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西方学者研究中国美术史书目
◆ 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.
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.
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.
◆General Works
Auboyer, Jeannine ... [et al.] Oriental Art: A Handbook
of Styles and Forms. New York: Rizzoli, 1980.Translated from French,
it provides basic information on styles, mythologies, religions, and
cultures, covering South, Southeast and East Asia.
The British Museum Book of Chinese Art, edited by Jessica Rawson.
London: British Museum Press, 1992. 395 p. Written on the occasion
of the opening of Sir Joseph Hotung Gallery at the British Museum,
the book consists of 6 chapters on jade and bronzes, calligraphy and
painting, sculpture, decorative arts, ceramics and Aluxuries for trade.@
The appended chronologies, lists of archaeological and Buddhist sites,
painters and glossaries are extremely useful. It not only complements
the display in the gallery, but also outlines various aspects of Chinese
art.
Cambridge Encyclopedia of China. Cambridge: Cambridge University Press,
1982. A good source for a quick reference on China in general. One
can also find entries on Chinese art, architecture and archaeology.
Clunas, Craig. Art in China. (Oxford History of Art
series). Oxford: Oxford University Press, 1997. 255 p. Reader in History
of Art at the University of Sussex, the author gives a concise history
of art in China, with explanations on, What is art in China?
Clunas, Craig. Superfluous Things: Material Culture and Social
Status in Early Modern China. Cambridge: Polity Press, 1991.It discusses
some of the ways of looking at things and connoisseurship in the late
Ming dynasty (1368-1644) China, with broad themes, such as shaping
of aesthetic values by social forces and expression of social distinctions
Athrough things.@ It crosses the disciplinary boundaries of art and
social history and looks at aspects of material culture and social
context.
Clunas, Craig. Pictures and Visuality in Early Modern
China (Picturing history series). London: Reaktion, 1997. The work
focuses on the 17th century, a period of rapid economic development
and cultural production, forming a consumer society. Pictures were
a major source of consumable luxury at the time, Apictures@ not only
in the form of Aart,@ but also in the form of wall decoration, in
books and prints, on ceramics, lacquer, textiles and even on the dress
of the prosperous.
Contemporary Chinese Aesthetics, edited Zhu Liyuan and Gene Blockner.
New York: Peter Lang, 1995. 350 p. A collection of 21 essays by contemporary
leading Chinese aestheticians of different generations representing
different schools, a mixture of Chinese, Marxist and other European
aesthetics. Among the essays are, ASpace-consciousness in Chinese
art, Art appreciation as recreation, Ancient Chinese aesthetics, Modern
Chinese aesthetics, art and image, and, The essence of art.
Dictionary of Art, editor Jane Turner. New York: Groves Dictionaries;
London: Macmillan, 1996. 34 volumes, including index. (The online
version website: http://www.groveart.com. ) The entry on China (from
v. 6, p. 607 to v. 7, p. 162) consists of a lengthy introduction including
geography, history, trade, religion and philosophy, followed by exhaustive
studies of 10 major art forms (architecture, sculpture, calligraphy,
painting, bronzes, ceramics, jade-carving, lacquer, gold and silver,
furniture and textiles) and discussions of 26 minor arts, such as
arms and armour, bamboo-, ivory-, wood-carving, cloisonne, jewellery,
even theatre, and sections on popular art, the arts of different nationalities
of China, art training, collections and museums. There are also several
hundred separate entries on Chinese artists and a hundred or so entries
on archaeological sites and cities. (Lack of illustrations and not
too up-to-date bibliographies)
Eberhard, Wolfram. A Dictionary of Chinese Symbols:
Hidden Symbols in Chinese Life and Thought. New York: Routledge &
Kegan Paul, 1986. A translation from German, useful tool for identifying
symbols in Chinese culture.
Gray, Basil. Studies in Chinese and Islamic art.
London: The Pindar Press, 1985-1987. Vol. 1 deals with Chinese art,
drawing examples from various collections in Great Britain covering
Chinese painting, calligraphy, decorative arts, and museums of China
and Japan, and touching upon Korea.
Hansford, S. Howard. A Glossary of Chinese Art and Archaeology.
2nd rev. ed. London: The China Society, 1961. Still a useful tool
for students and collectors to gain a quick understanding of Chinese
terms in art and archaeology, though intended for readers with a certain
knowledge of Chinese language. Architecture and calligraphy are not
included.
