A study of ink plum (momei) painting.

Key imperial and royal courts--in Han, Tang, and Song dynasty China; medieval and renaissance Europe; and Heian and Muromachi Japan--are examined in this comparative and interdisciplinary volume as loci of power and as entities that establish, influence, or counter the norms of a larger society. Contributions by twelve scholars are organized into sections on the rhetoric of persuasion, taste, communication, gender, and natural nobility. Writing from the perspectives of literature, history, and philosophy, the authors examine the use and purpose of rhetoric in their respective areas. In Rhetoric of Persuasion, we see that in both the third-century court of the last Han emperor and the fourteenth-century court of Edward II, rhetoric served to justify the deposition of a ruler and the establishment of a new regime. Rhetoric of Taste examines the court’s influence on aesthetic values in China and Japan, specifically literary tastes in ninth-century China, the melding of literary and historical texts into a sort of national history in fifteenth-century Japan, and the embrace of literati painting innovations in twelfth-century China during a time when the literati themselves were out of favor. Rhetoric of Communication considers official communications to the throne in third-century China, the importance of secret communications in Charlemagne’s court, and the implications of the use of classical Chinese in the Japanese court during the eighth and ninth centuries. Rhetoric of Gender offers the biography of a former Han emperor’s favorite consort and studies the metaphorical possibilities of Tang palace plaints. Rhetoric of Natural Nobility focuses on Dante’s efforts to confirm his nobility of soul as a poet, surmounting his non-noble ancestry, and the development of the texts that supported the political ideologies of the fifteenth-century Burgundian dukes Philip the Good and Charles the Bold.

Throughout the history of imperial China, the educated elite used various means to criticize government policies and actions. During the Song dynasty (960-1278), some members of this elite found an elegant and subtle means of dissent: landscape painting. By examining literary archetypes, the titles of paintings, contemporary inscriptions, and the historical context, Alfreda Murck shows that certain paintings expressed strong political opinions--some transparent, others deliberately concealed. She argues that the coding of messages in seemingly innocuous paintings was an important factor in the growing respect for painting among the educated elite and that the capacity of painting’s systems of reference to allow scholars to express dissent with impunity contributed to the art’s vitality and longevity.

This classic work, first published in 1971, explores the transition in painting styles from the late Sung period to the art of Yuan dynasty literati. Building on the pioneering work of Oswald Siren and James Cahill, Susan Bush’s investigations of painting done under the Chin dynasty confirmed the dominance of scholar-artists in the north and their gradual development of scholarly painting traditions, and a related study of Northern Sung writings showed that their theory was shaped as much by the views of their social class as by their artistic aims. Bush’s perspective on Sung scholars’ art and theory helps explain the emergence of literati painting as the main artistic tradition in Yuan times. Social history thus served to supplement an understanding of the evolution of artistic styles.