首页> 外文学位 >From appropriation to possession: A study of the cultural identity of the Liao through their pictorial art.
【24h】

From appropriation to possession: A study of the cultural identity of the Liao through their pictorial art.

机译:从占有到占有:通过绘画艺术对辽代文化身份的研究。

获取原文
获取原文并翻译 | 示例

摘要

This is a study of painting produced under the Liao dynasty (907-1125), founded in the northern area of China by the Qidans (Khitans), a people of nomadic origin. Extant scroll paintings attributed to Liao artists have gone largely unstudied because of lack of criteria for determining authorship and date. Recent excavations of numerous Liao tombs, however, have yielded a large body of mural painting that can serve as comparative material, along with objects of Liao material culture that permit identification of things represented in the paintings. Several works ascribed to the Liao artists Hu Gui and Li Zanhua are examined in this new light, and conclusions reached about whether they are authentic Liao productions or misattributed paintings by Han Chinese artists. The tomb mural paintings themselves are examined both as works of art and for what they reveal about Liao society and culture, far beyond what the meagre written records provide. In particular, the Four Seasons landscape murals of the Qingling Imperial Mausoleum are given wholly new interpretations, which offer a key to understanding a famous pair of paintings representing "Deer in an Autumn Forest."; More importantly, this is a study of how the Qidans used art as a means of defining and asserting their cultural identity, especially in their relations with their main rivals, the sedentary Han Chinese who occupied the central plain region as the Sung dynasty. The Han Chinese traditionally regarded the neighboring nomadic peoples as barbarians and inferiors, consistently misrepresenting them in poetry and art. Most Chinese and foreign historians have accepted this version implicitly, seeing the nomadic powers who successively ruled the northern regions as having been sinicized and assimilated. This dissertation offers a different account, in which the culture of the Qidans (and, by extension, the other "conquest dynasties") becomes an integral part of Chinese civilization. A newly-defined concept of what is "Chinese" results, richer and more diverse than the narrow traditional one. A careful tracing of the development of Liao pictorial style leads to recognition of the distinctive contributions of the Qidans in art, and how these were accepted by the Han Chinese.
机译:这是对辽代(907-1125年)绘画的研究,辽代是由游牧民族奇丹人(Khitans)在中国北部地区建立的。由于缺乏确定作者身份和日期的标准,归因于廖画家的现存卷轴画在很大程度上未被研究。然而,最近发掘的多个辽陵墓产生了可作为比较材料的大型壁画,以及可以识别绘画中所代表事物的辽物质文化对象。在这种新的视角下,对归因于辽代艺术家胡桂和李赞华的几幅作品进行了考察,得出的结论是它们是真实的辽代作品还是汉族艺术家的误画。墓壁画本身既作为艺术品,也作为它们对辽宁社会和文化的揭示而受到研究,远远超出了薄薄的书面记录所提供的范围。特别是,对清陵陵墓的四个季节的壁画进行了全新的诠释,这为理解一对著名的代表“秋林中的鹿”的画作提供了关键。更重要的是,这是一项关于契丹人如何利用艺术来定义和维护其文化身份的研究,尤其是在与主要竞争对手,久坐汉中的定居汉族(宋代)的关系中。汉族传统上将周围的游牧民族视为野蛮人和卑鄙的人,在诗歌和艺术中不断歪曲他们。大多数中外史学家都隐含地接受了这种说法,认为游牧民族先后统治了北部地区,已被中国化和同化了。本论文提供了一个不同的解释,其中契丹人的文化(进而扩展为其他“征服王朝”)成为中华文明的组成部分。一种新定义的“中国”概念比狭窄的传统概念更加丰富和多样。仔细追踪辽绘画风格的发展,就可以认识到契丹人在艺术上的独特贡献,以及汉人如何接受这些贡献。

著录项

  • 作者

    Tsao, Hsingyuan.;

  • 作者单位

    Stanford University.;

  • 授予单位 Stanford University.;
  • 学科 Art History.; History Asia Australia and Oceania.
  • 学位 Ph.D.
  • 年度 1996
  • 页码 389 p.
  • 总页数 389
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;世界史;
  • 关键词

  • 入库时间 2022-08-17 11:49:14

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号