Painting and private life in eleventh-century China : Mountain villa by Li Gonglin
- Harrist, Robert E.
- Princeton, N.J. : Princeton University Press, c1998.
- Physical description
- xvii, 164 p.,  p. of plates : ill. ; 27 cm.
The Art & Architecture Library is closed July 25 - Sept. 9 during its relocation to the new McMurtry Building. The collection is not accessible during this period. Please contact Interlibrary Borrowing to obtain this title.
See circulation desk for access
ND1049 .L5 A7 1998
- Unknown ND1049 .L5 A7 1998
- Li, Gonglin, 1049-1106
- Includes bibliographical references (p. -148) and index.
- Acknowledgments Ch. 1 The Face behind the Fan: Li Gonglin and Northern Song Painting Ch. 2 A Walk through the Longmian Mountains Ch. 3 The Transformed Landscape: Place and Persona in Northern Song Gardens Ch. 4 Evoking the Past: Memories of Wang Wei and Lu Hong Ch. 5 Mountain Villa and the Languages of Landscape in Eleventh-Century China Ch. 6 Conclusion: Painting and Private Life Appendix The Extant Copies of Mountain Villa Notes Bibliography Glossary of Chinese Characters Index Illustrations.
- (source: Nielsen Book Data)
- Publisher's Summary
- In the eleventh century, the focus of Chinese painting shifted dramatically. The subject matter of most earlier works of art was drawn from a broadly shared heritage of political, religious, and literary themes. Late in the century, however, a group of scholar-artists began to make paintings that reflected the private experiences of their own lives. Robert Harrist argues here that no work illuminates this development more vividly than Mountain Villa, a handscroll by the renowned artist Li Gonglin (ca. 1041-1106). Through a detailed reading of the painting and an analysis of its place in the visual culture of Li's time, the author offers a new explanation for the emergence of autobiographic content in Chinese art. Harrist proposes that the subject of Li's painting - his garden in the Longmian Mountains - was itself a form of self-representation, since a garden was then considered a reflection of its owner's character and values. He demonstrates also that Li's turn toward the imagery of private life was inspired by the conventions of Chinese lyric poetry, in which poets recorded and responded to the experiences of their lives. The book draws the reader into the artistic, scholarly, and political world of Li Gonglin and shows the profound influence of Buddhism on Chinese painting and poetry. It offers important insights not just into Chinese art, but also into Chinese literature and intellectual history.
(source: Nielsen Book Data)
- Publication date
- Robert E. Harrist, Jr.