| dc.identifier.uri | http://hdl.handle.net/11401/76726 | |
| dc.description.sponsorship | This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree. | en_US |
| dc.format | Monograph | |
| dc.format.medium | Electronic Resource | en_US |
| dc.language.iso | en_US | |
| dc.publisher | The Graduate School, Stony Brook University: Stony Brook, NY. | |
| dc.type | Thesis | |
| dcterms.abstract | Wen Zhengming’s Deep Snow in Guanshan Mountains, as many other landscape paintings in China, is usually interpreted and appreciated as the spirituality extended from the artist. It also relates the common value of aesthetics come from traditional Chinese philosophy, and the value system completes itself as a mature system of appreciating artworks. However, since traditional literature of art criticism and appreciation in China tends to be generalized, concise, and implicative, and there are certain viewpoints that are tacitly agreed among artists and art critics, it is often self-evident for people who are familiar with the system of Chinese aesthetics, but extremely confusing for those who are not. Therefore, I want to introduce a concept, network, that may seem modern and “Western,†but that I think could be a point endowing East Asian aesthetics and philosophy with an articulation from its Western counterpart, in order to further explain both of the seemingly non-relevant or even conflict systems. By interpreting a landscape scroll painting as a network, I mean to indicate and interpret the complexity and flexibility of such a painting and explain what’s beyond its pictorial surface, to connect joints that articulate the relevance and hold the structure, to unfold a fluid space that explains the dynamic. To accomplish this discourse, I will introduce several Western thinkers who may not be specialists for Chinese painting, even do not refer to East Asian art at all, but actually contribute to the interpretation of Chinese landscape painting in a way that Chinese art appreciators and critics would hardly make such interpretation with their own methodologies in the system of Chinese aesthetics. In this way, both of the interpretation from the traditional China and the modern West work for the explanation of the creating process and the product of conventional Chinese landscape paintings, only in different approaches. | |
| dcterms.available | 2017-09-20T16:51:04Z | |
| dcterms.contributor | Belisle, Brooke | en_US |
| dcterms.contributor | Lee, Sohl | en_US |
| dcterms.creator | Sheng, Xiao | |
| dcterms.dateAccepted | 2017-09-20T16:51:04Z | |
| dcterms.dateSubmitted | 2017-09-20T16:51:04Z | |
| dcterms.description | Department of Art History and Criticism | en_US |
| dcterms.extent | 35 pg. | en_US |
| dcterms.format | Application/PDF | en_US |
| dcterms.format | Monograph | |
| dcterms.identifier | http://hdl.handle.net/11401/76726 | |
| dcterms.issued | 2016-12-01 | |
| dcterms.language | en_US | |
| dcterms.provenance | Made available in DSpace on 2017-09-20T16:51:04Z (GMT). No. of bitstreams: 1
Sheng_grad.sunysb_0771M_12788.pdf: 9930154 bytes, checksum: 20b017b672511060da9ddf288777d722 (MD5)
Previous issue date: 1 | en |
| dcterms.publisher | The Graduate School, Stony Brook University: Stony Brook, NY. | |
| dcterms.subject | Art criticism -- Art history | |
| dcterms.subject | Chinese art, Deep Snow in Guanshan Mountains, landscape painting, Wen Zhengming | |
| dcterms.title | Landscape Network | |
| dcterms.type | Thesis | |
