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Drawing Boundaries : Architectural Images in Qing China / Anita Chung.

By: Material type: TextTextPublisher: Honolulu : University of Hawaii Press, [2004]Copyright date: ©2004Description: 1 online resource (230 p.) : color & b/w illusContent type:
Media type:
Carrier type:
ISBN:
  • 9780824826635
  • 9780824862268
Subject(s): DDC classification:
  • 758/.7/09510903
LOC classification:
  • ND1412.C6 ǂb C485 2004eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction -- The Jiehua Tradition -- Patrons and Painters -- The Qing Imperial Domains Court Representations I -- The Idealized Scheme Court Representations II -- Moving Gardens Yangzhou Representations I -- Transmitting History And Myth Yangzhou Respresentations II -- Conclusion -- Notes -- Glossary -- Bibliography -- Index
Summary: Qing China (1644–1912) witnessed a resurgence in architectural painting, a traditional subject category known as jiehua, or boundary painting. Drawing Boundaries concerns itself with the symbolic implications of this impressive and little studied reflorescence. Beginning with a concise and well-illustrated history of the evolution of the tradition, this exciting new study reveals how these images were deployed in the Manchu (Qing) imperial court to define political, social, or cultural boundaries. Characterized by grand conception and regal splendor, the paintings served to enhance the imperial authority of rulers and, to a segment of the elite, to advertise social status. Drawing Boundaries thus speaks to both issues of painting and architectural style and the discourse of powerful cultural forms. In addition to the analysis of how the style of image construction suggests these political and social motivations, the book identifies another aspect of traditional architectural representation unique to the Qing: the use of architectural representation to render form and space. Anita Chung makes the fascinating observation that these renderings create an overwhelming sense of “being there,” a characteristic, she argues, that underscores the Qing concern for the substance of things—a sensibility toward the physical world characteristic of the period and emblematic of a new worldview.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780824862268

Frontmatter -- Contents -- Acknowledgments -- Introduction -- The Jiehua Tradition -- Patrons and Painters -- The Qing Imperial Domains Court Representations I -- The Idealized Scheme Court Representations II -- Moving Gardens Yangzhou Representations I -- Transmitting History And Myth Yangzhou Respresentations II -- Conclusion -- Notes -- Glossary -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Qing China (1644–1912) witnessed a resurgence in architectural painting, a traditional subject category known as jiehua, or boundary painting. Drawing Boundaries concerns itself with the symbolic implications of this impressive and little studied reflorescence. Beginning with a concise and well-illustrated history of the evolution of the tradition, this exciting new study reveals how these images were deployed in the Manchu (Qing) imperial court to define political, social, or cultural boundaries. Characterized by grand conception and regal splendor, the paintings served to enhance the imperial authority of rulers and, to a segment of the elite, to advertise social status. Drawing Boundaries thus speaks to both issues of painting and architectural style and the discourse of powerful cultural forms. In addition to the analysis of how the style of image construction suggests these political and social motivations, the book identifies another aspect of traditional architectural representation unique to the Qing: the use of architectural representation to render form and space. Anita Chung makes the fascinating observation that these renderings create an overwhelming sense of “being there,” a characteristic, she argues, that underscores the Qing concern for the substance of things—a sensibility toward the physical world characteristic of the period and emblematic of a new worldview.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)