Ethnicity and Identity in the Art of Giuseppe Castiglione

abstract: My thesis argues that an unrecognized genre existed in classical Chinese painting, one which I call “ethnic" or "minority painting.” The genre of ethnic painting consistently displays certain styles and cultural values and is meant to represent unique ethnic identities. These ideas have not been substantially covered by previous research on Qing dynasty painting. My research raises three main questions: was there a distinct genre in traditional Chinese painting that could be called “ethnic art” (or "minority art")? How did ethnic art distinguish itself within Chinese painting? What were the ethnic identities presented by minority artists from ethnic groups within and outside of China? The materials used for this research include a close visual study of six paintings by Lang Shining (Giuseppe Castiglione) from the Cleveland Museum of Art, the Munich Residenz in Germany and the Musée Guimet in France.Dissertation/ThesisMasters Thesis Art History 201

Painting of Lang Shining

制度:新 ; 報告番号:甲2767号 ; 学位の種類:博士(文学) ; 授与年月日:2009/3/2 ; 早大学位記番号:新498

The Apostolic Status of Linear Perspective during the Eighteenth-Century in China

Este artículo sostiene que la transmisión de la perspectiva lineal a China a través de los misioneros jesuitas a finales de la dinastía Ming y fundamentalmente, principios de la Qing, jugó un papel decisivo en el llamado proceso de inculturación. A través de la acción misional jesuítica, el desarrollo de la perspectiva lineal se relacionó con el pensamiento barroco y la representación gráfica de imágenes. Estas actividades permitieron a los artistas jesuitas unir el estatus apostólico que dieron a la perspectiva lineal, con el arte y la ciencia. De esta forma, la perspectiva de los jesuitas se relaciona con la meditación para visualizar la imagen de Dios. A continuación, el artículo se centra en el papel instrumental del hermano lego jesuita Giuseppe Castiglione, (nombre chino Lang Shining 郎世寧, 1688-1766), pintor y arquitecto de la corte, en el ejercicio de la misión apostólica que tuvo encomendada.This paper argues about the transmission of linear perspective by Jesuit missionaries during the late Ming Dynasty, mainly the Qing period, in China. This transmission played a decisive role for the ‘inculturation process’. The development of linear perspective is related, through the Jesuit missionary activity, to the baroque and image representation. These activities enabled the Jesuit artist bringing together the apostolic status, which gave linear perspective, art and science. Thus, the Jesuit linear perspective is related to meditation to visualise the image of God. Then, the paper focuses on the instrumental role of the lay brother Jesuit Giuseppe Castiglione, (Chinese name: Lang Shining 郎世寧, 1678-1766) who was painter and architect of the court, and the exercise of the apostolic mission that it had been entrusted to him

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東京藝術大学平成28年

Expressionismus and Qiyun Shengdong : Hashimoto Kansetsu and China Studies in Kyoto in the Early Twentieth Century

　20世紀前半の日本の近代美術史は、同時代の世界美術史の枠組みのなかで再考される必要がある。この課題に対処するうえで、橋本関雪（1883～1945）の事例は見過ごすことができない。関雪は明治末年から大正時代にかけ、文部省美術展覧会、ついで帝国美術展覧会で続けざまに最高賞を獲得したが、その画題は中国古典から題材を取りつつも、日本画の技法を駆使しており、さらに、清朝皇帝に仕えた郎世寧の画風を取り込むばかりか、洋行に前後して、同時代の西欧の最新流行にも目配せしていた。加えて筆者の仮説によれば、関雪は旧石器時代に遡る原初の美術やペルシア細密画をも自分の画業に取り込もうとしたことが推測される。こうした視点は先行研究からは見落とされてきた。　また橋本関雪は、辛亥革命から第一次世界大戦終了の時期を跨いで、従来日本では軽視されてきた明末清初の文人・画人を日本で再評価する機運にも働きかけ、新南画の隆盛に先鞭を着けるとともに、東洋画の美学的優位を主張することから、最新の表現主義の潮流に棹さしつつも、独自の東洋主義を唱道した。本稿は、こうした関雪の東洋画復権を目指す取り組みを、同時代の思想潮流のなか、とりわけ京都支那学の発展との関係において問い直す。　日露戦争から両大戦間期に至る関雪の画業と旺盛な執筆活動を再検討することから、本稿は中・日・欧の活発な交渉のなかに当時の画壇の一潮流を位置づけ直し、ひとり関雪のみならず、当時の東洋画再興の機運を世界史的な視野で見直すことを目的とする。なお本稿は昨年度、兵庫県立美術館で開催された大規模な回顧展での記念講演会、および昨年暮れのベルリン自由大学およびダーレム博物館での招聘講演に基づくものであることを付記する

中国と日本の古代絵画の太湖石

As Taihu stones（deformed limestones）were considered one of the symbols of China, so those were painted in Japanese paintings. Classifying by the way of placing the Taihu stones in old Japanese paintings, we can find the way to use the Taihu stones in Chinese garden as following. 1）Shinu -tu（仕女図） painted in the Tang-dynasty, 8th Century, shows they placed small stones in a garden, but we can see that the Taihu stones took place of the small stones from Japanese painting Torige-ritsujo-no-byobu（鳥毛立女屏風）. I assume that they use bigger Taihu stones in their garden to enjoy watching from Qixian-tu（七賢図） painted in Chinese Tang-dynasty, 9th Century. 2）In the Bada-chunyun-tu（八達春遊図） painted in 10th Century, they place one huge Taihu stone in their garden. From the Japanese painting E-inga-kyo（絵因果経） in 8th Century, I guess they put a Taihu stone, which is as tall as a human, in the main place of the garden. 3）In Longchi-jingdu-tu（龍池競渡図） painted in the Yuan–dynasty, 14th Century, we can see big Taihu stones both left and right side of the palace. But it was imaged from the old palace of old paintings. From the Japanese paintings Kegon-shuso-eden（華厳宗祖師絵伝） and Toseiden-emaki（東征伝絵巻） painted in the 13th Century, we can see they placed a Taihu stone in front of the palace in Song Dynasty（960-279）. I assume that they placed Taifu stones in their garden first and then they started to place the Taihu stones in front of their palace. 4）From Qianlongdi-ji-fei-guzhuang-xiang（乾隆帝及妃古装像） painted in Qing Dynasty,18th Century, we can see that they put Taihu stones in a pond of their garden. Sancai-tangwu（三彩堂屋）, a miniature made in 8th Century, shows that they built a pond at the front of the building and placed big stones at the front of the mountain. In Genjo-sanzo-e（玄奘三蔵絵） painted in 13th Century in Japan, there is a big Taihu stone beside the pond built next to Xuanzang\u27s father\u27s house. It means it stared form Song - Dynasty to place the Taihu stones beside a pond