambridge, MA: Harvard University Press, 1985. A useful sourcebook superseding Siren=s Chinese on the Art of Painting in accuracy. The work is to Ahelp western readers understand the cultural context in which the Chinese themselves have understood their painting.

Cahill, James. Chinese Painting. Reprint ed. New York: Rizzoli, 1985, 1960. By the former curator at the Freer Gallery of Art and professor at the University of California at Berkeley, the book gives a historic survey of Chinese painting.

Cahill, James. Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368. New York: Weatherhill, 1976. Together with the following two titles, this work is the first of the series, providing a historical survey of one particular period.

Cahill, James. Parting at the shore: Chinese painting of the early and middle Ming dynasty, 1368-1580. New York: Weatherhill, 1978. Second of the above-mentioned series.

Cahill, James. The Distant Mountains: Chinese Painting of the Late Ming Dynasty, 1570-1644. New York: Weatherhill, 1982. Third of the above-mentioned series. The author=s 1971 work entitled Restless Landscape also discusses late Ming painting.

Cahill, James. An Index of Early Chinese Painters and Paintings: Tang, Sung, and Yüan. Berkeley: University of California Press, 1980. Incorporating the work of Osvald Siren and Ellen Johnston Laing, the work provides an index of all Chinese paintings of those periods, known to the author. Arranged by period, biographical information is given for each artist and lists of works grouped by collection or publication. Index for the later dynasties (Ming and Qing) was planned but not published.

Cahill, James. The Compelling Image: Nature and Style in Seventeenth-century Chinese Painting. Cambridge, MA: Harvard University Press, 1982. The work covers one century, focusing on Anature and style@ of painting as a matter of personal expression, modes of seeing, and formal choices.

Cahill, James.Three Alternative Histories of Chinese Painting. Lawrence, KS: Spencer Museum of Art, 1988. Growing out of a distinguished lecture series, the work looks at Chinese painting chiefly of the Ming and Qing periods from three different perspectives: political themes and uses of painting, ideological and social implications of subject matter, and style.

Cahill, James. The Painters Practice: How Artists Lived and Worked in Traditional China. New York: Columbia University Press, 1994. The work takes a socioeconomic approach, examining painting in the light of artist-patron relationships, workshop practices, market conditions and other practical constraints and incentives.

Cahill, James. The Lyric Journey: Poetic Painting in China and Japan. Cambridge, MA: Harvard University Press, 1996. In addition to a discussion of the Edo-period Japanese painting, the work discusses poetic painting from the 12th-century Southern Song and 16th-17th century late Ming periods. The chapters were originally three Reischauer lectures in 1993.

Chen, Pao-chen. The Goddess of the Lo River: a Study of Early Chinese Narrative Handscrolls. Ph.D. thesis Princeton University, 1987. The study compares three Song period copies of a late 16th century composition illustrating the famous poem, Luoshenfu, the Lo River Goddess, by Cao Zhi, for their composition, iconography, style and calligraphy.

Chou, Ju-hsi. Elegant Brush: Chinese Painting under the Qianlong Emperor, 1735-1795. Phoenix: Phoenix Art Museum, 1985. Catalog of an exhibition focusing on the Ming and Qing paintings and the Emperor Qianlong=s art patronage.

Chou, Ju-hsi. Heritage of the Brush. Phoenix: Phoenix Art Museum, 1989. & Scent of Ink: The Roy and Marilyn Papp Collection of Chinese Painting. Phoenix: Phoenix Art Museum, 1994. & Journeys on Paper and Silk: The Roy and Marilyn Papp Collection of Chinese Painting. Phoenix: Phoenix Art Museum, 1998. Journeys on Paper and Silk is a companion volume to Heritage of the Brush and Scent of Ink. All three works feature the Papp collection of Chinese painting of the Ming and Qing dynasties, to document the museum=s new acquisition.

Chagoku Kaiga Sogo Zuroku Comprehensive Illustrated Catalogue of Chinese Painting. Tokyo: Tokyo Daigaku Shuppankai, 1982-1983. 5-volume Japanese publication has English preface, explanatory notes and table of contents. It lists Chinese paintings in American and Canadian, Southeast Asian and European, and Japanese collections, with index.
Chagoku Kaiga Sogo Zuroku Zokuhen Comprehensive Illustrated Catalogue of Chinese Painting. 2nd series, compiled by Toda Teisuke, Ogawa Hiromitsu. Tokyo: Tokyo Daigaku Shuppankai, 1998-。So far two volumes have been published, listing American, Canadian, Asian and European collections.

Edwards, Richard. The World Around the Chinese Artist: Aspects of Realism in Chinese Painting. Ann Arbor, MI: University of Michigan, 1987. Resulting from three lectures at the University of Michigan, three great painters are discussed (Xia Gui, Shen Zhou and Shitao) with one theme: the relationship between the artist and the world around the artist, between the physical reality of the world and the subjective vision of the artist.

Ellsworth, Robert Hatfield. Later Chinese Painting and Calligraphy, 1800-1950. New York: Random House, 1986. 3-volume catalog of the authors collection consisting chiefly of illustrations.

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