Poetry and Painting in Song China: The Subtle Art of Dissent

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Harvard Univ Asia Center, Apr 1, 2002 - Art - 406 pages
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Throughout the history of imperial China, the educated elite used various means to criticize government policies and actions. During the Song dynasty (960-1278), some members of this elite found an elegant and subtle means of dissent: landscape painting.

By examining literary archetypes, the titles of paintings, contemporary inscriptions, and the historical context, Alfreda Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed. She argues that the coding of messages in seemingly innocuous paintings was an important factor in the growing respect for painting among the educated elite and that the capacity of painting's systems of reference to allow scholars to express dissent with impunity contributed to the art's vitality and longevity.

  

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Contents

Introduction I
1
Shenzongs Reign 106785
29
Exile Return and Dissonance
73
Wild Geese Descend 74 Reprieve A Sail
85
Evening Night and Autumn
100
Night Rain on XiaoXiang 108 Evening Bell from a MistShrouded
117
Misty River Layered Peaks
126
Su Shi Encodes a Poem 130 Wang Shen Rhymes a Response 136
136
Guo
199
The Chan Monk Juefan Huihong 204 Wang Hong Paints Like
225
Dream Journey over XiaoXiang 230 Ma Yuan and the Eight Views
237
A Succession Crisis a Banishment and Spurious Learning 243
243
Seventh Month from the Odes of Bin 245 The Buddhist Monks
252
Epilogue
259
A Du Fu Texts and Translations
265
B Su Shis and Wang Shens Matching of Du Fus Rhymes
276

Su Shi Writes After Drinking 141 Wang Shen Responds with
151
Huang Tingjians Laments
157
Career and Political Exiles 158 Wind in the Pines 1102 163
163
Calligraphy 177 Monk Zhongrens Painted Plums 1104
179
The Courts Visual Rhetoric
189
Notes
291
Bibliography
353
Character List
377
Index
389
Copyright

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About the author (2002)

Alfreda Murck is an independent scholar living in Beijing.

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