美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫

<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p>&nbsp;</p><p>&quot;During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan&rsquo;yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan&rsquo;yū Shukuzu [Tan&rsquo;yū&rsquo;s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter&rsquo;s status. Sanko Minagawa&rsquo;s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan&rsquo;yū Shukuzu. </p> <p> This paper focuses on Tan&rsquo;yū&rsquo;s copies of Chinese female-figure paintings (often called tobijinzu, &ldquo;pictures of Chinese beauties,&rdquo; in Japanese) that were largely overlapped with while beyond the scope of the shin&uuml; tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists&rsquo; signatures copied by Tan&rsquo;yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese &ldquo;forgery&rdquo; paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shin&uuml; tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p>&nbsp;</p>

A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore, studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji, It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

Semiosphere and Solitary World

Literati landscape painting was the mainstream of Chinese art in the Yuan dynasty; its keynote is the idea of yi, literally, escaping for freedom, which is represented by the notion of reclusiveness at the conceptual level and the notion of spontaneity at the formal level. Based on an analytical interpretation of the development of Yuan literati landscape painting at the two levels, this essay intends to make a point that, under the Mongol rule, reclusiveness and spontaneity became the artistic pursuit of Chinese artists in the period from late 13th to late 14th century. Employing Yuri Lotman’s theory of “semiosphere” in this study, I argue that the blueprint for the solitary world is designed by the early Yuan literati artist Zhao Mengfu, and this world is constructed by the later Yuan literati artists Huang Gongwang and Ni Zan, among others. I further describe the structure of this world as having two levels and three concentric circles, with reclusiveness as the signified central idea and spontaneous brushwork as its signifier. I then conclude that the interaction of the reclusive idea and spontaneous style semioticizes the structure, and completes the construction of the unique artistic world of Yuan literati landscape painting.

The Political Animal: Metaphoric Rebellion in Zhao Yong’s Painting of Heavenly Horses

If an animal is depicted with features that seem more man than beast, it might just be that the artist's real interest has to do with people. With their historical treasure of animal lore, Chinese artists frequently used animals as people in their discourse on human affairs. Sometimes appearances suggest this substitution, while sometimes this is done by the inscriptions and poems which accompany the painting and suggest its intent. This chapter is about one such case. It features horses, painted by the fourteenth-century artist Zhao Yong working in a world both lit and shadowed by his famous father, Zhao Mengfu, accused by some as disloyal to their royal Zhao-family forebears in serving the Mongol Yuan regime, and interrogated for generations to come about whether or not they felt disloyal. This is Zhao Yong's own visual narrative, dated 1352, of certain events, with texts by friend and relative, set against the backdrop of the first peasant uprisings that eventually undermined Mongol power in China.