| Gu Kai-zhi was a famous painter in East Jin Dynasty (316-420). There are different opinions about his birth and death date. I take Professor Pan Tianshou's opinion that he was born in 345 and dead in 406.There is his Zhuanji in Book of Jin and there are many pieces of anecdotes in Shi Shuo Xin Yu. Copies of his paintings of The Nymph of Luo River, Admonitions of the Court Instructress to Palace Ladies, Wise and Benevolent Women are exhibited in museums in China and other countries nowadays. His three comments of paintings, Wei Jin Sheng Liu Hua Zan, Lun Hua, Hua Yun Tai Shan Ji, focus on painting techniques and layout before painting, in which he paid great attention to imitation.Researches before 1911 mainly talk about Gu Kai-zhi's rank among all other painters. Famous researchers include Xie He (479-502), Zhang Yanyuan (815-907), etc. Researches after 1911 focus mainly on four perspectives:Gu Kai-zhi's birth and death date, aesthetics studies on Gu's idea, achievements on studies about Gu's three Hua Lun, artistic features on Gu's paintings. Important studies include Gu Kai-zhi Studies (1958) by Ma Cai, Gu Kai-zhi Yan Jiu Zi Liao (1961) by Yu Jianhua, Luo Kazi, Wen Zhaotong, and Gu Kai-zhi Yan Jiu (2001) by Yuan Yougen, Su Han, Li Xiao'an.In foreign researches, there were a group of Japanese scholars studying Gu's birth and death date at the beginning of 20th century. In North America, scholars usually take doubts in Gu's identity, for example, Three Thousand Years in Chinese Paintings, Chinese Painting History. In this paper, I think although these three paintings we see nowadays are copies, this indicates painters after Gu, their passion in learning Gu's works, thus is also the assumption I base my paper on. Gu Kai-zhi is a real person in history, and though these paintings are copies, it won't influence my research.Considering former researches, one could find:firstly, they paid too much attention on studying Gu's identity. Secondly, they paid too much attention on Gu's aesthetics thoughts. Both of them ignore Gu's other works, and the synergy effect between his paintings and the texts which the paintings were based on. They also ignore other perspectives such as religion and feminism. Given these facts, I try to step out of the usual way centered on Gu's paintings. I discuss how these paintings were transformed from texts and explore from aspects like Taoism and feminism.This paper is divided into two chapters. Chapter One is about The Nymph of Luo River, discusses how painting was transformed from relevant text, Taoism's influence, and how The Nymph of Luo stand out of the writing tradition of Shen Nv. Chapter two deals with Admonitions of the Court Instructress to Palace Ladies, Wise and Benevolent Women through interpretion from feminism aspect. The reasons why I choose these three paintings as objectives can be generalized into two:first, all of three were transformed from appropriate texts. Second, these three are all about females. In general, this paper take advantages of literature texts and try to show the differences and similarities between the tradition of writing and painting in terms of Shen Nv(神女)and Lie Nv(列女)... |
PDF Full Text Request