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"Art History" book series
Painting Art Spectrum: Painting Spectrum and Leisure in the Late Ming Dynasty
Translated by Park Chung-pil and translated by Jiang Qiumeng
Paperback/16 pages/232 pages
Price: 128 yuan
Shanghai Painting and Calligraphy Publishing House
August 2024
Price: 128 yuan
Price: 96 yuan (75% off)
Wonderful inside page
In the late 16th century, Zhou Lujing, who was also a literati, artist and publisher, published a series of books such as "Painting Forest" and "Painting Serval", which was the earliest batch of comprehensive paintings with multiple themes in ancient China. The publication of Zhou's paintings was immediately popular, and its content and form were widely used and disseminated by various publications at the time, and its popularity had an important impact on many masterpieces in later generations, including the "Mustard Seed Garden Paintings".
INTERVIEWER What makes this type of sheet art so popular?
在上海书画出版社最新翻译出版的著作《画艺循谱：晚明的画谱与消闲》（Art by the Book: Painting Manuals and the Leisure Life in Late Ming China）中，作者朴锺弼试图回答这个“简单的问题”。
A masterpiece by Professor of Art History at the University of Oxford
First translation and publication
Park Jong-pil
Professor of Art History at the University of Oxford, Ph.D. at the University of Michigan, Ann Arbor
The author is June and Simon Li Professor of Art History at the University of Oxford and Ph.D. at the University of Michigan-Ann Arbor. His research interests include visual culture in early modern China, print culture, forgery and anti-forgery in art and literature, Korean art, and East Asian art.
"Painting Art Spectrum: Painting Score and Leisure in the Late Ming Dynasty" is one of Professor Park's important works, and it is also the first Chinese translation of his book.
Wen Yicheng× Bao Huashi× Kruger
Jointly recommended by well-known scholars
This book is an outstanding scholarly work that has made a significant contribution to the study of early modern printing culture and art history.
Park's research situates printed pictorial scores in the broader realm of late Ming thought, literature, taste, fashion, values, and lifestyles. Thus, in addition to its contribution to the art history of late imperial China, this book also provides insight into the history of Chinese literature, society, culture, books, and early modern culture and social theory in a comparative context.
—— Wen Yicheng
Professor of Asian Art in the Department of Art and Art History at Stanford University
Since its first publication, Park Chung-pi's The Art of Painting has marked a watershed in the study of Chinese art in the West.
This is the first time that a Western art historian has conducted a comprehensive and in-depth study of Chinese book illustration, but it is much more than that. It is a model in itself for the study of material culture and social history.
Except for those interested in Chinese culture, this book should also be standard reading for any course that compares society and culture.
— Bao Hua Shi
Professor, School of Arts, Peking University
Printed painting in the late Ming Dynasty was a major feature of Chinese art at that time, and its influence extended far beyond the Ming Dynasty to other Asian cultures.
In this book, Park Chung-pil provides a detailed and readable account of the origin and development of this phenomenon, making a significant contribution to our understanding of the art and culture of this important period in China's history. I believe that any reader who wishes to learn more about the connection between the elite art of ancient China and the more universal culture will benefit from this book.
— Kruger
Professor Emeritus of Art History, University of Oxford
For the first time, a Western scholar has studied Chinese book illustration in a comprehensive and in-depth manner
An exemplary work of material culture and social history
In the late Ming Dynasty, how did such pictorial publications adapt to the cultural tastes and needs of the public? As a form, how can the pictorial spectrum satisfy and shape the emotions of the growing readers? And how to change from a symbol of pop culture to a picture and text that is stale and old-fashioned?
Park Jong-pi discusses these issues in detail and depth in his book "The Art of Painting". When the mastery of literati taste became a yardstick to measure one's cultural taste, painting, as a special commodity in early modern China, provided a means for non-elite readers to increase their social capital.
The purpose of this book is to explore a rather simple question: Why did pictorial notation suddenly become so popular in the late Ming Dynasty? …… Through its active consumption of books, the emerging urban masses as a social class have unquestionably asserted their existence and growing agency.
