2003 9 33 70 1 2 1 2 001 689-717 2 002 3 25-372 2 0 2 002 3 1 75-222 21 2002 9 1-42 2-33-
( 1 6 2 8-1706) 3 4 1 2 7 9 1 260 5 ( 1 2 3 2-1298) 3 1995 155 4 17b-18a 4 1987 17 171 5 1 999 5 3908-3911 -34-
6 7 8 1 270 9 ( 1274 ) ( 1 2 6 6 1 2 6 7 ) ( 1 2 0 5?-1 2 8 0 ) ( 1 2 6 3 ) 10 11 (1256) 6 4129 7 3997 3926-3929 8 1 983 471 1 6b-7a 9 5 90 1 2 7b-8a 10 6 58 2 6 b 1 3 1 2 1 996 3 9 8-117 3 4 1985 7 126-131 11 2 001 5 7-90 1997-35-
12 ( 1 0 7 4-1151) ( 1 2 0 7-1291) 1 3 ( 1051-1107) 14 15 16 (1098?-1174) (1127-1206) 17 18 1 2 4 90 9 7 1 2 13 14 1991 18 1075 12255 15 1077 12277 16 2 0 2001 10 83-110 17 33 1895 21183 18 42 2278 26121-36-
(1135-1198) (1190-1257) (?-1266) (1213-?) (1215-1294) 19 20 21 22 23 2 4 19 46 2501 28924-28925 20 1 995 4 127 236 21 62 3298 39292-39293 22 64 3344 39960-39961 23 3 397 4 0422 1156-1229) 5 1 2729 3 2111-32112 7 2 3 772 4 5504-455053 9 3 273-275 1 04 4 41-442 4 1 37 3 69 144 444-445 24 5 1 974 1 0 1 63-175 1 977 1 991-37-
25 2 6 ( 1 2 8 0-1354) ( 1 2 5 2-1 3 3 4 ) 27 2 8 ( 1 2 6 0-1 2 6 4 ) 2 9 ( 1037-11 01 ) 30 1 997 11 2-115 2 001 11 6-155 25 Lee Hui-shu, The Domain of Empress Yang (1162-1233): Art, Gender and Politics at the Southern Song Court, (Ph.D. diss., Yale University, 1994), pp. 303-310. 26 1 6 11 1 999 2 2 4-35 1 984 199-246 2000 149-162 27 1205 14 2a-5a 28 1 366 16 1a-12a 29 14 2b 30-38-
( 11 9 0-1196) 31 3 2 33 ( 1 2 4 0-1303) 34 ( 1362-1416) 1 35 36 31 1 6 1 2 002 3 97-100 32 1 040 4 8 a 1988 252 33 14 4a 34 1202 1 25a 3 5 1 240 1 5 38a-40a 36-39-
3 7 38 39 40 41?) ( 1 2 9 4-1365) 11 9 0-1 2 3 0 42 37 12 8a 38 5 4130 39 3927 40 5 90 3 3 a 1 4 1 996 1 2 2 7-83 1 985 2001 4 1 534 89 20 42 1997 22 7 6a (343 B.C.- -40-
4 3 4 4 11 90-1225 2 3 45 43 1 981 2001 266-285 44 8 18 4 7 5 4 b 816 3 54a 45-41-
( 1 2 6 5-1274) 46 4 5 47 4 8 ( 1 3 4 4 ) 49 50 46 814 4 22a 47 1985 59 48 3 58 1 993 2 99-319 M u s e u m 5 69 2 000 33-57 49 1 983 5 00 1932 1998 50 1 215 1b-2a -42-
6 ( 1 0 4 9-1106) 7 51 ( 701-7 61 ) 8 9 (topography) (?-1009) 52 1 0 11 51 (James Cahill) 1994 82 52 4b -43-
53 1 249 54 1 262 55 53 1986 54 1 979 7 1a 55 1 481 2 3 b- 4 a 1 0 a (1208-1224) -44-
5 6 5 7 ( 7 7 5-855?) 5 8 ( 8 3 7-908) 5 9 60 ( 11 3 5-1177) 61 ( 9 1 9-9 6 7 ) 6 2 1 0 1 0-1 0 9 0 6 3 5 6 1 9 9 2 1 6 5 4 4 6281 57 6290 58 15 500 5690 59 19 632 7243-7244 60 2 4a 61 46 2485 28769 62 1 994 4 5-21 63-45-
( 1 2 8 8-1 3 4 3 ) 64 ( 1 2 1 2-?) 65 ( 1 0 7 1-11 2 8 ) 66 11 3 8 64 1213 1 6 65 63 3339 39869 66 23 1341 15300-46-
67 11 5 7 68 6 9 ( 11 5 4-1206) 70 ( 11 9 3-?) 71 ( 1 2 1 7-1276) 72 ( 1 2 2 8-?) 73 67 35 2005 22454 68 4 3 2356 27052 69 70 51 2698 31797 71 59 3124 37333 72 65 3423 40699-40700 73 1193 35a -47-
