CIHA 2016 in Beijing

34th World Congress of Art History

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Participants


MU Ruifeng
唐代绘画品评理论的发展 Development of Ranking Theory on Painting of Tang Dynasty

Session 2 The Rank of Art

Academy of Arts & Design, Tsinghua University


ABSTRACT

The Tang Dynasty was an important period in ancient Chinese’s culture and art development, the prosperity in art creation promoted the development of art theory, among them painting’s commentary theory has been further developed on the basis of the theory in Six Dynasties. In early Tang period, Li Sizhen in his book Shu Hou-pinLater Classification of Calligraphers and Hua Hou-pinLater Classification of Paintersclassified calligraphy and painting works into three categories “Upper, Middle and Lower”, each further subdivided into three. In the prosperous Tang period, Zhang Huaiguan adopted “Shen Miao Neng” three categories replaced Liang Dynasty’s Yu Jianwu proposed “Upper, Middle and Lower” to evaluate calligraphy and painting works, each category further divided into three. Combined with Li Sizhen and Zhang Huaiguan’s evaluation standard, Zhu Jingxuan in his work Tang Chao Ming Hua Lu (Record of Famous Painters in Tang Dynasty) for the first time put forward Shen Miao Neng Yithe Inspired, the Excellent, the Competent, the Untrammeledfour commentary standards in late Tang period. Zhang Yanyuan, who was a famous calligraphy and painting’s theorist of Late Tang , in his work Li Dai Ming Hua JiRecord of Famous Painters of All the Dynastiesadvanced Zi Ran, Shen, Miao, Jing, JinXiNatural, the Inspired, the Excellent, the Refined, the Meticulousfive classes. They based on the calligraphy and painting’s commentary theory of Six Dynasties’ to develop and improve the system of Chinese paintings and artists commentary evaluation system. The construction and of this evaluation system embodied the core values of Chinese painting’s commentary theory, this theory had a profound impact on Song Yuan Ming and Qing’s art creation and this had an important quotable experiences and reference value to the construction of contemporary Chinese art criticism theory and the value standard of art.


MU Ruifeng

穆瑞凤,女,1985年生,山东菏泽东明人,现就读于清华大学美术学院艺术史论系攻读博士学位,从事艺术学理论学科中国古代绘画批评理论和史学理论方向研究。2011年毕业于浙江理工大学艺术与设计学院,获文学硕士学位,研究艺术历史与理论。2008年毕业于山东枣庄学院,获英语语言文学专业学士学位。本人在《装饰》、《美术与设计》、《艺术百家》、《美苑》等核心期刊发表美术史论论文多篇,另在波兰马林科夫斯基主编的《东方艺术》英文杂志发表论文一篇,另翻译两篇论文发表,并多次参加国际国内艺术史和艺术人类学的会议。