Hutt, Julia. Understanding Far Eastern Art: A Complete
Guide to the Arts of China, Japan and Korea: Ceramics, Sculpture,
Painting, Prints, Lacquer, Textiles and Metalwork. Oxford: Phaidon,
1987. This work introduces the arts of China, Japan and Korea to the
non-specialist, focusing on the main materials and techniques used,
to help them understand the objects.
Jones, Lois Swan. Art Information and the Internet: How to
Find It, How to Use It. Phoenix: Oryx Press, 1999. A good resource
tool. (Read the review in Art documentation, v. 18, no. 1)
Lee, Sherman E. A History of Far Eastern Art. 5th
ed. New York: Prentice Hall and Abrams, 1994. 576 p. The first edition
was the result of lectures delivered by the author at the University
of Washington. The 5th completely revised edition still has the original
concept, that is, to deal with Acomparisons of various and diverse
things with an eye for an educated audience that has not had the time
nor the patience to deal with the highly specialized studies, providing
broad overall analysis. Pt. I and IV deal with China. The author is
considered the last Asian art generalist.
Lee, Sherman E. China, 5000 Years: Innovation and
Transformation in the Arts of China, selected by Sherman Lee. New
York: Guggenheim Museum, 1998. Catalog of an exhibition of 250 outstanding
objects from 17 provinces in China, at Guggenheim New York and Bilbao,
1998. The Huntington Archive of Buddhist and Related Art, Ohio State
University, has a website: http://kaladarshan.arts.ohio-state.edu/,
with images of the objects and sections of the catalog.
Li, Tse-hou. The Path of Beauty: A Study of Chinese
Aesthetics. Beijing: Morning Glory Pub., 1988. A translation of the
1983 Chinese edition, the work focuses on styles and motifs, characteristics
of art in China and its interaction with Chinese culture and literature.
Medley, Margaret. A Handbook of Chinese Art for Collectors
and Students. New York: Harper & Row, 1964.Basic terminology (about
500 entries) for Chinese art; good for a quick reference.
Munsterberg, Hugo. Dictionary of Chinese and Japanese
Art. New York: Hacker, 1981.Another good tool for quick reference.
Munsterberg, Hugo. Symbolism in Ancient Chinese Art.
New York: Hacker, 1986. Animal and other motifs, such as a dragon,
tiger, bull, cicada, and celestial symbols, are discussed with examples
from the art collections in the US, Canada and Great Britain.
Powers, Martin Joseph. Art and Political Expression
in Early China. New Haven: Yale University Press, 1991. Using pictorial
images from sepulchral monuments and tomb reliefs, the work uses a
combination of historical and stylistic data to build a picture of
the Han dynasty (221 B.C.-220A.D.) It is also listed in ASculpture.
Rawson, Jessica. Ancient China: Art and Archaeology.
New York: Harper & Row, 1980. Divided into five chapters by period,
the Neolithic, Shang, Western Zhou, Eastern Zhou and Han dynasties,
the book is intended as a companion to the British Museum=s collection
of early Chinese art and archaeological material, but serves as a
general historical survey of Chinese art up till 220 A.D.
Rawson, Jessica. Chinese Ornament: The Lotus and the Dragon.
New York: Holmes & Meier, 1984. An exhibition catalog, it focuses
on two dominant motifs, lotus and dragon, tracing the history of animal
and floral ornaments, their ubiquity in Chinese art, and their influences
on other cultures.
Seymour, Nancy N. An Index-Dictionary of Chinese Artists,
Collectors, and Connoisseurs. Metuchen: Scarecrow, 1988. It includes
more than 5000 Chinese names and biographical information, with Chinese
characters, an index of modified stroke count, a tool for converting
the two romanization systems, and a selected bibliography. For a quick
reference.
Shulman, Frank Joseph. Doctoral Dissertations on
China and on Inner Asia, 1976-1990: An Annotated Bibliography of Studies
in Western Languages. Westport, CT: Greenwood Press, 1998. Continuation
of his Doctoral Dissertations on China, 1945-1970 and Doctoral Dissertations
on China, 1971-1975, the new publication is a comprehensive, multidisciplinary
annotated guide to 10,293 dissertations in the humanities, social
sciences, education, theology, and other disciplines. Entries #333-534
deal with art and art history; #648-711 with Chinese influence on
Asian art, and #712-751 deal with Chinese influence on Western art.
Sickman, Laurence and Alexander Soper. The Art and
Architecture of China. Middlesex, England: Penguin Books, 1971. Still
a good reference book, focussing on painting, sculpture and architecture.
