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- Kurzbeschreibung<p>Seminar paper from the year 2011 in the subject Orientalism / Sinology - Chinese / China, grade: 1,3, University of Heidelberg (Institute for East Asian Art History), course: Arts of the Yuan Dynasty, language: English, abstract: Ni Zan is one of the most famous figures in the history of Chinese painting and together with the<br>other three of the "Four Great Masters of the Late Yuan" - Huang Gongwang, Wang Meng and<br>Wu Zhen - formed the favored model for later landscapists. His influence on and appreciation in<br>later times as well as his position among his contemporaries have been discussed on various<br>occasions and should not be my main topic. My focus is on Ni Zan himself.<br>Following the fall of the Song Dynasty to the Mongols under Kublai Khan in 1271, the Yuan<br>Dynasty was established. That year marked the beginning of a period of turmoil and suppression<br>all over China, but especially for the Chinese intelligentsia and the Yuan dynasty, although<br>comparatively short, caused massive changes in cultural creativity, bringing forth painting styles<br>that would persist and be quoted in the art scene of all later centuries.<br>Taking a look at Ni Zan's paintings one cannot but notice certain elements that keep on appearing<br>throughout all of his oevre. Once he settled on a certain compositional type he kept repeating it. At<br>closer inspection one can see his painting style slightly changing, although keeping to some fixed<br>elements. This change in Ni's work is subtle, but noticeable and also readable. The readability of his<br>landscapes is the basis for this paper and will become clearer when going through Ni Zan's life,<br>along with the events surrounding his time and simultaneously reading his paintings as the Chinese<br>term du hua (to read painting) suggests. That way I will show how Ni Zan's paintings can be seen as<br>a journal and thereby now provide us with room for interpretation and insight into his life.<br>I should note that the main inspiration for this paper came from Maxwell K. Hearn, a curator at the<br>Metropolitan Museum of Art, and I therefore quote the term he used for this phenomenon by titling<br>this paper The Pictorial Diary.</p>
- AutorTony Buchwald
- Seiten48 Seiten
- Gewicht83 g
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