Shen Zhou:Methods of Brushwork and Sources
碩士 === 臺南藝術學院 === 藝術史與藝術評論研究所 === 90 === Abstract Attributions to Shen Zhou vary mutually in significant ways,in structure, quality and brushwielding, indicating that they are not from the same hand. It is vital to seek out a few indisputably genuine works first, in order for us to be abl...
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ndltd-TW-090TNCA05450082015-10-13T12:47:55Z http://ndltd.ncl.edu.tw/handle/08878482417871394724 Shen Zhou:Methods of Brushwork and Sources 沈周山水畫風格辨真 Su Ying Lung 蘇盈龍 碩士 臺南藝術學院 藝術史與藝術評論研究所 90 Abstract Attributions to Shen Zhou vary mutually in significant ways,in structure, quality and brushwielding, indicating that they are not from the same hand. It is vital to seek out a few indisputably genuine works first, in order for us to be able to arrive at an understanding of the Master’s style. In our Shen Zhou seminar we had identified several authentic Shen Zhou landscape paintings. Later Professor Joan Stanley-Baker researched many examples of calligraphy and isolated several characteristics of Shen’s brushwielding there in an as-yet unpublished paper. The burden of the present thesis is to take a further step and test these characteristics on the paintings, thus to inquire whether the “personal characteristics” of an artist’s calligraphy necessarily pertain to his paintings (and vice versa). The first chapter reviews previous studies on Shen Zhou to date, and introduces the methodology proposed to be tested here. The second chapter, on structural analysis, confirms how Shen Zhou’s works stand between Yuan and middle-Ming works. The third chapter tests brushwork traits distilled from authentic calligraphy against authentic and inauthentic landscape attributions, and finds them present in the former but not in the latter. This confirms our theory that brushwork-characteristics pertaining to an artist’s calligraphy will also pertain to his painting (or vice versa). The fourth chapter examines historical documents on Shen Zhou, from a position of already knowing the nature of Shen Zhou’s genuine hand. This proved far more rewarding than the customary route of building our knowledge on documents where the word rather than the image forms the foundation of the research. The last chapter is the conclusion with a discussion of the methodological issues involved. Joan Stanley-Baker 徐小虎 2002 學位論文 ; thesis 85 zh-TW |
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碩士 === 臺南藝術學院 === 藝術史與藝術評論研究所 === 90 === Abstract
Attributions to Shen Zhou vary mutually in significant ways,in structure, quality and brushwielding, indicating that they are not from the same hand. It is vital to seek out a few indisputably genuine works first, in order for us to be able to arrive at an understanding of the Master’s style.
In our Shen Zhou seminar we had identified several authentic Shen Zhou landscape paintings. Later Professor Joan Stanley-Baker researched many examples of calligraphy and isolated several characteristics of Shen’s brushwielding there in an as-yet unpublished paper. The burden of the present thesis is to take a further step and test these characteristics on the paintings, thus to inquire whether the “personal characteristics” of an artist’s calligraphy necessarily pertain to his paintings (and vice versa).
The first chapter reviews previous studies on Shen Zhou to date, and introduces the methodology proposed to be tested here. The second chapter, on structural analysis, confirms how Shen Zhou’s works stand between Yuan and middle-Ming works. The third chapter tests brushwork traits distilled from authentic calligraphy against authentic and inauthentic landscape attributions, and finds them present in the former but not in the latter. This confirms our theory that brushwork-characteristics pertaining to an artist’s calligraphy will also pertain to his painting (or vice versa). The fourth chapter examines historical documents on Shen Zhou, from a position of already knowing the nature of Shen Zhou’s genuine hand. This proved far more rewarding than the customary route of building our knowledge on documents where the word rather than the image forms the foundation of the research. The last chapter is the conclusion with a discussion of the methodological issues involved.
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Joan Stanley-Baker |
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Joan Stanley-Baker Su Ying Lung 蘇盈龍 |
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Su Ying Lung 蘇盈龍 |
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Su Ying Lung 蘇盈龍 Shen Zhou:Methods of Brushwork and Sources |
author_sort |
Su Ying Lung |
title |
Shen Zhou:Methods of Brushwork and Sources |
title_short |
Shen Zhou:Methods of Brushwork and Sources |
title_full |
Shen Zhou:Methods of Brushwork and Sources |
title_fullStr |
Shen Zhou:Methods of Brushwork and Sources |
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Shen Zhou:Methods of Brushwork and Sources |
title_sort |
shen zhou:methods of brushwork and sources |
publishDate |
2002 |
url |
http://ndltd.ncl.edu.tw/handle/08878482417871394724 |
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