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The domain of Empress Yang (1162-1233): Art, gender and politics at the Southern Song court. (Volumes I and II).

机译：杨皇后（1162-1233）的领域：南宋朝廷的艺术，性别和政治。（第一和第二卷）。

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Empress Yang, better known in Chinese art history as Yang Meizi, was a formidable figure of considerable skill and power at the Southern Song court and a unique imperial patron of art. Arising from a humble background of court entertainer to become cultured empress and finally empress dowager, Empress Yang developed a remarkable talent for utilizing professional court painters in the making of collaborative works of art consisting of her inscriptions and the painters' images. This dissertation examines Empress Yang's legacy in the context of the subject's domain of the capital at Hangzhou, and the specific problems constituting the triangular relationship of art, gender and politics.; The dissertation consists of four chapters. Chapter One provides a general background to the study of Southern Song painting and imperial patronage by reconstructing the physical and cultural environment of the Southern Song court at Hangzhou and West Lake, utilizing both textual accounts and paintings that detail the splendors of the capital. Chapter Two examines the biography of Empress Yang, including her relationships with Empress Wu, her predecessor and patron, Emperor Ningzong, her husband, and Emperor Lizong, Empress Yang's sponsored successor to Ningzong. Chapter Three is a discussion of some of the problems surrounding the collaborative works sponsored by imperial figures of the Southern Song court, including ghost-writing and the identification of individual calligraphy styles, the relationship between imperial patron and court artist (focusing on Ma Yuan, the painter expressly favored by Ningzong and Empress Yang), and the practice of combining words with images. Chapter Four consists of detailed examinations of extant paintings carrying Empress Yang's inscriptions, including paintings on objects, paintings of secular festivities, religious paintings and paintings presented to designated recipients. An appendix provides a more detailed exploration of the paintings of Hangzhou utilized in Chapter One.

机译：杨太后，在中国艺术史上被称为杨梅子，是南宋朝廷强大的技术和力量的强大人物，也是一位独特的帝国艺术赞助人。从宫廷艺人的卑微背景到成为有教养的皇后，最后成为皇太后，杨皇后凭借在题名和画家的图像等方面的协作艺术作品的开发，利用了专业的宫廷画家，创造出了非凡的才能。本文以杭州女皇的首都为背景，考察了杨太后的遗产，以及构成艺术，性别和政治三角关系的具体问题。本文共分四章。第一章通过利用文字记载和详细描写首都辉煌的画作，重构杭州和西湖南宋朝的物质文化环境，为研究南宋绘画和皇帝庇护提供了一般背景。第二章考察了杨皇后的传记，包括她与吴皇后，其前任和赞助人，宁宗皇帝（其丈夫）和李宗皇帝（杨宗后赞助的宁继）之间的关系。第三章讨论了南宋宫廷皇帝赞助的合作作品周围的一些问题，包括幽灵笔迹和个人书法风格的识别，宫廷赞助人与宫廷画家之间的关系（以马元，（宁宗和杨太后明确表示青睐的画家），以及将文字与图片结合的做法。第四章详细考察了带有杨皇后题词的现存画作，包括实物画，世俗庆祝画，宗教画和赠送给指定接受者的画。附录提供对第一章中使用的杭州绘画的更详细的探索。

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作者
Lee, Hui-shu.;
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作者单位

Yale University.;

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授予单位 Yale University.;
学科 Literature Asian.; Religion Philosophy of.; Art History.
学位 Ph.D.
年度 1994
页码 501 p.
总页数 501
原文格式 PDF
正文语种 eng
中图分类宗教理论、宗教思想;艺术史、艺术思想史;
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入库时间 2022-08-17 11:49:44

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The domain of Empress Yang (1162-1233): Art, gender and politics at the Southern Song court. (Volumes I and II).

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