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  4. From Southern Tang to Northern Song—The Developments of Painting History in the Jiangnan And the Szechwan Areas
 
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From Southern Tang to Northern Song—The Developments of Painting History in the Jiangnan And the Szechwan Areas

Resource
國立臺灣大學美術史研究集刊, 18, 155-208
Journal
國立臺灣大學美術史研究集刊
Journal Issue
18
Pages
155-208+234
Date Issued
2005-03
Date
2005-03
Author(s)
陳葆真  
DOI
10.6541/TJAH.2005.03.18.03
URI
http://ntur.lib.ntu.edu.tw//handle/246246/281808
http://doi.org/10.6541/TJAH.2005.03.18.03
http://ntur.lib.ntu.edu.tw/bitstream/246246/281808/1/0018_200503_3.pdf
Abstract
This paper deals with the developments of painting history in the Jiangnan and the Szechwan areas from the southern Tang (937-975) to Northern Song (960-1127) periods. According to the author, the painters in the above-mentioned two areas in the Five Dynasties (907-960) were equally active. However, their interests were lightly different: the Jiangnan artists, especially, favored landscape, figure, bird/flower, and dragon/water genres; the Szechwan painters, particularly, liked Buddhist/Taoist, figures, bird/flower, and architecture themes. After the Northern Song unification, many artists from these two areas served at court in Kaifong. There they competed with each other. As historical documents reveal, the rivalry between painters form these two areas experienced three stages: In the early stage (before 1059), the power of the Szechwan artists prevails that of the Jiangnan. But the situation changed as time went on. The Jiangnan artists gradually won their power over their Szechwan colleagues in second stage (before 1074). And, finally, the Jiangnan artists’ influence overwhelmed that of the Szechwan painters at the end of the Northern Song period (before 1120). The shift of power from the hand of the Szechwan artists to that of the Jiangnan painters at court also reflects the change of taste of the Northern Song imperial family in different generations. However, while the works of the Jiangnan artists became popular and well received at court and among official scholars, the Szchwan painters remained influential in the artistic milieu outside the out till the beginning of the Southern Song period (before 1167).
Subjects
南唐畫家
前蜀畫家
後蜀畫家
北宋畫史
江南畫風
四川畫風
The Southern Tang painters
The Former Shu painters
The Later Shu painters
Northern Song painting history
The Jiangnan style
The Szechwan style
Type
journal article
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0018_200503_3.pdf

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