國立虎尾科技大學 |

The Making of Shen Nanpin (1682-Ca. 1760) : = Painting, Collecting, and Canonizing in Japan and China.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Making of Shen Nanpin (1682-Ca. 1760) :/
其他題名:	Painting, Collecting, and Canonizing in Japan and China.
作者:	Karyadi, Caitlin.
面頁冊數:	1 online resource (320 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-08, Section: A.
Contained By:	Dissertations Abstracts International85-08A.
標題:	African history. -
電子資源:	click for full text (PQDT)
ISBN:	9798381684186

The Making of Shen Nanpin (1682-Ca. 1760) : = Painting, Collecting, and Canonizing in Japan and China.
Karyadi, Caitlin.

The Making of Shen Nanpin (1682-Ca. 1760) :Painting, Collecting, and Canonizing in Japan and China. - 1 online resource (320 pages)

Source: Dissertations Abstracts International, Volume: 85-08, Section: A.

Thesis (Ph.D.)--Princeton University, 2024.

Includes bibliographical references

The Chinese painter Shen Nanpin traveled to Japan in 1731, and despite his brief sojourn of less than two years and subsequent absence, he later became a figurehead of Japanese painting. While period records relating to Nanpin are scant and inconclusive, the extant works bearing his name number in the thousands and are clearly not all painted by one person. Rather than working against this conundrum to recapture the individual himself, this dissertation approaches Nanpin as a constructed Sino-Japanese phenomenon, taking as subject the many images and texts that fashioned the Chinese painter. What I term the "Nanpin phenomenon" expands beyond the lifespan of one individual, chafing against many assumptions endemic to the current study of East Asian art history. These include nation-state bounded historical models, over-emphasis on separating fakes from originals, a fixation on singular origins, and a tendency to overlook how reception constructs artists and artworks. Only by disentangling the many objects, claims, and assumptions that have come to constitute "Shen Nanpin" can we begin to discern the interwoven processes that assembled his art historical significance.Across an introduction, five chapters, and an epilogue, this dissertation explores the transregional and transhistorical entanglements that created Nanpin's legacy. Chapters One and Two delve into the layered circumstances of Sino-Japanese exchange that allowed Nanpin, a previously unknown Chinese painter, to find almost immediate reception in early modern Japan. Chapter Three focuses on the many "Nanpin" paintings, charting how dynamic exchange between Chinese workshops and Japanese collectors cooperated to distill his attributed imagery into an increasingly refined and recognizable brand. Chapter Four considers how Japanese artists redefined Nanpin's memory through their own artistic endeavors that positioned the absent Chinese painter as lineal forefather. The fifth chapter analyzes how and why aesthetic treatises of the late eighteenth and early nineteenth centuries re-constituted Nanpin as a polemicizing patriarch. Finally, the epilogue concludes with the positioning of Nanpin in Japan's first modern art histories, projects that were coeval with the nation's imperialist ambitions abroad. In a sense, this dissertation ends where it began by outlining the history underlying Nanpin's place in our current art historical narratives.

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

Mode of access: World Wide Web

ISBN: 9798381684186Subjects--Topical Terms:

1181261
African history.
Subjects--Index Terms:

AuthenticityIndex Terms--Genre/Form:

554714
Electronic books.

The Making of Shen Nanpin (1682-Ca. 1760) : = Painting, Collecting, and Canonizing in Japan and China.
LDR:03891ntm a22004097 4500 001 1144962
005 20240617111728.5
006 m o d
007 cr mn ---uuuuu
008 250605s2024 xx obm 000 0 eng d
020 $a 9798381684186
035 $a (MiAaPQ)AAI30816234
035 $a AAI30816234
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Karyadi, Caitlin. $3 1470154
245 1 4 $a The Making of Shen Nanpin (1682-Ca. 1760) : $b Painting, Collecting, and Canonizing in Japan and China.
264 0 $c 2024
300 $a 1 online resource (320 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-08, Section: A.
500 $a Advisor: Watsky, Andrew M.;Marcon, Federico.
502 $a Thesis (Ph.D.)--Princeton University, 2024.
504 $a Includes bibliographical references
520 $a The Chinese painter Shen Nanpin traveled to Japan in 1731, and despite his brief sojourn of less than two years and subsequent absence, he later became a figurehead of Japanese painting. While period records relating to Nanpin are scant and inconclusive, the extant works bearing his name number in the thousands and are clearly not all painted by one person. Rather than working against this conundrum to recapture the individual himself, this dissertation approaches Nanpin as a constructed Sino-Japanese phenomenon, taking as subject the many images and texts that fashioned the Chinese painter. What I term the "Nanpin phenomenon" expands beyond the lifespan of one individual, chafing against many assumptions endemic to the current study of East Asian art history. These include nation-state bounded historical models, over-emphasis on separating fakes from originals, a fixation on singular origins, and a tendency to overlook how reception constructs artists and artworks. Only by disentangling the many objects, claims, and assumptions that have come to constitute "Shen Nanpin" can we begin to discern the interwoven processes that assembled his art historical significance.Across an introduction, five chapters, and an epilogue, this dissertation explores the transregional and transhistorical entanglements that created Nanpin's legacy. Chapters One and Two delve into the layered circumstances of Sino-Japanese exchange that allowed Nanpin, a previously unknown Chinese painter, to find almost immediate reception in early modern Japan. Chapter Three focuses on the many "Nanpin" paintings, charting how dynamic exchange between Chinese workshops and Japanese collectors cooperated to distill his attributed imagery into an increasingly refined and recognizable brand. Chapter Four considers how Japanese artists redefined Nanpin's memory through their own artistic endeavors that positioned the absent Chinese painter as lineal forefather. The fifth chapter analyzes how and why aesthetic treatises of the late eighteenth and early nineteenth centuries re-constituted Nanpin as a polemicizing patriarch. Finally, the epilogue concludes with the positioning of Nanpin in Japan's first modern art histories, projects that were coeval with the nation's imperialist ambitions abroad. In a sense, this dissertation ends where it began by outlining the history underlying Nanpin's place in our current art historical narratives.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a African history. $3 1181261
650 4 $a Asian studies. $3 1179577
650 4 $a Art history. $3 1180038
653 $a Authenticity
653 $a Chinese-Japanese exchange
653 $a Early modern Japan
653 $a Edo painting
653 $a Qing painting
653 $a Transregional studies
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
690 $a 0342
690 $a 0331
710 2 $a Princeton University. $b Art and Archaeology. $3 1190017
710 2 $a ProQuest Information and Learning Co. $3 1178819
773 0 $t Dissertations Abstracts International $g 85-08A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30816234 $z click for full text (PQDT)