South East Asia & China: Art, Interaction & Commerce (Colloquies
on art & archaeology in Asia; no. 17), edited by Rosemary Scott
& John Guy. London: Percival David Foundation of Chinese Art,
1995. Consists of 15 papers delivered at the 17th Percival David Foundation
Colloquy, dealing with Chinese influences and interaction with South
East Asia as reflected in art.
Style in the East Asian Tradition (Colloquies on art & archaeology
in Asia ; no. 14), edited by Rosemary E. Scott and Graham Hutt. London:
Percival David Foundation of Chinese Art, 1987. Consists of 12 papers
delivered at the 14th Percival David Foundation Colloquy, in honor
of William Watson, Professor of East Asian art at University of London,
one of the early art historians. It includes a bibliography of William
Watson=s works (p. 13-17).
Sullivan, Michael. The Arts of China. 3rd ed. Berkeley:
University of California Press, 1984. Similar to the earlier editions
of 1967 and 1973, it gives a historical survey of art in China beginning
from the prehistoric era to the 20th century. The bibliographical
references listed are of western languages before 1982.
Sullivan, Michael. The Meeting of Eastern and Western
Art. Berkeley: University of California, 1989. Deals with Japan and
China, the interaction of China and Europe and America and their mutual
influences.
Sullivan, Michael. Studies in the Art of China and
South-East Asia. London: The Pindar Press, 1991. Vol. 1 deals with
Chinese art, with emphasis on pictorial art and some discussion on
the influences of Western art and the Chinese response to it.
Tregear, Mary. Chinese Art. London: Thames and Hudson,
1980. A short survey of Chinese art with illustrations.
Vanderstappen, Harrie A. The T.L. Yuan Bibliography
of Western Writings on Chinese Art and Archaeology. London: Mansell,
1975. A reference book on Chinese art and archaeology, listing 2278
books and 8954 articles, covering materials published between 1920
and 1965, with index. Very useful for searching for earlier works.
Walravens, Hartmut. Bibliographien Zur Ostasiatischen
Kunstgeschichte in Deutschland. Hamburg: Bell, 1983-1984. Contains
bibliographical references written by German scholars Adolf Fischer,
Freda Fischer, Karl With, Ludwig Bachhofer, Alfred Salmony, Otto Kümmel,
with a list of reviews of the 1912 East Asian art exhibition in Berlin.
Watson, William. The Arts of China to AD 900. New
Haven: Yale University Press, 1995. As the title indicates the book
covers historic periods till the Tang dynasty (618-907). Subjects,
such as pottery, bronzes, jade, lacquer, sculpture, Buddhist and secular,
are discussed chronologically from the Neolithic age to the end of
the Tang.
Werner, E.T.C. A Dictionary of Chinese Mythology.
New York: Julian Press, 1969.Useful tool for finding myths and legends
of China, with index and bibliography.
Williams, C.A.S. Encyclopedia of Chinese Symbolism
and Art Motives. New York: Julian Press, 1960. Still useful and easy
to use with entries arranged in alphabetical order. At the end of
each entry one can find bibliographical references.
Wu, Hung. Monumentality in Early Chinese Art and Architecture.
Stanford: Stanford University Press, 1995. A broad-ranging investigation
of the abstract concept of monumentality, spanning two thousand years
of Chinese art history and a variety of media, the work provides a
new type of history of early Chinese art and architecture, covering
the rise and decline of ritual art, palaces and funerary monuments
in the Qin and Han (221 B.C.- 220 A.D.) with stone as medium, also
discussing the emergence of the individual artist in the post-Han
period.
海外发行有关中国艺术史方面的权威期刊（Journals）
Archives of Asian art. ISSN 0066-6637. New York:
Asia Society, v. 20 (1967)-, Continues: Archives of the Chinese Art
Society of America (1945/46-1965). The most recent issue: v. 49 (1996).
Vol. 50, no. 1 just out after 3-year delay.
Ars Orientalis. ISSN 0571-1371. Ann Arbor, Mich.:
Dept. of the History of Art, University of Michigan, 1954-, Sponsored
by the Freer Gallery of Art, Smithsonian Institution, the periodical
is current but irregular.
Artibus Asiae. ISSN 0004-3648. Zurich: The Museum
Rietberg in cooperation with the Arthur M. Sackler Gallery, Smithsonian
Institution, 1925- , Irregular, but current.
Arts Asiatique. ISSN 0004-3958. Paris: Direction
des Musees de France, 1954- , Annual, current
Arts of Asia. ISSN 0004-4083. Hong Kong: Arts of
Asia Publications, 1971- , Bimonthly, current
Asianart.com at: http://www.asianart.com, An online journal for the
study and exhibition of the arts of Asia. Links to associations, exhibitions,
articles, galleries.
