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Papers by Celia Carrington Riely
Journal of Chinese Calligraphy and Painting Studies, No. 3 /《中國書畫研究集刊》第三輯, 2024
In 1591 Dong Qichang paid a visit to the Wuyi Mountains, on the far northwestern edge of Fujian p... more In 1591 Dong Qichang paid a visit to the Wuyi Mountains, on the far northwestern edge of Fujian province. This paper suggests that the scenery he saw there was to play a role in some of the paintings he was later to create, in particular, in his hanging scroll of 1597, The Wanluan Thatched Hall. In this painting, with its strikingly distinctive forms and their equally distinctive modeling, Dong broke new ground, and set himself on a course that would stamp his mark on landscape painting in China down to the modern age.
Journal of Chinese Calligraphy and Painting Studies, No. 1 / 《中國書畫研究集刊》第一輯, 2023
Zhejiang University Journal of Art and Archeology 5 / 浙江大學藝術與考古研究 (第五輯), 2021
Zhejiang Journal of Art and Archeology 2 / 浙江大學藝術與考古研究 (第二輯), 2015
The art historian who studies later Chinese painting and calligraphy, faced with an artist's unda... more The art historian who studies later Chinese painting and calligraphy, faced with an artist's undated work, usually dates it on the basis of its style, inserting it into the body of dated works by the artist at the point where it seems stylistically best suited. But precisely where an undated work fits within an artist's stylistic development is open to any number of interpretations. This essay attempts to demonstrate that for the many undated works by the late Ming artist Dong Qichang on which the artist has impressed his seals, the seals frequently afford a far more accurate means of dating than a judgment based on style alone can provide.
In: Out of Character: Decoding Chinese Calligraphy, Asian Art Museum, San Francisco, 2012
Some time ago, Qingchen went to Chang'an and [there] got hold of my calligraphy copying Yan and M... more Some time ago, Qingchen went to Chang'an and [there] got hold of my calligraphy copying Yan and Mi. Now that it has been mounted, there is extra space, so I have written out some passages in various styles. Six years have passed and I've grown old[er]; has my brushwork matured too, I wonder? Qichang, written aboard boat at Wumen Dong Qichang (cat. no. 8, translated by Celia Carrington Riely) Cat. no. 8 (detail).
Proceedings of the International Conference on the History of Ming and Qing Dynasty Calligraphy / 明清書法史國際學術研討會論文集, Shanghai, 2008
In: Lanting lunji 蘭亭論集, Suzhou University Press, 2000
Ph.D. dissertation, Harvard University, 1995
Acknowledged in his lifetime and ever since as the foremost painter, calligrapher, connoisseur, a... more Acknowledged in his lifetime and ever since as the foremost painter, calligrapher, connoisseur, and art theorist of the late Ming period—a towering figure in the history of Chinese art—Dong Qichang has been portrayed as a man concentrating his energies on artistic pursuits, whose official career was largely irrelevant, despite its considerable role in his life as he lived it. But a careful scrutiny of his career, in conjunction with his writings and works, suggests a different picture: of a man intensely ambitious to win official honors, and adept at securing—through gifts of his paintings and calligraphies, or the favor of his pronouncement as a connoisseur—the goodwill of those who could advance or safeguard his political fortunes. So successfully did he thread his way through the political maze—forming friendships with high officials in the Donglin movement, with whom his natural sympathies lay (particularly with the chief Grand Secretary of the period, Ye Xianggao), but also with their opponents in the eunuch party (including such execrated figures as Feng Quan and Zhou Yanru)—that by the end of his life he had won, by sheer perseverance, an appointment as Grand Guardian of the Heir Apparent, with a rank of lb, and an imperial patent awarding his title to three generations of his forebears. This biography—which begins with Dong's family connections and early training, and traces the interaction between his career as an official and his evolution as the artistic arbiter of his day—relies extensively on new evidence from the Ming Shilu (The Veritable Records of the Ming Dynasty) and the Guo Que (An Evaluation of [Events in our] Dynasty) by Tan Qian (1594-1657), key sources previously untapped by art historians. Together they permit the reconstruction of Dong's official career more precisely than was possible before, with a view towards dating more accurately those of his works with office seals. By due emphasis on his political ambition and by identifying works he executed for political friends and acquaintances, I have attempted to illuminate the hidden springs of Dong's character.
Grove Dictionary of Art, 2003
Under the terms of the licence agreement, an individual user may print out a single article for p... more Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).
Grove Dictionary of Art, 2003
Under the terms of the licence agreement, an individual user may print out a single article for p... more Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).
Archives of Asian Art, 1974
Artibus Asiae, 1975
All use subject to https://about.jstor.org/terms and boldness. In light of this, the artist shoul... more All use subject to https://about.jstor.org/terms and boldness. In light of this, the artist should be considered a part of the individualist movement of the early Ch'ing period, which attempted to escape the domination of the Wu School. Wang Hui's fan (No. 2I), done in I700, represents his mature style in a composition frequently repeated in his works of that period. Here, especially, his indebtedness to Wang Chien (No.I5) can readily be seen; in composition and feeling, though, Wang Hui is much more original. It is in works as simple as this fan that he shows his best.
