CCHU9018: ART & IDEAS: EAST &

WEST

November 13, 2019

HOUR 1
Dr. R. L. Hammers
韓若蘭博士
Please turn off phones and kindly do not text
message during the course.
UNIT THREE: MODERN ART AND THE CONDITION OF MODERNITY

WEEK TEN:
Lecture: November 6: Modernity in Asia and non-Asia as Asia

WEEK ELEVEN:
Lecture: November 13: Art critical and questioning
Tutorial: Modernity and its demands with comparisons

WEEK TWELVE:
Lecture: November 20: Art responding to society: art now and also course evaluations
Tutorial: Review for quiz

WEEK THIRTEEN:
Lecture: November 27: Optional discussion of paper topic during the hour after Quiz Two.
MQuiz two (one hour in length)

@Second paper will be due by 5:00 pm, December 13 (Friday). You need to submit an
electronic version through Turnitin via course Moodle.
COMMON CORE HUMANITIES CCHU9018: ART & IDEAS: EAST & WEST
Review for Quiz II (Dates below are the preferred dates)

PLEASE NOTE: QUIZ WILL BE HELD IN RAYSON HUANG THEATRE ON NOVEMBER

27, 2019

*Eugene Delacroix (1798-1863), Liberty Leading the People, 1830, oil on canvas
UNIT THREE: MODERN ART AND THE CONDITION OF
MODERNITY
 12 Auguste Renoir,
Flowers in a vase, 1869,
oil on canvas

11 William-Adolphe Bouguereau, Girl

with flowers, probably before 1895, oil
on canvas 10
Van Gogh is inspired by Japan!
We “tour” Japan twice.
Already as Europe’s idea
and then Japan as Japan

Where is Japan getting its ideas?

Some are from China
and some are from Japan.
CHINA
15 Gu Kaizhi 顧愷之 (344-405 CE), Admonitions of the Instructress to the
Court Ladies, ink and slight color on silk (later copy)
Xie He’s (fl. 479-501) “Six methods” form the basis of established and traditional art
theory in China. They are character (or manner) through body gestures, brushwork,
representation of objects, appropriate description, composition and knowledge of
models through study

Brushwork!
18 *Xu Xi 徐熙 (attributed to),
(act. 10th century), Winter scene:
Bamboo and old trees growing by
a rock, ink on silk, c. 940s
18 Naturalism
19 *Wen Tong 文同 (1019-1079),
Bamboo, ink on silk, c. 1070
19 *Naturalness

a correlation, a harmony or agreement

between the qualities in the painting and
the artist’s character or mood (inner
condition of the artist made visible in the
painting)
According to his friend and
admirer, Su Shi (Dongpo), the
greatest poet of the Song
Dynasty (960–1279), “When
Wen Tong painted bamboo, he
himself became bamboo!”

As translated byJonathan
Chaves
20 *Su Shi (attributed), Old Tree, Bamboo and Rock, ink on paper, before 1102
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15 17
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Su Shi (1036-1101):
If anyone discusses painting in terms of verisimilitude, his understanding is nearly that of
a child…Poetry and painting share the same, basic rule: natural genius and
originality.

Master Chu Hsiang-hsien [Zhu Xiangxian] of Sung-ling [Songling] can write but does not
try to pass the examinations, and is good at painting but does not attempt to sell it. He
says: “I write to express my mind and paint to set forth my ideas, that is all.”

My writing swells up like ten thousand gallons of water at the wellhead, erupting
through the ground, spilling over the flat valley and running unchecked for thousands
of li a day … I never know its course beforehand. I go when I have to go and I stop
when I have to stop. This is all I know.

