"Not Resembling" in Ni Zan's Landscape
Journal: Arts Studies and Criticism DOI: 10.32629/asc.v2i4.560
Abstract
This essay will discuss the extent to which Ni Zan puts "not resembling" into practice in his landscape paintings, considering the modular aspects of Ni Zan's work. Firstly, the compositions depicted in Ni's and later imitators' work will be analyzed and compared. Then, the brushworks of Ni will be closely observed by selecting individual objects from several paintings. And finally, the author engages with textual research on Ni's painting theories.
Keywords
landscape painting, China, art history, Ni Zan
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[1] Jin Li. Ni Zan and his associates. Vancouver: The University of British Columbia; 1998.
[2] Wen C. Fong. Beyond Representation: Chinese painting and calligraphy 8th-14th century. New York: Metropolitan Museum of Art; 1992.
[3] Wen C. Fong. Images of the Mind. Princeton: Princeton University Press; 1984.
[4] Li Shi, ed. Paintings of the Ming and Qing Dynasty. Hong Kong: Commercial Press; 2015.
[5] Zhong Hui. The Study of Shen Zhou's Landscapes in the Style of Ni Zan. Nan Jing; 2002.
[6] James Cahill. Hills Beyond a River: Chinese Painting of the Yuan Dynasty. New York: Weatherhill; 1976.
[2] Wen C. Fong. Beyond Representation: Chinese painting and calligraphy 8th-14th century. New York: Metropolitan Museum of Art; 1992.
[3] Wen C. Fong. Images of the Mind. Princeton: Princeton University Press; 1984.
[4] Li Shi, ed. Paintings of the Ming and Qing Dynasty. Hong Kong: Commercial Press; 2015.
[5] Zhong Hui. The Study of Shen Zhou's Landscapes in the Style of Ni Zan. Nan Jing; 2002.
[6] James Cahill. Hills Beyond a River: Chinese Painting of the Yuan Dynasty. New York: Weatherhill; 1976.
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