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浮世清音 Transcending Transience(一套三冊)three-volume catalogue (Out of Stock)

晚明江南藝術與文化 Art and Culture of Late-Ming Jiangnan

Project Director: James C. Y. Watt; Curators and Editors: Maggie C. K. Wan & Jiang Fangting


English, Chinese , 2021/03 Art Museum, CUHK, Department of Fine Arts, CUHK

Tags: Art, Chinese Art

300 x 210 mm , 908pp ISBN / ISSN : 978-988-19493-5-6

  • US$108.00


Out Of Stock

Produced for the exhibition Transcending Transience: Art and Culture of Late-Ming Jiangnan, the current catalogue is directed by James C.Y. Watt, edited by Maggie C.K. Wan and Jiang Fangting, and features essays and entries written by researchers of the Art Museum and alumni of the Department of Fine Arts, The Chinese University of Hong Kong. 

Seven or eight decades prior to the demise of the Ming Empire, the Jiangnan area was no doubt blessed with prosperity, offering its inhabitants pleasures and luxuries like never before. Facets of this privileged existence can be glimpsed from the fine works and objects of art that define the period. Featuring over 200 objects from the period, the publication invites contemplation on the people and their possessions in a golden age that was the late Ming in a cultural and social context.

The lifestyles and cultural activities of the late-Ming middle class are spotlighted in this catalogue. The late-Ming middle class was a heterogeneous group that included artisans, merchants, rich farmers, well-born ladies, famous courtesans, literary leaders, playwrights, poets, thinkers, collectors and professional painters. These were the people who found themselves face to face with a dysfunctional government and little prospect in joining the civil service on the one hand, and a prosperous Jiangnan area, an extravagant consumer culture, an explosion of thoughts and ideas and relatively high social mobility on the other. They succeeded in establishing their unique cultural and social identity by taking everyday objects seriously, readjusting their activities and outlook, and innovating the themes and techniques of their works. Ever growing in number and attaching importance to things and the self, these city dwellers became a driving force behind the mass production of exquisite objects and distinctive art. What are included in this catalogue were created either by them or for them to give expression to their cultural aspirations.

The catalogue includes an introduction and three thematic essays. Under the five sections, namely “Obsessing with the Quotidian”, “Asserting One’s Individuality”, “Escaping through Art and Buddhism”, “Living in Elegance for Serenity” and “Putting China on the World Map”, there are 200 entries introducing exquisite works of art from the Shanghai Museum, public and private collections in Hong Kong, as well as overseas museums. 

本書由屈志仁先生擔任總策劃,尹翠琪和蔣方亭主編,香港中文大學文物館研究員及藝術系系友共同撰寫文章及條目,是為配合《浮世清音──晚明江南藝術與文化》展覽而製作。 

明朝覆亡前七、八十年的江南一片繁華,人們生活優遊,奢侈享樂,富渥程度前所未見。這番景象具體表現在其時江南社會各種精緻的器物和燦爛的藝術文化。本書透過研究二百多件晚明文物和藝術精品,全面探討此繁華現象背後的個體生命歷程及社會文化意識。

本書以晚明社會中層人物的生活和藝術創作為焦點。此階層人物身份多樣,包括工匠、富農、名門閨秀、名妓、文壇領袖等。他們身處晚明政治腐敗、民間思潮激烈碰撞、階級容易流動等社會不穩的大時代之中,往往通過斟酌日常器用、用心調整自身行為和態度,並致力於藝術題材和技法上的創新,確立起個人獨特的文化身份和社會定位。這個中層群體對「物」和「自我」的重視,亦成為晚明各種新奇精工器物和獨具個性的藝術品大量產生的主要動力。本書選取的晚明藝術作品,正由這些城市中人創造,或為回應他們的文化訴求而生產。

全書收錄展覽導言及主題文章三篇,並在〈執念日常〉〈浮世爭鳴〉〈遊藝逃禪〉〈芸窗雅設〉〈器行萬國〉五個單元下,收錄二百篇圖錄條目,介紹分別來自上海博物館、香港公私收藏以及海外博物館所藏晚明書畫及工藝精品。



