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Early Chinese Portraiture : = Character as Social Ideal.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Early Chinese Portraiture :/
Reminder of title:	Character as Social Ideal.
Author:	Spiro, Audrey Jean Goldman.
Description:	1 online resource (347 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 48-07, Section: A.
Contained By:	Dissertations Abstracts International48-07A.
Subject:	Fine arts. -
Online resource:	click for full text (PQDT)
ISBN:	9798206807127

Early Chinese Portraiture : = Character as Social Ideal.
Spiro, Audrey Jean Goldman.

Early Chinese Portraiture :Character as Social Ideal. - 1 online resource (347 pages)

Source: Dissertations Abstracts International, Volume: 48-07, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 1987.

Includes bibliographical references

Chinese tomb reliefs of the fourth-fifth centuries A.D. provide a case study of portraiture, its nature and meaning to the audience for whom it was intended. Investigation of the literature produced by and for the same audience yields the traditions, often conflicting, that circulated in fourth and fifth-centuries' court circles about the subjects of three sets of portraits, The Seven Worthies of the Bamboo Grove (historical personages of the third century A.D.) and Rong Qiqi (a fictional personage invented in the same century). Further examination of this literature demonstrates that the subjects of the portraits were admired by specific, prominent members of the court, who, in turn, were admired by contemporaries for their exemplification of the same values. Interpreted in terms of these social historical data, formal analysis of the portraits reveals them as pictorial translations, visual embodiments, of aristocratic values of their period of fabrication. The reliefs are thus seen to be character portraits of men admired for their moral sensibilities, artistic talents, rejection of ritual hypocrisy, and their refined self-possession. Exemplary portraits, they celebrate an ideal that would have a long tenure in Chinese history, the Cultivated Gentleman. The earliest tomb in which the portraits have been found was undoubtedly made for a member of the court, one who wished to be seen as such a cultivated gentleman. The later tombs, containing portrait-murals almost identical to those of the earliest tomb, were constructed for members of the Southern Qi imperial family, a clear arrogation by an upstart clan of aristocratic values. By late fifth century, in short, the portrait of the Seven Worthies had become a classic. The exemplary characters of the portrait subjects are conveyed by postures and attributes, not by facial features or "physical likeness;" the key to the recognition of their inner characters lies therefore in their depicted behavior. Thus, in these early Chinese portraits we find an effective pictorial solution to the problem of perceptual resemblance in the traditional arts, as raised, for example, by E. H. Gombrich.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798206807127Subjects--Topical Terms:

1112523
Fine arts.
Index Terms--Genre/Form:

554714
Electronic books.

Early Chinese Portraiture : = Character as Social Ideal.
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504 $a Includes bibliographical references
520 $a Chinese tomb reliefs of the fourth-fifth centuries A.D. provide a case study of portraiture, its nature and meaning to the audience for whom it was intended. Investigation of the literature produced by and for the same audience yields the traditions, often conflicting, that circulated in fourth and fifth-centuries' court circles about the subjects of three sets of portraits, The Seven Worthies of the Bamboo Grove (historical personages of the third century A.D.) and Rong Qiqi (a fictional personage invented in the same century). Further examination of this literature demonstrates that the subjects of the portraits were admired by specific, prominent members of the court, who, in turn, were admired by contemporaries for their exemplification of the same values. Interpreted in terms of these social historical data, formal analysis of the portraits reveals them as pictorial translations, visual embodiments, of aristocratic values of their period of fabrication. The reliefs are thus seen to be character portraits of men admired for their moral sensibilities, artistic talents, rejection of ritual hypocrisy, and their refined self-possession. Exemplary portraits, they celebrate an ideal that would have a long tenure in Chinese history, the Cultivated Gentleman. The earliest tomb in which the portraits have been found was undoubtedly made for a member of the court, one who wished to be seen as such a cultivated gentleman. The later tombs, containing portrait-murals almost identical to those of the earliest tomb, were constructed for members of the Southern Qi imperial family, a clear arrogation by an upstart clan of aristocratic values. By late fifth century, in short, the portrait of the Seven Worthies had become a classic. The exemplary characters of the portrait subjects are conveyed by postures and attributes, not by facial features or "physical likeness;" the key to the recognition of their inner characters lies therefore in their depicted behavior. Thus, in these early Chinese portraits we find an effective pictorial solution to the problem of perceptual resemblance in the traditional arts, as raised, for example, by E. H. Gombrich.
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