| This thesis will use the Confucian concept of "Kuangjuan," which refers to both "radical" and "ultraconservative" perspectives existing within the development of Chinese thinking in order to deeply examine how the thinking of a given time affects individual works of Chinese painting.Further we would like to analyze artists who produced works which possess characteristics of the "Kuangjuan" spirit and their works in order to reveal the great use and influence of Chinese thought in artists and their work.Under the influence of the "Yangming" Neo-Confuncian Idealist school of thought,late Ming dynasty scholar officials broke through the confinements of "Chengzhu" Neo-Confucian Rationalism.Acting without restraint,speaking their minds,pursuing spiritual transcendence and unfettered seclusion,these individuals set off a current of individual liberation,and nurtured an environment which favored the growth and expansion of the consciousness and spirit of "Kuangjuan," which provided enormous energy and aesthetic breakthroughs to the fields of literature and art.Because of this,in the late Ming dynasty there appeared many great talents and examples of artworks with styles vastly different from the past.Works appeared more bold and daring,rough and implicit.In addition,the lifestyles of late Ming dynasty scholars in relation to current social norms also experienced great change.Works possessing the most universal elements often have the greatest persuasiveness.Thus,from the numerous examples,we have chosen the most representative works and their artists to analyze in order to avoid confusion or a misleading of facts.In doing so,this thesis will focus on the Ming artists Xu Wei and Chen Hong Shou as its primary points of discussion.This thesis will seek to use an interactive method of research and show how the greater zeitgeist of the time,including its permeation in the artists' work,thought and lifestyle is reflected,as well as reveal the effect that the expressions and works evoking the "Kuangjuan" style,spirit and energy had on the late Ming dynasty period.This paper will examine these issues one by one.This paper will use a vast array of historical documents,objects and materials as points of reference.Using methods of textual research and analysis,this paper will pursue a logical investigation of historical development during the Ming era,and comb through the main points and general trajectory of Chinese painting in order to showcase the development,trajectory,thinking and works of Xu Wei and Chen Hong Shou who this paper will consider as model examples of the "Kuangjuan" spirit.The author's choice in pursuing this research also comes from the very significant circumstance of being on site in Wu Yue(referring to the states of south China during different historical periods)which is the very birthplace and site of development of the Ming dynasty Scholar Wang Yang Ming,and artists Xu Wei and Chen Hong Shou.Being on site,this research has direct access to sites once used and inhabited by the individuals discussed in this paper,as well as the local conditions and environments which affected them.To perform this research,the author has collected classical texts,poetry,biographical records,written records,commentaries and other writings,artworks in painting and calligraphy as well as other historical material and information.We are fortunate to live in a time with a vast database and treasure trove of information making finding classical texts and materials regarding the subject of "Kuangjuan" easy and efficient.In regard to the use of poetry and biographical materials,this paper will use the Zhong Hua Publishing House's complete published editions of the "Collected Works of Xu Wei" and the "Bao Lun Tang Collection," which showcases the poems and literary works of Chen Hong Shou.Since the Ming dynasty there have been countless commentaries published about the works of Xu Wei,for example works by Yuan Hong Dao among others,but since the late Ming dynasty until today,there have only been thirty important individuals who have made commentaries on the works of Xu Wei in poetry.In addition,after the death of Chen Hong Shou,several writers close to the artist compiled biographies about him and left detailed and precise anecdotes and historical materials about his life.Some include works by Chen Ji Ru,Zhang Zhang Dai,Meng Yuan,Mao Qi Ling,and Zhu Yi Zun among others.Further,since the second half of the twentieth century monographs and scholastic works on Xu Wei and Chen Hong Shou have also become more and more plentiful.Some examples include,He Le Zhi's 1959 work entitled,"Xu Wei",Li Song's 1961 thesis "The Life and Work of Xu Wei",Xu Lun's 1962 work,"Xu Wen Zhang",and Zhu Liang Zhi's 2013 text,"Southern Painting's Sixteen Views",among others.There are also works by contemporary overseas scholars including James Cahill's "The Compelling Image";"The Distant Mountains",and Huang Yong Quan's meticulous and detailed,"Chen Hong Shou Genealogy",which fully examines the artist's life,work and poetry.In addition,Wu Gan's compilation work entitled,"Chen Hong Shou's Collection" which brings together different versions of the artist's poems is also an extensive resource.Overall,the past four hundred years has provided a vast amount of scholarship on both artists Xu Wei and Chen Hong Shou.Thus,the author will humbly and considerately take advantage of this research provided to us by our predecessors.Facing such a vast array of material,the author has selected the most suitable sources to pursue analysis and serve as the main foundation for showcasing the arguments of this paper.It is also important to note that in the last few years,the exhibitions and events put on by major museums and art institutions have become more extensive,with an enormous amount of exhibitions devoted to showcasing Chinese traditional artworks making it possible to view and get close to the authentic artworks of the artists Xu Wei and Chen Hong Shou.In addition,there has also been an emergence of works held by several private collections,which have been made available for research.These are conditions which past scholars could have never dreamed about and that we are extremely grateful for.Such conditions have provided us with invaluable help and convenience to perform this paper's research.In searching through the vast databases of Chinese intellectual research,we have also found nine texts regarding the "Kuangjuan" aesthetic and eight articles discussing Xu Wei's "Kuangjuan" spirit.At the same time,we recognize that the large number of reductive research that has been pursued on the works of Xu Wei and Chen Hong Shu is quite severe.Thus,this paper's goal is to aim to break free of previous conventions and pitfalls and from the greater perspective and horizon of history discover why in the Ming dynasty there appeared a greater number of works that differ stylistically from any other dynasty,and from this search we hope to be able to deduce a conclusion.The Ming dynasty saw the complete emergence of the Confucian concept and spirit of "Kuangjuan" and produced a rich collection of artistic works.The artists Xu Wei and Chen Hong Shou represent the best examples of these works. |
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