The proliferation of images: The ink-stick designs and the printing of the "Fang-shih mo-p'u" and the "Ch'eng-shih mo-yuan".

详细信息   

• 作者：Lin ; Li-chiang.
• 学历：Doctor
• 年：1998
• 毕业院校：Princeton University
• 专业：History, Asia, Australia and Oceania.;Art History.
• ISBN：9780591804171
• CBH：9827929
• Country：USA
• 语种：English
• FileSize：28194874
• Pages：582

文摘

This study analyzes the compilation method and the content of two ink-stick design compendiums, the Fang-shih mo-p'u (The Ink-manual of the Fang Family) and the Ch'eng-shih mo-yuan (The Ink Garden of the Ch'eng Family), in late Ming China (the second half of the sixteenth century and the first half of the seventeenth century).;Two Hui-chou ink-makers, Fang Yu-lu (ca. 1541-1608) and Ch'eng Chun-fang (1541-after 1610) initiated new trends by decorating their solid inks with flamboyant designs. In order to record their unprecedented achievements and promote their ink-making business, Fang published the Fang-shih mo-p'u in 1588 and Ch'eng published the Ch'eng-shih mo-yuan in 1605. Both books feature hundreds of illustrations of ink-stick designs as well as commentary by the famous literati of the day.;The editorial programs of these two ink-manuals reveal their origins as catalogs of objects, as well as the ambitions of their compilers. Ch'eng arranged his ink-stick designs in an encyclopedic manner to demonstrate that his ink-sticks could encompass the knowledge of the universe. He further proclaimed his pride as a successful merchant and ink-maker in many of his writings and in the illustrations in the Ch'eng-shih mo-yuan, where he portrayed himself as a literatus.;These two books are the records of Fang's and Ch'eng's careers as ink-makers as well as documents of visual sources in the late Ming period, since many of their designs were adapted from different crafts, books, paintings and even Western images. By tracing the sources of these ink-stick designs and the influence they exerted upon later ink-makers and artists of other decorative media, we come to realize the active exchange of decorative vocabularies between different crafts in this period. This study aims to reconstruct one aspect of the visual environment that partially constituted affluent culture in late Ming China, never before seriously considered in the study of Chinese arts, in order to portray a more complete picture of the period.