China has an age-old zoomorphic tradition. The First Emperor was famously said to have had the heart of a tiger and a wolf. The names o f foreign tribes were traditionally written with characters that included animal radicals. Splendidly illustrated with works ranging from Bronze Age vessels to twentieth-century conceptual pieces, this volume is a wide-ranging look at zoomorphic and anthropomorphic imagery in Chinese art. The contributors, leading scholars in Chinese art history and related fields, consider depictions of animals not as simple, one-for-one symbolic equivalents: they pursue in depth, in complexity, and in multiple dimensions the ways that Chinese have used animals from earliest times to the present day to represent and rhetorically stage complex ideas about the world around them, examining what this means about China, past and present.
In each chapter, a specific example or theme based on real or mythic creatures is derived from religious, political, or other sources, providing the detailed and learned examination needed to understand the means by which such imagery was embedded in Chinese cultural life. Bronze Age taotie motifs, calendrical animals, zoomorphic modes in Tantric Buddhist art, Song dragons and their painters, animal rebuses, Heaven-sent auspicious horses and foreign-sent tribute giraffes, the fantastic specimens depicted in the Qing Manual of Sea Oddities, the weirdly indeterminate creatures found in the contemporary art of Huang Yong Ping―these and other notable examples reveal Chinese attitudes over time toward the animal realm, explore Chinese psychology and patterns of imagination, and explain some of the critical means and motives of Chinese visual culture.
The Zoomorphic Imagination in Chinese Art and Culture will find a ready audience among East Asian art and visual culture specialists and those with an interest in literary or visual rhetoric.
5 有用 鵬鵬 James 2017-01-14 00:51:06
電子版可下載:http://gen.lib.rus.ec/book/index.php?md5=185DAFE65A95843451553543B55783B0
1 有用 L 2022-03-24 10:46:32
材料好有趣,讀了九龍圖和海錯圖兩章,論述都不是很出彩。九龍圖那篇主要在講這組圖為什麼是ecological images,儀式作畫和之後不斷的複製這些動作本身都和大氣事件的發生及自然現象重複出現的規律對應,所以某種意義上藝術家是製造representational efficacy的求雨者,而求雨者是在召喚自然景象的藝術家。《海錯圖》那篇細緻的圖像溯源主要還是在為斷代服務,formal strat... 材料好有趣,讀了九龍圖和海錯圖兩章,論述都不是很出彩。九龍圖那篇主要在講這組圖為什麼是ecological images,儀式作畫和之後不斷的複製這些動作本身都和大氣事件的發生及自然現象重複出現的規律對應,所以某種意義上藝術家是製造representational efficacy的求雨者,而求雨者是在召喚自然景象的藝術家。《海錯圖》那篇細緻的圖像溯源主要還是在為斷代服務,formal strategies本身和這之中圖像的拼湊、誤讀(反光效果理解成動物本身的紋樣)、反覆徵引沒有被足夠conceptualize。 (展开)
1 有用 小火慢煎 2023-11-04 04:11:47 北京
最近在写《起蛰图》所以读了《九龙图》一章,只能说文学与图像的对照不能这么简单粗暴,两个传统之间的关系或许更值得思考一下…
0 有用 隨安室 2017-03-22 21:08:07
别趣。
0 有用 Ranciere 2018-09-25 12:00:20
麒麟和长颈鹿 好玩