Celia Carrington Riely - Academia.edu (original) (raw)

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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

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

In: Out of Character: Decoding Chinese Calligraphy, Asian Art Museum, San Francisco, 2012

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

Archives of Asian Art, 1974