Asian Art & Culture. Washington, DC: Arthur M.
Sackler Gallery, Smithsonian Institution; New York: Oxford University
Press, 1994- , Continues: Asian Art (1987/88-1993). Since 1997 it
has become a Amonographic series, published by University of Washington
Press. So far two monographs have been published.
The Asian Art Newspaper. ISSN 1460-8537. London: The Asian
Art Ltd., 1997- , Monthly (except July and August); published for
collectors, dealers, museums and galleries, with reviews on exhibitions
and books.
Asian Perspectives: The Journal of Archaeology for Asia and
the Pacific. ISSN 0066-8435. Hawaii: University of Hawaii
Press, 1957-, Semiannual, current
Bibliography of Asian Studies. ISSN 0067-7159. Ann
Arbor, MI: Association for Asian Studies, 1970- , Current with delay
The Bulletin of the Oriental Ceramic Society of Hong Kong.
Hong Kong: The OCS, 1975-, Irregular, current
Bulletin of the School of Oriental and African Studies, University
of London. ISSN 0041-977X. London: The School, 1940- , Three
times a year
China Archaeology and Art Digest. ISSN 1027-1503.
Hong Kong: Art Text (HK), 1996- , A new quarterly journal, digest
and index in English of all Chinese publications in the archaeological
and art history fields, for scholars, collectors, museums and libraries.
Very useful.
Monumenta Serica: Journal of Oriental Studies. ISSN
0254-9948. Peiping: Vetch, 1935-, Now published annually in Sankt
Augustin, Germany by Monumenta Serica Institute, it covers all areas
of Sinology, including art. Also has book reviews and notes.
Museum of East Asian Art Journal. Bath, England: The Museum,
1995-, Annual, current
Museum of Far Eastern Antiquities Bulletin. ISSN
0081-5691. Stockholm: The Museum, 1960-, Annual, current
National Palace Museum Bulletin. ISSN 0027-9846.
Taipei, Taiwan: National Palace Museum, 1966-, Bimonthly, current.
The Museum has a website: http://www.npm.gov.tw.
Newsletter, East Asian Art & Archaeology. ISSN
8755-4593. Ann Arbor, Mich.: East Asian Program, The University of
Michigan, 1977- , Semiannual, current
Oriental Art. ISSN 0196-0008. London: Oriental Art Magazine, 1948-
, Quarterly, current
Orientations. ISSN 0030-5448. Hong Kong: Pacific
Communications, 1970- , Monthly, current
Revue Bibliographique de Sinologie = Review of bibliography
in Sinology. ISSN 0080-2484. Paris: Editions de lEcole des
hautes etudes en sciences sociales, 1957- , Annual, current, with
one chapter dealing with art and archaeology, listing both monographs
and journal articles in western and Asian languages.
Silk Road Art and Archaeology: Journal of the Institute of
Silk Road Studies, Kamakura. ISSN 0917-1614. Kamakura-shi,
Japan: The Institute, 1990- , Annual, current.
Transactions of the Oriental Ceramic Society. ISSN
0306-0926. London: The Society, 1923-, Begun with an unnumbered issue
for 1921/22, it is published annually. Articles cover not only Chinese
art and Chinese ceramics, but also other Asian art. The Society also
has a newsletter, listing museum exhibitions, gallery and dealer shows,
symposia, lecture series, courses and workshops, museum news and publications.
1. Cahill, James. Hills Beyond a River: Chinese Painting of the Yuan
Dynasty, 1279-1368. New York and Tokyo: John Weatherhill, Inc., 1976.
中文翻译，高居翰，《隔江山色—元代绘画》，台北：石头出版社，1994。
2. Cahill, James. Parting at the Shore: Chinese Painting of the Early
nad Middle Ming dynasty, 1368-1580. New York and Tokyo: John Weatherhill,
Inc., 1978. 中文翻译，高居翰，《江岸送别—明代初期与中期绘画》，台北：石头出版社，1995。
3. Cahill, James. The Distant Mountains: Chinese Painting of the Late
Ming Dynasty, 1570-1644. New York and Tokyo: John Weatherhill, Inc.,
1982. 中文翻译，高居翰，《山外山—晚明绘画》，台北：石头出版社，1996。
4. Loehr, Max. The Great Painters of China. New York: Phaidon Press,
1980.
5. 石守谦等，《中国古代绘画名品》。台北：雄狮出版社，1986. |
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