74 ( 1 2 7 4-1 3 4 4 ) 75 ( 1 3 1 7-1 3 8 3 ) 76 7 7 7 8 7 9 ( 1 2 8 6-1355) ( 1249-1318) 80 ( 1 2 6 9-1 3 2 9 ) 74 2 13b-14a 75 1208 1 4 76 1219 17 8b 77 2 1980 12 317-335 78 1998 79 1997 2 40-46 80 1202 27 7a -48-
81 ( 1 2 6 6-1327) 82 ( 1 2 4 9-1318) 83 ( 1 2 2 7-1 3 0 4 ) 84 ( 1 2 7 2-1348) 85 81 1205 1 6b 82 1203 6 4b 83 2 7 6b 8 4 1 201 26 5a 85 22 64a -49-
8 6 ( 1 8 7 7-1927) 8 7 8 8 8 9 ( 772-846 ) 1 235-1307 1 2 90 91 9 2 86 2 4b-5a 87 1988 4257 88 1 6b 89 1 216 1 7b 90 Wen C. Fong, Words and Images in Sung and Yüan Paintings 1984 1-10 Richard M. Barnhart, Peach Blossom Spring: Gardens and Flowers in Chinese Paintings (New York: Metropolitan Museum of Art, 1983), p. 40. 91 1979 8 47 92 1 990 1 996 2001-50-
93 ( 11 2 3-1 2 0 2 ) 94 93 Chu-tsing Li et al eds., A rtists and Patrons: Some Social and Economic Aspects of Chinese Paintings (Lawrence, Kan.: Kress Foundation Department of Art History, University of Kansas, Nelson-Atkins Museum of Art, Kansas City, in association with University of Washington Press, 1989). 1999 203-242 94 1 996 1 6 214-51-
95 96 97 98 ( 1045-1105) 99 100 101 ( 1143-1 229 ) 102 95 1 363 96 447 97 1 090 4 10b-11a 98 1155 4 9b-10a 99 17 1024 11708 100 1478 10b-11a 101 47 2516 29078 102 4 9 2 621 3 0480 57 2989 35552-52-
1 0 3 1 0 4 1 0 5 ( 11 2 7-1206) 106 ( 1 0 8 4-1166) ( 11 9 4-? ) 107 ( 11 6 6-1 2 3 9 ) 108 109 110 103 3 12b 104 1168 2 9 10 5 11 72 6 2 (1420-1506) 2000 11 106 1480 19b 107 60 3137 37533 108 53 2806 33344 109 11 99 3 6 b- 7a 110-53-
111 11 2 11 3 11 4 115 116 ( 7 0 1-762 ) 117 11 8 ( 11 2 5-1210) 119 111 1165 5 26b 112 2 14a 113 1247 5 18b 114 9 21b 115 3 1 2001 15-25 116 1984 846 117 1981 27 1590 118 11 61 81 9b 119 11 62 41 3a -54-
120 ( 1 2 8 3-1357) 1 2 1 1 2 2 ( 1 2 2 3-1275) 1 2 3 1 2 4 ( 1 2 2 7-1295) 1 2 5 1 2 6 120 76 1b 121 1 210 8 5 122 1 982 1 991 1996 123 11 92 2 0 14a 124 14 5 125 11 96 20 38b 126 43 17a -55-
( 1244-1310) 127 128 ( 1199?-?) 129 ( 365-427 ) 130 131 132 127 11 94 8 12a 128 43 2356 27052 129 61 3185 38209 130 2 13a 131 1215 14a 132 6 1 83 1870-56-
1 3 3 ( 1 2 8 7-1367) 134 135 ( 1 2 8 3-1344) 136 137 ( 1 0 11-1077) 1 3 8 139 133 18 2001 3 41-90 134 1994 1028 135 1969 245 136 1986 593 137 14 3a 13 8 8 03 1 4 21a 1989 441 139 12 18a -57-
1 4 0 ( 1 2 6 9-1354) 141 142 1 4 3 1 4 4 1 4 5 140 (Benjamin A. Elman) 2 000 7 1-118 1999 141 1972 56 142 4 1983 243-257 143 1991 144 1 994 1998 145 1221 11 7a -58-
(?-1142) 146 (?-1160) 147 ( 11 9 0-1257) 148 1 4 9 1 5 0 1 5 1 152-59- 146 1 6 72 147 6 81 14 8 1 997 1322 2b-3a 149 17 14b-15a 150 1 981 1-65 15 1 11 95 2 3b 152 11 98 6 10b
1 5 3 ( 1 2 1 6-1274) 1 5 3 1191 4 11a -60-
( 1 3 2 6-1378?) 1 5 4 155 154 1 230 3 10a 155-61-