· Thorstein Veblen once pointed out that having wealth and power is not enough unless it is proven. Similar to modern society, in late Ming China, the growing number of successful urban dwellers found leisure to be a proven way to transform economic wealth into a new identity, that of the elegant elite.
In this sense, leisure, especially painting, as an effective leisure activity can highlight the cultural capital of the person. The value of painting and other artistic hobbies lies in the fact that they give the participants an assumed refinement. Artistic talent marks an increase in social status, as it requires not only wealth and knowledge, but also a certain level of connoisseurship.
Pictorial notation provides the aspiring art lover with the tools to acquire an artistic image and subjectivity through which class and power can be leveraged.
Excerpt from the conclusion of "The Art of Painting: Painting and Leisure in the Late Ming Dynasty".
"Late light at the crossroads"
Table of Contents of the Book
Preface William · Shakespeare, a great painter?
William · Shakespeare, a great painter? / 2
Towards Modern Society: Population, Economy and Urbanization / 5
The Crisis of Elite Identity / 8
Painting: The Art of Elegance, The Elegance of a Superior Person / 11
Mountain Man: A Popular Symbol of the Cultural Elite / 15
Why Late Ming? / 19
Chapter 1 Types and Biographies
Paintings before the Ming Dynasty / 29
Early to mid-Ming Dynasty (1368-1550) / 34
Zhou Lujing and his exquisite painting / 42
Zhou Lujing's Paintings / 46
Late Ming Dynasty (1550-1644) Other Paintings / 52
Chapter 2 Text without Pictures
Stitched Text: Organization, Content and Plagiarism / 72
Forged text / 78
Landscape images in "Painted Forest" / 80
Illustrations & Examples / 83
The Popularity of Illustrated Books / 84
Criticism of Illustrated Books / 88
The Publisher's Dilemma / 89
Rethink the "vulgarity" of the late Ming Dynasty / 94
Chapter 3: Typical Portraits
Text collage: plagiarism or writing? / 100
Organization and Form of Images / 105
Wandering in Nature / 108
Culture and Leisure of the Late Ming Literati / 113
The Rhetoric of Debauchery and "Nature" / 121
How to Draw, How to Do: Elegant Collections and Pictorial Scores / 127
Chapter 4: The Symbol of Love and Edge
Lovelorn and Heartbroken / 142
Take action / 149
Women's Talent: Virtue or Danger? / 153
The Image of Love and Passion: The Dilemma of Chinese Women in the Late Ming Dynasty / 158
Chapter 5 The Art of Moving Towards Art
Standardization and Solidification of Meaning / 164
Anthropomorphic Nature / 171
The Wonders of Art in the Age of Pictorial Notation / 176
Epilogue Late Ming at the Crossroads / 183
Appendix 1 Late Ming Dynasty Painting Records and Editions / 187
Appendix 2 Ming Dynasty Paintings and Albums / 192
References / 193
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"Art History" book series
Painting Art Spectrum: Painting Spectrum and Leisure in the Late Ming Dynasty
Translated by Park Chung-pil and translated by Jiang Qiumeng
Paperback/16 pages/232 pages
Price: 128 yuan
Shanghai Painting and Calligraphy Publishing House
August 2024
Price: 128 yuan
Price: 96 yuan (75% off)
An in-depth interpretation of the source material
The main object of the book's research is the book "Painting Serval", which is divided into several volumes, covering traditional Chinese painting themes such as landscapes, figures, flowers and birds. Through an in-depth analysis of the source materials, the author found that the publisher of "Painting Serval" has carried out different graphic processing and presentation for different types of painting subjects. The research in this book is based on this clue, and the author continues to raise interesting questions from unique perspectives and develop insightful and wonderful interpretations in the book.
Part of the page of "Painting Serval".
· The landscape painting that best demonstrates the characteristics of the literati is placed in the first volume, but why is it that such an important landscape painting score is a "text without pictures" without illustrations?
· From the selection of the character paintings, we can see the imitation of the "weird and outstanding" of the Wei and Jin celebrities, which hints at the spirit and value pursuit of the late Ming Dynasty.