As translated by Marty Powers, “Art and History: Exploring the

Counterchange Condition,” Art Bulletin, LXXVII (1995) 9, 386.
S. Bush: The Chinese Literati on Painting: Su Shih (1037–1101)
to Tung Ch’i-Chang (1555–1636) (Cambridge, MA, 1971) 31
as quoted in Roderick Whitfield, “Su Shi,” Grove Art Online,
Oxford University Press, [10/26-05], http://www.groveart.com/.
Trans. adapted from Wen Fong, Words and Images: Chinese
Poetry, Calligraphy and Painting (Princeton, 1991) 122 as quoted
in Roderick Whitfield, “Su Shi,” Grove Art Online, Oxford
University Press, [10/26/05], http://www.groveart.com/.
20
Su Shi, Ode to the Red Cliff, calligraphy, ink on paper, before 1102
21 Huai Su 懷素, Autobiography, calligraphy, ink on paper, 8th century
21
22 Shitao石濤 (Shih-
t’ao ) (also known as
Daoji 道濟 (Tao-chi) and
Yuanji原濟 (Yuan-chi))
Looking at the Waterfall
at Mount Lu, ink and
color on paper, hanging
scroll
20
Shitao (died c. 1707) in Enlightening Remarks on Painting claimed the following:

Painting is guided by the mind.

Each Holistic Brushstroke contains within itself the potential to describe all things.
Painting receives its medium from ink,
Ink receives its application from the brush,
the brush receives its motivation from the wrist,
and the wrist receives its direction from the mind.

I am myself because “I” naturally exists. The whiskers and eyebrows of the ancients cannot
grow on my face, nor can my body contain their entrails. I express my entrails and display
my own whiskers and eyebrows. Even when there may be some point of contact with some
master, it is he who comes close to me, not I who am trying to become like him. Nature has
endowed me thus.

Shitao as quoted in “Enlightening remarks on painting,” trans. Richard E. Strassberg, Pasadena, Calif.: Pacific Asia Museum, 1989, 61,
66, 65.
23 *Shitao
(died c.
1707),
Landscape
from an
album for
the Taoist Yu,
ink and
colour on
paper,
album leaf
23
24*Shitao (Shih-
t’ao) (also known
as Daoji (Tao-chi)
and Yuanji (Yuan-
chi) (died c.
1707), Ten-
thousand Ugly
Dots, ink on paper,
handscroll
24
24
Shitao also wrote,

When the mind breaks

away completely from
the restricting
framework of
established conventions
and methods of
painting, one’s painting
will naturally be like an
immortal gliding in the
wind.

Shitao as translated by Mae

Anna Pang in Chinese paintings 24
of the Ming and Qing dynasties
(Sydney: International Cultural
Corporation of Australia,
1981), 130.
Shitao (d. c. 1707) wrote,
When the mind breaks away completely from the restricting framework of established
conventions and methods of painting, one’s painting will naturally be like an immortal
gliding in the wind.

I am myself because “I” naturally exists. The whiskers and eyebrows of the ancients
cannot grow on my face, nor can my body contain their entrails. I express my entrails
and display my own whiskers and eyebrows. Even when there may be some point of
contact with some master, it is he who comes close to me, not I who am trying to become
like him. Nature has endowed me thus.

Delacroix (1798-1863):
There are no rules for great souls: rules are only for people who have merely the talent
that can be acquired.
Eugene Delacroix, The Journal of Eugene Delacroix, tr. from the French by Walter Pach, New York, Crown Publishers, 1948, 82.

Courbet (1819-77)
…that I had practiced painting not in order to make art for art’s sake, but rather to win
my intellectual freedom, and that by studying tradition I had managed to free myself of
it…

Quote by Courbet is from Stephen F. Eisenman with contributions by others Nineteenth Century Art : A Critical History, second edition,
(New York, N.Y.: Thames & Hudson, 2002) 236.
*Eugene Delacroix (1798-1863), Liberty Leading the People, 1830, oil on canvas
*Gustave Courbet, A Burial at Ornans, 1849-50, oil on canvas
24
 Parrhasios and Zeuxis

J-L David
 15 24

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24
Van Gogh is inspired by Japan!
We “tour” Japan twice.
Already as Europe’s idea
and then Japan as Japan