1 2-62-
3-63-
4 5 The Nelson Gallery of Art, Atkins Museum -64-
6 7 Freer Gallery of Art -65-
8 9-66-
10 The Art Museum, Princeton University 11 The Art Museum, Princeton University -67-
12 The Metropolitan Museum of Art -68-
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Landscape Like a Picture and Landscape in the Picture : On the Song and Yuan Poems on the Xiaoxiang Landscape Paintings I Lo-fen The Yuan dynasty is a pivotal period in the development of thought and feelings in the poems on Xiaoxiang landscape paintings. This article examines examples from the Song and Yuan dynasties for the purpose of charting the changes in viewing perspectives, patterns of composition, and lyrical expressions. We ponder these issues: the emerg e n c e of the local eight (or ten) views ; the compositional patterns of images in the local eight (or ten) views ; the interrelationshi p bet ween lyri cizing and objective representation ; as well as the two different attitudes of seeing landscapes as pictures ( landscape like a picture ) and of taking paintings to be real landscapes ( landscape in the picture ). From these we can observe the change in inclinations from the Song poets feelings and scenes in one to expressing feelings through the scenes from the Yu a n. We compare the contents of the Song and Yuan colophons on two of the E i g h t Views of Xiaoxiang, i.e., the Yucun xizhao (Sunset in a Fishing Village) and the X i a o x i a n g y e y u (A Rainy Night in Xiaoxiang). We find that Song poets emphasize feelings and scenes in one : the poet projects his subjective feelings on the scenery in the paintings, making the landscape his thought incarnated. In addi tion, the lit erary and cultural allusions of the Xiaoxiang verses echo the feelings that the Song poets wish to express. In contrast, expressing feelings through the scenes is preferred by Yuan poets, who tend to present scenery from an objective, aloof point of view. They situate themselves in a historical context, which lends a keen sense of time and universality to their works. The differences between Song s landscape like a picture and Yu a n s landscape in the picture expose larger historical di spositions. Song poets perceive things subjectively and humanize the landscape, the painting thus made embodies personal feelings. Yuan poets perceive things objectively with rational and practical thinking. Together with the idea of [feelings] originate from emotion and go as far as rites allow they express publicly shared feelings suffused with a historical sense. Keywords: Xiaoxiang Eight Views of Xiaoxiang Ten Views of Xihu Eight Views of Yanjing feelings and scenes in one -70-