國立虎尾科技大學 |

Ink Painting in Medieval Kamakura.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Ink Painting in Medieval Kamakura./
Author:	Rio, Aaron M.
Description:	1 online resource (379 pages)
Notes:	Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
Contained By:	Dissertation Abstracts International77-02A(E).
Subject:	Art history. -
Online resource:	click for full text (PQDT)
ISBN:	9781339112183

Ink Painting in Medieval Kamakura.
Rio, Aaron M.

Ink Painting in Medieval Kamakura. - 1 online resource (379 pages)

Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.

Thesis (Ph.D.)--Columbia University, 2015.

Includes bibliographical references

This dissertation reconsiders the early history of ink painting in Kamakura- (1185-1333) and Muromachi-period (1336-1573) Japan, focusing on art in the former administrative capital of Kamakura, the cradle of Chinese-style monastic Zen and the Sinocentric cultural apparatus that accompanied it. I examine the early reception of Chinese painting by the city's political and ecclesiastical elites and subsequent artistic production by priest-painters active at local Zen monasteries. My study reveals Kamakura as the nucleus of a heretofore disregarded cultural sphere in medieval eastern Japan, one in which Zen priest-painters engaged with nearby collections of Chinese painting to create a local pictorial tradition that would endure, seemingly immune to artistic trends in Kyoto, through the late fifteenth century. I examine the history of ink painting in Kamakura in an introduction, five chapters, a conclusion, and one appendix. Chapter 1 surveys the establishment in Kamakura of Japan's first two Rinzai Zen monasteries modeled exclusively on Chinese precedents, namely Kenchoji and Engakuji, cultural exchange between Kamakura and the Southern Song Chinese capital Hangzhou, and the early reception of Chinese painting. I use extant diaries and documents to partially reconstruct the vast collections of Chinese works of art held in thirteenth and early fourteenth-century Kamakura and investigate the large-scale deaccessioning of these same objects after the collapse of the Kamakura shogunate in 1333. A full English translation of the only extant inventory of one of these collections, that of the Engakuji subtemple Butsunichian, is included as an appendix. Chapter 2 focuses on the long-term development by local priest-painters of a unique ink painting style derived from works associated with the Chinese master Muqi Fachang (fl. 13th c.), affording the first sustained view of ink painting in Muromachi-period Kamakura. Chapters 3 through 5 focus in varying ways on Kamakura's enigmatic fifteenth century, characterized by relative isolation from artistic developments in Kyoto and a dearth of extant documentary materials. Chapters 3 and 4 investigate the obscure Kamakura priest-painter Chuan Kinko (fl. first half 15th c.), known and misconstrued since the Edo period (1603-1868) as "Chuan Shinko." Chapter 3 traces the fabrication of "Chuan Shinko" that occurred piecemeal from the mid-seventeenth century to the present day, while Chapter 4 reimagines the painter as "Chuan Kinko" through an examination of his relatively large, mostly unstudied corpus of ink paintings. In Chapter 5, I survey a large body of devotional paintings produced by a multi-generational circle of anonymous artists active at Kamakura's premier Zen monastery, Kenchoji, and posit the existence of a prolific painting studio that served as a primary source of models for painters active at other monasteries in Kamakura and throughout eastern Japan. In the conclusion, I begin to explore the continued impact of this local painting tradition on ink painters active in Kamakura and the surrounding region during and after the recommencement of artistic exchange with the capital in the late fifteenth century.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781339112183Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

Ink Painting in Medieval Kamakura.
LDR:04391ntm a2200337Ki 4500 001 916597
005 20181002081330.5
006 m o u
007 cr mn||||a|a||
008 190606s2015 xx obm 000 0 eng d
020 $a 9781339112183
035 $a (MiAaPQ)AAI3726473
035 $a (MiAaPQ)columbia:12934
035 $a AAI3726473
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Rio, Aaron M. $3 1190386
245 1 0 $a Ink Painting in Medieval Kamakura.
264 0 $c 2015
300 $a 1 online resource (379 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: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
500 $a Adviser: Matthew McKelway.
502 $a Thesis (Ph.D.)--Columbia University, 2015.
504 $a Includes bibliographical references
520 $a This dissertation reconsiders the early history of ink painting in Kamakura- (1185-1333) and Muromachi-period (1336-1573) Japan, focusing on art in the former administrative capital of Kamakura, the cradle of Chinese-style monastic Zen and the Sinocentric cultural apparatus that accompanied it. I examine the early reception of Chinese painting by the city's political and ecclesiastical elites and subsequent artistic production by priest-painters active at local Zen monasteries. My study reveals Kamakura as the nucleus of a heretofore disregarded cultural sphere in medieval eastern Japan, one in which Zen priest-painters engaged with nearby collections of Chinese painting to create a local pictorial tradition that would endure, seemingly immune to artistic trends in Kyoto, through the late fifteenth century. I examine the history of ink painting in Kamakura in an introduction, five chapters, a conclusion, and one appendix. Chapter 1 surveys the establishment in Kamakura of Japan's first two Rinzai Zen monasteries modeled exclusively on Chinese precedents, namely Kenchoji and Engakuji, cultural exchange between Kamakura and the Southern Song Chinese capital Hangzhou, and the early reception of Chinese painting. I use extant diaries and documents to partially reconstruct the vast collections of Chinese works of art held in thirteenth and early fourteenth-century Kamakura and investigate the large-scale deaccessioning of these same objects after the collapse of the Kamakura shogunate in 1333. A full English translation of the only extant inventory of one of these collections, that of the Engakuji subtemple Butsunichian, is included as an appendix. Chapter 2 focuses on the long-term development by local priest-painters of a unique ink painting style derived from works associated with the Chinese master Muqi Fachang (fl. 13th c.), affording the first sustained view of ink painting in Muromachi-period Kamakura. Chapters 3 through 5 focus in varying ways on Kamakura's enigmatic fifteenth century, characterized by relative isolation from artistic developments in Kyoto and a dearth of extant documentary materials. Chapters 3 and 4 investigate the obscure Kamakura priest-painter Chuan Kinko (fl. first half 15th c.), known and misconstrued since the Edo period (1603-1868) as "Chuan Shinko." Chapter 3 traces the fabrication of "Chuan Shinko" that occurred piecemeal from the mid-seventeenth century to the present day, while Chapter 4 reimagines the painter as "Chuan Kinko" through an examination of his relatively large, mostly unstudied corpus of ink paintings. In Chapter 5, I survey a large body of devotional paintings produced by a multi-generational circle of anonymous artists active at Kamakura's premier Zen monastery, Kenchoji, and posit the existence of a prolific painting studio that served as a primary source of models for painters active at other monasteries in Kamakura and throughout eastern Japan. In the conclusion, I begin to explore the continued impact of this local painting tradition on ink painters active in Kamakura and the surrounding region during and after the recommencement of artistic exchange with the capital in the late fifteenth century.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Art history. $3 1180038
650 4 $a Asian studies. $3 1179577
655 7 $a Electronic books. $2 local $3 554714
690 $a 0377
690 $a 0342
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a Columbia University. $b Art History and Archaeology. $3 1186245
773 0 $t Dissertation Abstracts International $g 77-02A(E).
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3726473 $z click for full text (PQDT)