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Art
History 576 |
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Starting in the late eleventh century, influential Chinese critics advanced the view that the most exalted kind of painting was that which expressed the inner being of the painter who made it. Often called a theory of "literati" or "scholar-amateur" painting, the new aesthetic emphasized the artist's subjectivity and shifted attention from mimetic representation to form and technique. Claims that writing and painting had a common origin underscored the congeniality of this approach for scholar-artists seeking to express their thoughts and feelings in a visual medium, and the use of "calligraphic" brushwork became common for depicting landscape and nature themes. As the discourse of painting connoisseurship evolved, an artist's characteristic brushwork, motifs, and compositions became indexical signs that informed viewers could recognize and that other painters could deploy. This course will examine traditional Chinese beliefs about the superiority of amateur painting and explore their impact on both the practice of painting and the writing of Chinese art history, even in the present. Our study of selected Chinese paintings in the Chazen Museum or on loan to it will be an important element of the course. Prospective students should have some prior acquaintance with China, in most cases through coursework in Chinese art, history, religions, or literature. Classes will be conducted in a discussion format, and all students will be expected to participate. Course grades will be based on short writing assignments, oral report and term paper, and participation in class discussion. |