A Study Of The Image Of Hanshan In Song Dynasty Painting

This thesis focuses on the subject of hanshan imagery, studying its Sung dynastic development and its basic characteristics as expressed in paintings during that period. There are primarily two levels of discussion presented-the first being how, after hanshan imagery entered paintings, it came to be interpreted, and a further look at the development of techniques used to represent it. The second is to understand what are the philosophical and cultural underpinnings that supported hanshan imagery’s appearance in Sung dynastic Chan paintings, in order that we can point out the co-dependent relationship between the narrative of hanshan imagery and the development of the Chan school. This is to clarify the relationship between hanshan imagery’s role as an artistic symbol and the wider thread of Sung art, and to find a logical perspective to understand hanshan imagery in the currents of philosophical and cultural changes.The foreword introduces the four aspects of this thesis’research subject, the current state and trend of research on it, the purpose and value of this study, and, the research methodology employed in this research. Hanshan imagery spans the two fields of literature and painting. Although this thesis primarily focuses on the latter aspect, our starting point is the general character of hanshan imagery, and must necessarily include its literary texts in the study. In terms of research methodology, this thesis mainly uses the methods of literary studies, categorization and development, description and explanation, imagery studies and philosophical history, so as to validate its position on hanshan imagery’s role in art, culture and philosophy.The first principally explores the resources that were used to construct the general image of Hanshan-legends, and, textual and poetic sources that were imbued with religious tones that fueled people’s imagination of Hanshan; how they enabled progressive development and formation of the "imagery of Hanshan"; and, the effect Tang culture of seclusion had on the its imagery. With the above foundation, we will then explore how this imagery was gradually constructed in consultation with the style of painting arhat-s during the five dynasties in late Tang.The second chapter discusses how the post-buddhologized "imagery of Hanshan" came to be entirely absorbed into the Chan school of Buddhism; how this development of this imagery hides and interweaves a shift in Sung cultural thought; the cultural philosophy behind the "imagery of Hanshan"as exemplifying that of paintings of Chan characters-within the broader field of Sung paintings; the Chan-infused evolution of techniques employed in depicting Chan characters since the time of Shike (石恪); and a general survey of Sung dynasty works related to the "imagery of Hanshan"-with a more specific focus on representative painters like Liangkai (梁楷) and Fachang (法常).The third chapter chiefly undertakes an analysis of the cultural significance of important and distinctive symbols-like the "smile" and "pengfa (knotted hairstyle)"-of the "imagery of Hanshan". On the one hand, these symbols reflect a continuity in terms of imagery and form, while on the other hand, it is the manifestation of how the imagery is constructed and interpreted based on the prevailing cultural and religious thought at the time of its creation-as is made evident by how painters of different periods craft new imagery by combining different elements of Hanshan.The originality of this thesis is in providing a method of interpretation to combine the study of hanshan imagery in literature and painting, with the re-evaluation of the imagery and its cultural significance. It provides the future studies on hanshan imagery, and other related fields, with a comprehensive and effective means of hermeneutical inquiry. Such an approach can resolve the issues of the blind-spots and lack of depth that arises from conducting traditional imagery studies without duly considering other perspectives.