Gender and ethnicity in Yuan-dynasty (1269–1368) painting

مرکز و کتابخانه مطالعات اسلامی به زبان های اروپایی

منو

" Gender and ethnicity in Yuan-dynasty (1269–1368) painting "
Wei Yang S. E. Fraser

Document Type	:	Latin Dissertation
Language of Document	:	English
Record Number	:	55738
Doc. No	:	TL25692
Call number	:	‭3201048‬
Main Entry	:	Wei Yang
Title & Author	:	Gender and ethnicity in Yuan-dynasty (1269–1368) painting\ Wei Yang
College	:	Northwestern University
Date	:	2005
Degree	:	Ph.D.
student score	:	2005
Page No	:	513
Abstract	:	This dissertation examines the complex interplay between gender and ethnicity in paintings from China during the Yuan dynasty (1269-1368). The primary tools are derived from visual analysis and the discipline of art history, although attention is also paid to cultural history and theoretical developments in the fields of gender and ethnic studies. The establishment of a new dynasty that was part of an Asia-wide Mongol empire had far-reaching implications for artistic traditions in China. Although rule of China by non-Han groups was not new, an especially interesting series of attempts to define group identity occurred during the Yuan dynasty. The art studied in this dissertation was an important medium for shifting understandings of "Chinese" and "Mongol," and "man" and "woman." This dissertation adopts the strategy of reading Yuan-dynasty paintings as attempts to deal with various forms of dominance. One of my major findings is that artists used one form of inequality (e.g., women's lower social status) to talk about other forms of submission (e.g., of Han subjects to Mongol rulers). Chapter I analyzes the yin/yang model as a complex, context-dependent principle for the construction of gender in pre-Yuan painting. Chapter II examines the wide range of Han literati responses to Mongol political domination. In the paintings of Gong Kai (1222-1307), Zhao Mengfu (1253-1322), Ren Renfa (1255-1328), Liu Guandao (fl. 1280-1295), Ni Zan (1301-1374), and others, I show how artists used traditional motifs and gender symbolism to make sense of the displacement of male Han literati. Chapter III examines the question of ethnic difference by analyzing the imperial ancestral portraits that Mongolian emperors produced in the context of political legitimization. Chapter IV addresses another form of artistic production, the Tantric ritual paintings in the traditions of Tibetan Buddhism that the Yuan emperors patronized. My analysis of paintings from a late cave-temple at Mogaoku (Dunhuang, Gansu province) pays special attention to the composition of the paintings in accordance with the male gaze.
Subject	:	Communication and the arts; China; Ethnicity; Gender; Painting; Yuan dynasty; Art history; 0377:Art history
Added Entry	:	S. E. Fraser
Added Entry	:	Northwestern University