This course will utilize a historical interpretative approach to examining the history of Chinese landscape painting to enlighten students and offer new and profound ways for studying Chinese traditional culture and artistic legacy. Through the study of this course, students will gain a deeper understanding of the development history of Chinese landscape painting, better understand its social, cultural, and historical context, and achieve greater familiarity and knowledge concerning aesthetic concepts of traditional Chinese art and culture. The course will also introduce students to the unique materials and modes of expression central to Chinese painting. It will also help students acquire more solid literacy levels in the humanities and lay the foundation for more in-depth and multicultural artistic creation.
Overview
Syllabus
- Chapter 1：Introduction
- 1. The Physical Media of Chinese Landscape Painting
- 2. A Comparison of Chinese Shanshui（Landscape）Painting and Western Landscape Painting
- 3. Chinese Landscape Painting：A “Living” Tradition
- Chapter 2：The Universe and the Silent Nature: The Transformation of Early Chinese Landscape Painting
- 1.The Unique Origins of Chinese Landscape Painting
- 2. Shanshui (Landscape)Poetry and Landscape Painting
- 3. The Emergence of Sages in Landscape Painting
- 4. Qinglǜ (Blue and Green) Chinese Landscape Painting (I)
- 5. Qinglǜ (Blue and Green) Chinese Landscape Painting(Ⅱ)
- 6. The Emergence of Ink Wash Landscape Painting
- 7. Cunfa (Texture Strokes) and Brush-and-Ink
- Chapter 3：Desolation and Archaic Elegance: Landscape Paintings From the Northern Song (960—1127) to Ming Dynasty (1368―1644)
- 1. Desolation and Bleakness: Landscape Paintings of the Northern Regions-Desolation and Bleakness: The Taste, the Subject Matter and the Technique
- 2. Desolation and Bleakness: Landscape Paintings of the Northern Regions-Jing Hao, Guan Tong, Li Cheng and Fan Kuan
- 3. Desolation and Bleakness: Landscape Paintings of the Northern Regions-Xu Daoning, Guo Xi and Qu Ding
- 4. Desolation and Bleakness: Landscape Paintings of the Northern Regions-New Contributions of the Nan Song Sijia (Four Masters of the Southern Song Dynasty)-Li Tang
- 5. Landscape Paintings of the Northern Regions-New Contributions of the Nan Song Sijia (Four Masters of the Southern Song Dynasty)-LiuSongnian， Ma Yuan, Xia Gui
- 6. Landscape Paintings of the Northern Regions-Landscape Paintings of the Zhe School-Dai Jin and Wu Wei
- 7. Landscape Paintings of the Northern Regions-Landscape Paintings of the Zhe School-Details of the Zhe School Landscape Paintings: The Staffage Figure
- 8. The Gently Refined and Archaic Elegance: Landscape Paintings of Jiangnan (the Region South of the Yangtze River)-Dong Yuan and JuRan
- 9. Landscape Paintings of Jiangnan (the Region South of the Yangtze River)- Archaic and Erudite Interests: Zhao Mengfu and Qian Xuan
- 10. Landscape Paintings of Jiangnan (the Region South of the Yangtze River)-Tastes and Techniques of Literati Painting
- 11. Landscape Paintings of Jiangnan (the Region South of the Yangtze River)-Yuan Sijia (Four Masters of the Yuan Dynasty): Huang Gongwang and Wang Meng
- 12. Landscape Paintings of Jiangnan (the Region South of the Yangtze River)-Four Masters of the Yuan Dynasty: Ni Zan and Wu Zhen
- 13. Refined Brush and Ink: Landscape Paintings in the Study Room-The Life in Study Rooms, Gardens and “Landscape Painting”
- 14. Refined Brush and Ink: Landscape Paintings in the Study Room-The Four Masters of the Wu School: Shen Zhou and Wen Zhengming
- 15. Refined Brush and Ink: Landscape Paintings in the Study Room-The Four Masters of the Wu School: Tang Yin and Qiu Ying
- 16. Refined Brush and Ink: Landscape Paintings in the Study Room-Dong Qichang
- Chapter 4: Synthesis and Breakthrough: Landscape Paintings of the Qing Dynasty
- 1. Siwang (The“Four Wangs”) and the Orthodox School
- 2. Siseng (The“Four Monks”)
- 3. Gong Xian
- Chapter 5: Epilogue: Huang Binhong, An Epoch-Making Master
- 1. Huang Binhong
- Discussion
- Chapter 6：Final Examination
Taught by
Kong Lingwei, Xu Jin, Hu Po, and Li Ziyi