· The flower and bird painting part is subdivided into four volumes: bamboo, plum, orchid and bird and insect, what is the special significance of the anthropomorphic and romantic symbolism of the plum orchid bamboo to the readers of the painting? Why does the flowers, birds, and cordyceps in the last volume show the characteristics of more pictures and fewer words, which is the opposite of the previous volumes?
· It is worth mentioning that only 4 female figures are included in the figure section of "Painting Serval", what is the meaning of these carefully selected female painting motifs? The author devotes an entire chapter to a detailed discussion of this, and from then on the plight of women in the late Ming Dynasty.
As the author continues to point out, this kind of painting in the late Ming Dynasty was not only intended to show how to draw, but also to convey to the reader how to read and interpret the picture. It transmits a way of life, making it a cultural capital that can be used to acquire social identity.
Wonderful inside page
Enlightening insights
In addition to the in-depth analysis of the source material, the author's meticulous analysis of images and texts also makes the book full of insightful insights, such as when he analyzes the theme of the painting "Female Leaf":
As Paul Ropp points out, the late Ming definition of a "decent woman" may not have encouraged candor. …… The question for historians is, what are the feasible ways in which women can negotiate for more agency in the field of personal expression? Clearly, the literary tradition provides a tool for conveying feelings. In a way, this may be the reason why Li Yunying and the other heroines choose leaves (a natural tool) to freely express their feelings in the story of "Title Leaves". Once they pass the leaves into the water or in the air, the evidence of the poem's authorship disappears.
This explanation then highlights a deeper irony about female agency in the late Ming Dynasty. In many traditions of Chinese literature, female lyricism tends to be more straightforward than their male partners, or at least there is such a statement; In traditional poetry, male literati undoubtedly often use a feminine tone to express love and loneliness. …… For example, a typical love story of the late Ming Dynasty - "The Peony Pavilion......
Tang Xianzu confessed Du Liniang's love and the extreme methods she used to prove her love. However, will the male protagonist in the story get similar praise for committing suicide? The social system has a double standard when it comes to decent female roles: one is a daughter and the other is a lover. Tang Xianzu's essay celebrates the second type of character, but if it had been men in the same way, readers at the time might have reacted differently. In the virtual reality of the late Ming Dynasty, women were always available, always exposed to the male gaze, and in a sense always presented themselves as objects of romantic consumption.
Commenting on the publishing market of the late Ming Dynasty, he wrote:
We must understand that cultural hegemony is not a singular phenomenon, and that its status is constantly being created, challenged, maintained, negotiated, and ultimately reshaped. Hegemony provides a reason for struggle, while the process of cultural clash creates opportunities for subordinate groups to establish their ideas and values. …… In this regard, it can be assumed that the masses have access to a culture through the consumption of printed matter, the authenticity and value of which are not entirely determined by the literati, and with it, the main literati elite has begun to lose its dominant role in setting standards of taste. Clearly, for the publishers of the late Ming Dynasty, the interests and tastes of the general public had become as important as the preferences of the upper classes.
Interdisciplinary research methods
In addition, the author places the publication of late Ming paintings in the broader field of social history, cultural history, and book history, and conducts a wonderful study on the thoughts, literature, tastes, fashion, gender, values, and lifestyles of the late Ming Dynasty, and discusses why the paintings are regarded as key elements in the cultural matrix of early modern China.
This interdisciplinary perspective has won the eyes of the academic community for this book. "This interdisciplinary approach not only enriches our understanding of the Late Ming Painting Handbook, but also reveals the broader socio-cultural landscape of the era, making it an important reference for scholars of art and cultural history in China and the wider East Asian region," Wen said. ”
"Art History" book series
Painting Art Spectrum: Painting Spectrum and Leisure in the Late Ming Dynasty
Translated by Park Chung-pil and translated by Jiang Qiumeng
Paperback/16 pages/232 pages
Price: 128 yuan
Shanghai Painting and Calligraphy Publishing House
August 2024
Price: 128 yuan
Price: 96 yuan (75% off)
Limited edition plus [Ming] Gu Jianlong's painting "Boneless Powder" (a set of 12).
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