Journal of Chinese Calligraphy and Painting Studies, No. 3 /《中國書畫研究集刊》第三輯, 2024
In 1591 Dong Qichang paid a visit to the Wuyi Mountains, on the far northwestern edge of Fujian p... more In 1591 Dong Qichang paid a visit to the Wuyi Mountains, on the far northwestern edge of Fujian province. This paper suggests that the scenery he saw there was to play a role in some of the paintings he was later to create, in particular, in his hanging scroll of 1597, The Wanluan Thatched Hall. In this painting, with its strikingly distinctive forms and their equally distinctive modeling, Dong broke new ground, and set himself on a course that would stamp his mark on landscape painting in China down to the modern age.
Journal of Chinese Calligraphy and Painting Studies, No. 1 / 《中國書畫研究集刊》第一輯, 2023
Zhejiang University Journal of Art and Archeology 5 / 浙江大學藝術與考古研究 (第五輯), 2021
Zhejiang Journal of Art and Archeology 2 / 浙江大學藝術與考古研究 (第二輯), 2015
The art historian who studies later Chinese painting and calligraphy, faced with an artist's unda... more The art historian who studies later Chinese painting and calligraphy, faced with an artist's undated work, usually dates it on the basis of its style, inserting it into the body of dated works by the artist at the point where it seems stylistically best suited. But precisely where an undated work fits within an artist's stylistic development is open to any number of interpretations. This essay attempts to demonstrate that for the many undated works by the late Ming artist Dong Qichang on which the artist has impressed his seals, the seals frequently afford a far more accurate means of dating than a judgment based on style alone can provide.
In: Out of Character: Decoding Chinese Calligraphy, Asian Art Museum, San Francisco, 2012
Some time ago, Qingchen went to Chang'an and [there] got hold of my calligraphy copying Yan and M... more Some time ago, Qingchen went to Chang'an and [there] got hold of my calligraphy copying Yan and Mi. Now that it has been mounted, there is extra space, so I have written out some passages in various styles. Six years have passed and I've grown old[er]; has my brushwork matured too, I wonder? Qichang, written aboard boat at Wumen Dong Qichang (cat. no. 8, translated by Celia Carrington Riely) Cat. no. 8 (detail).
Proceedings of the International Conference on the History of Ming and Qing Dynasty Calligraphy / 明清書法史國際學術研討會論文集, Shanghai, 2008
In: Lanting lunji 蘭亭論集, Suzhou University Press, 2000
Ph.D. dissertation, Harvard University, 1995
Acknowledged in his lifetime and ever since as the foremost painter, calligrapher, connoisseur, a... more Acknowledged in his lifetime and ever since as the foremost painter, calligrapher, connoisseur, and art theorist of the late Ming period—a towering figure in the history of Chinese art—Dong Qichang has been portrayed as a man concentrating his energies on artistic pursuits, whose official career was largely irrelevant, despite its considerable role in his life as he lived it. But a careful scrutiny of his career, in conjunction with his writings and works, suggests a different picture: of a man intensely ambitious to win official honors, and adept at securing—through gifts of his paintings and calligraphies, or the favor of his pronouncement as a connoisseur—the goodwill of those who could advance or safeguard his political fortunes. So successfully did he thread his way through the political maze—forming friendships with high officials in the Donglin movement, with whom his natural sympathies lay (particularly with the chief Grand Secretary of the period, Ye Xianggao), but also with their opponents in the eunuch party (including such execrated figures as Feng Quan and Zhou Yanru)—that by the end of his life he had won, by sheer perseverance, an appointment as Grand Guardian of the Heir Apparent, with a rank of lb, and an imperial patent awarding his title to three generations of his forebears. This biography—which begins with Dong's family connections and early training, and traces the interaction between his career as an official and his evolution as the artistic arbiter of his day—relies extensively on new evidence from the Ming Shilu (The Veritable Records of the Ming Dynasty) and the Guo Que (An Evaluation of [Events in our] Dynasty) by Tan Qian (1594-1657), key sources previously untapped by art historians. Together they permit the reconstruction of Dong's official career more precisely than was possible before, with a view towards dating more accurately those of his works with office seals. By due emphasis on his political ambition and by identifying works he executed for political friends and acquaintances, I have attempted to illuminate the hidden springs of Dong's character.
Grove Dictionary of Art, 2003
Under the terms of the licence agreement, an individual user may print out a single article for p... more Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).
Grove Dictionary of Art, 2003
Under the terms of the licence agreement, an individual user may print out a single article for p... more Under the terms of the licence agreement, an individual user may print out a single article for personal use (for details see Privacy Policy).
Archives of Asian Art, 1974
Artibus Asiae, 1975
All use subject to https://about.jstor.org/terms and boldness. In light of this, the artist shoul... more All use subject to https://about.jstor.org/terms and boldness. In light of this, the artist should be considered a part of the individualist movement of the early Ch'ing period, which attempted to escape the domination of the Wu School. Wang Hui's fan (No. 2I), done in I700, represents his mature style in a composition frequently repeated in his works of that period. Here, especially, his indebtedness to Wang Chien (No.I5) can readily be seen; in composition and feeling, though, Wang Hui is much more original. It is in works as simple as this fan that he shows his best.