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Narrative Agency in Thirteenth-Fourteenth Century Chan Figure Painting: A Study of Hagiography Iconography Text-Image Relationships |
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| Author |
McNeill, Malcolm (著)
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| Date | 2017 |
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| Pages | 472 |
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| Publisher | SOAS University of London |
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| Publisher Url |
https://www.soas.ac.uk/
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| Location | London, England, UK [倫敦, 英格蘭, 英國] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 英文=English |
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| Degree | doctor |
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| Institution | University of London |
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| Department | School of Oriental and African Studies |
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| Advisor | Shane McCausland |
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| Publication year | 2017 |
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| Abstract | This thesis examines the relationships between image and text in paintings of Chan Buddhist figural subjects from thirteenth and fourteenth century China. Its central contention is that the visual qualities of these paintings, and the lexical content of the inscriptions upon them, made complex allusions to narrative prototypes recorded in hagiographies, as part of the pedagogical practice of the Chan tradition. These narrative allusions communicated religious teachings to the viewer, mediating their relationship to the Chan pantheon of exemplars and eccentrics. This thesis' analysis of the connections between painters, inscribers, subjects and viewers of Chan figure paintings addresses an under researched dimension of thirteenth and fourteenth century Chinese visual culture. By focusing on the Chinese context for the creation and reception of Chan figure paintings, the following discussion offers an alternative to the recurrent framing of these works as precursors to Japanese Zen painting. Instead, this thesis focuses on the distinctive agency of narrative in the reception of these works in a thirteenth and fourteenth century Chinese context. This is explored in six chapters, outlined below. Chapter one surveys modern scholarship on Chan figure painting, problematising its frequent conflation with Japanese Zen art. Chapters two, three and four examine three different narrative themes in Chan figure painting: transitions, interactions, and awakenings. These three chapters show how these visual narrative themes respectively reflected and reinforced the legitimacy, authority and efficacy of Chan's lineages and teachings. The fifth chapter explores the role of inscriptions upon paintings in shaping the Song and Yuan ideal of a Chan abbot, through a case study encomia on Chan figure paintings by Yanxi Guanwen (1189-1263). The final chapter examines the idealisation of the preeminent painter of Chan figural subjects, Liang Kai (late 12-early 13th century), distinguishing between the historic receptions of his attributions in Chinese and Japanese collections. |
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| Table of contents | TABLE OF CONTENTS
VOLUME ONE
DECLARATION .................................................................................................. 2
ACKNOWLEDGEMENTS...................................................................................... 3
ABSTRACT ........................................................................................................ 5
TABLE OF CONTENTS......................................................................................... 6
ABBREVIATIONS ............................................................................................... 9
TRANSLATION AND TRANSLITERATION............................................................. 10
INTRODUCTION ................................................................................................. 11
CHAPTER ONE
PROBLEMATISING THE CONFLATION OF CHAN AND ZEN VISUAL CULTURE...... 20
Chan and Zen in Okakura Kakuzō’s Narrative of Asian Art History ........... 24
The Aesthetic Theories of D.T. Suzuki and Shin’ichi Hisamatsu .................. 31
Japan’s Register of National Treasures........................................................ 46
Conclusions ................................................................................................... 50
CHAPTER TWO
TRANSITIONS: NARRATIVES OF LEGITIMACY.................................................... 51
Śākyamuni Emerging from the Mountains .................................................... 52
Polychrome Śākyamuni Emerging from the Mountains.............................. 56
A Chan Account of the Life of the Buddha.................................................. 63
Monochrome Śākyamuni Emerging from the Mountains............................ 66
Bodhidharma Crossing the Yangzi on a Reed............................................... 77
Hagiographies of Bodhidharma.................................................................. 81
Selected Paintings of Bodhidharma Crossing the Yangzi on a Reed.......... 84
A Yuan Imperial Encomium from the Shaolin Monastery .......................... 92
Conclusions ................................................................................................... 99
CHAPTER THREE
INTERACTIONS: NARRATIVES OF AUTHORITY................................................... 102
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Classifications for Chan Figure Paintings of Interaction............................. 105
Bodhidharma and the Second Patriarch ....................................................... 109
The Rebirth of the Monk Yuanze ................................................................... 120
Yuanze’s Meeting the Pregnant Woman ..................................................... 124
Li Yuan Reunited with the Reborn Yuanze.................................................. 131
Conclusions ................................................................................................... 141
CHAPTER FOUR
AWAKENINGS: NARRATIVES OF EFFICACY ....................................................... 144
Xiangyan Zhixian: Awakening Through Sound............................................. 149
Yushanzhu: Awakening Through a Blow to the Body ................................... 159
Dongshan Liangjie: Awakening Through the Sight of His Reflection .......... 170
Conclusions ................................................................................................... 177
CHAPTER FIVE
YANXI GUANGWEN’S ENCOMIA: SPEAKING FOR ICONS .................................... 180
Yanxi Guangwen’s Epitaph and the Prefaces to His Discourse Record ......... 183
Yaoshan Weiyan Meeting with Li Ao............................................................... 189
Budai and Fenggan.......................................................................................... 199
Conclusions...................................................................................................... |
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| DOI | https://doi.org/10.25501/SOAS.00024335 |
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| Hits | 299 |
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| Created date | 2022.11.04 |
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| Modified date | 2022.11.04 |
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