Accumulating culture : the collections of Emperor Huizong
著者
書誌事項
Accumulating culture : the collections of Emperor Huizong
(A China program book)
University of Washington Press, c2008
- : cloth
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 441-473) and index
内容説明・目次
内容説明
Winner of the Shimada Prize for Outstanding Work of East Asian Art History
By the end of the sixth century CE, both the royal courts and the educated elite in China were collecting works of art, particularly scrolls of calligraphy and paintings done by known artists. By the time of Emperor Huizong (1082-1135) of the Song dynasty (960-1279), both scholars and the imperial court were cataloguing their collections and also collecting ancient bronzes and rubbings of ancient inscriptions. The catalogues of Huizong's painting, calligraphy, and antiquities collections list over 9,000 items, and the tiny fraction of the listed items that survive today are all among the masterpieces of early Chinese art.
Patricia Ebrey's study of Huizong's collections places them in both political and art historical context. The acts of adding to and cataloguing the imperial collections were political ones, among the strategies that the Song court used to demonstrate its patronage of the culture of the brush, and they need to be seen in the context of contemporary political divisions and controversies. At the same time, court intervention in the art market was both influenced by, and had an impact on, the production, circulation, and imagination of art outside the court.
Accumulating Culture provides a rich context for interpreting the three book-length catalogues of Huizong's collection and specific objects that have survived. It contributes to a rethinking of the cultural side of Chinese imperial rule and of the court as a patron of scholars and the arts, neither glorifying Huizong as a man of the arts nor castigating him as a megalomaniac, but rather taking a hardheaded look at the political and cultural ramifications of collecting and the reasons for choices made by Huizong and his curators. The reader is offered glimpses of the magnificence of the collections he formed and the disparate fates of the objects after they were seized as booty by the Jurchen invaders in 1127.
The heart of the book examines in detail the primary fields of collecting -- antiquities, calligraphy, and painting. Chapters devoted to each of these use Huizong's catalogues to reconstruct what was in his collection and to probe choices made by the cataloguers. The acts of inclusion, exclusion, and sequencing that they performed allowed them to influence how people thought of the collection, and to attempt to promote or demote particular artists and styles.
This book will be of interest to scholars and students of Chinese art history, social history, and culture, as well as art collectors.
Published with the assistance of The Getty Foundation.
目次
List of Illustrations
List of Tables
Preface
A Note on Dates, Measurements, and Other Conventions
Chronology
Introduction
1. Early Song Precedents
2. Strains in Emperor-Literati Relations during the Reform Era
3. Collecting As a Scholarly Passion during the Northern Song Period
4. Huizong As a Collector
5. Managing the Collections at the Palace Library
6. Collecting and Cataloguing Antiquities
7. Collecting and Cataloguing Calligraphy
8. Collecting and Cataloguing Paintings
9. The Fate of Huizong's Collections
Reflections
Appendix 1: Authorship and Editions of the Catalogues
Appendix 2: Paintings and Calligraphies with Huizong's Collector Seals
Appendix 3: Major Extant Pre-Song Calligraphies Listed in the Xuanhe Calligraphy Catalogue
Notes
Bibliography
Glossary-Index
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