James C. Y. Watt is Curator Emeritus of the Department of Asian Art at the Metropolitan Museum of Art, New York. He is also the Director of the research and exhibition project “Transcending Transience: Art and Culture of Late-Ming Jiangnan”. He was the Founding Director of the Art Museum, former Chairman of the Department of Fine Arts and the first J. S. Lee Professor of Chinese Culture, The Chinese University of Hong Kong. He served as Curator at the Department of Asiatic Art at the Museum of Fine Arts, Boston, before working for the Metropolitan Museum of Art where he assumed the chairmanship of the department in 2000. He curated a number of major exhibitions. Ground-breaking ones include The Chinese Scholar’s Studio: Artistic Life in the Late Ming Period (1987), When Silk was Gold: Central Asian and Chinese Textiles in the Metropolitan and Cleveland Museums of Art (1998), China: Dawn of a Golden Age, 200-750 A.D. (2004-2005), The World of Khubilai Khan: Chinese Art in the Yuan Dynasty (2010-2011). 

Maggie C. K. Wan is Associate Professor and Head of Graduate Division of Fine Arts, The Chinese University of Hong Kong (CUHK). She is also the curator of the research and exhibition project “Transcending Transience: Art and Culture of Late-Ming Jiangnan”. She obtained her B.A. from the Department of Fine Arts, CUHK, and her D.Phil. from the University of Oxford. Her research interests focus on material culture of the Ming and Qing periods, history of Chinese ceramics and Daoist art. She received the Exemplary Teaching Award in General Education and the Young Researcher Award, CUHK. Her publications include “Grotto-heaven in West Park: Daoist Motifs on Jiajing Imperial Porcelains”, “Research on the Edition, Formation, and Images of the Frontispieces to the Daozang” and “Image of Song-Style Brocade: Honeycomb Octagonal Pattern on Canton Enamels and Export Porcelain of the 18th Century”.

Jiang Fangting, whose scholarly interests includes traditional Chinese painting and calligraphy as well as connoisseurship and history of collecting, received her Ph. D. in History of Chinese Art from the Chinese University of Hong Kong in 2017. From 2017 to 2020, she embarked on a curatorial career as Postdoctoral Fellow at the university’s Art Museum, where she made contribution to the research and exhibition project “Transcending Transience: Art and Culture of Late-Ming Jiangnan” and its accompanying publication and programming. During this period, she also participated in co-teaching in the University’s Department of Fine Arts. She is currently Associate Curator of the Hong Kong Palace Museum.

屈志仁,香港中文大學文物館創館館長、藝術系前系主任及首任利榮森中國文化講座教授,曾任職美國波士頓美術館亞洲部及美國紐約大都會藝術館亞洲藝術部,現為美國紐約大都會藝術館亞洲藝術部榮休館長,亦為「浮世清音——晚明江南藝術與文化」研究及展覽項目的總策劃。曾參與策劃多個重要綜合大展,包括The Chinese Scholar’s Studio: Artistic Life in the Late Ming Period (1987), When Silk was Gold: Central Asian and Chinese Textiles in the Metropolitan and Cleveland Museums of Art (1998), China: Dawn of a Golden Age, 200-750 A.D. (2004-2005), The World of Khubilai Khan: Chinese Art in the Yuan Dynasty (2010-2011)等。

尹翠琪,畢業於香港中文大學藝術系,獲英國牛津大學博士,現為香港中文大學藝術系副教授、研究院藝術學部主任,亦為「浮世清音——晚明江南藝術與文化」研究及展覽項目的策劃人及圖錄主編。研究興趣為明清物質文化、中國陶瓷史及道教藝術。曾獲頒香港中文大學通識教育模範教學獎及青年學者研究成就獎。著作有〈西苑洞天:嘉靖御用瓷器的道教紋飾〉、〈《道藏》扉畫的版本、構成與圖像研究〉、〈宋錦之象:十八世紀廣東琺瑯與外銷瓷的八方錦紋〉等。

蔣方亭,研究領域為中國古代書畫史及鑒藏史。2017年於香港中文大學取得中國藝術史博士學位,2017年至2020年於該校文物館任博士後研究員,協助和統籌「浮世清音——晚明江南藝術與文化」項目中展覽策劃、圖錄編纂、活動籌備等各項工作。在此期間,亦於香港中文大學藝術系參與共同授課。現為香港故宮文化博物館副研究員。
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