Children in Chinese Art PDF
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Children in Chinese Art Edited by A B W Children in Chinese Art Published with the support of the School of Hawaiian, Asian, and Pacific Studies, University of Hawai‘i Children in Chinese Art Edited by Ann Barrott Wicks University of Hawai‘i Press Honolulu L C C--P D Children in Chinese art / edited by Ann Barrott Wicks. p. cm. Includes bibliographical references and index. ISBN 0-8248-2359-1 (cloth : alk. paper) 1. Children in art. 2. Art, Chinese—Ming-Qing dynasties, 1368–1912. I. Wicks, Ann Elizabeth Barrott. N7343.5 .C464 2002 700'.452054'0951—dc21 2001053509 University of Hawai‘i Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. © 2002 University of Designed by Diane Gleba Hall Hawai‘i Press Printed by Friesens Corporation All rights reserved Printed in Canada 07 06 05 04 03 02 6 5 4 3 2 1 Contents Acknowledgments vii Periods in Chinese History xi 1. Introduction: Children in Chinese Art 1 A B W E B. A 2. Images of Children in Song Painting and Poetry 31 R B C B 3. One Hundred Children: From Boys at Play to Icons of Good Fortune 57 T T B 4. Representations of Children in Three Stories from Biographies of Exemplary Women 84 A W 5. The Childhood of Gods and Sages 108 J K. M 6. The Art of Deliverance and Protection: Folk Deities in Paintings and Woodblock Prints 133 A B W Contents 7. Family Pictures 159 A B W Notes 179 Glossary of Chinese Characters 193 Select Bibliography 201 Contributors 209 Index 211 Color plates follow page 34 vi Acknowledgments More than ten years ago, I approached Ellen Avril, who was at that time assis- tant curator of Asian art at the Cincinnati Art Museum, about the possibility of organizing an exhibition of Chinese representations of children. Ellen was more than enthusiastic, and we began work almost immediately. A year later, our carefully researched proposal was readily supported by the exhibition committee of the Cin- cinnati Art Museum, under the direction of Millard Rogers. An exhibition-planning grant from the National Endowment for the Humanities (NEH) allowed us to gather a team of experts who met in Cincinnati for three days in June 1993 to discuss and further develop our ideas about the exhibition. The grant also funded travel to collections of Chinese art in North America, Europe, and Asia for primary research, followed by a second meeting of the consultants to plan the exhibition. During 1993 and 1994, Ellen Avril and I studied depictions of children in more than fifty public and private collections. Nora Shih accompanied us to study collec- tions on the West and East Coasts, in Hawai‘i, and in Asia. Diana Tenckho¤ went with us to see art in the Midwest and in Toronto. We were delighted with the friendly and interested response we received in each locale, and the willingness of museums and collectors to lend art to the show. In Honolulu, we met with Patricia Crosby, senior editor at the University of Hawai‘i Press, who agreed to copublish the exhibi- tion catalog. The implementation of the exhibition unfortunately coincided with a period of decreased national funding for the arts, as well as a leadership change at the Cin- cinnati Art Museum. It was a great disappointment when the new director of the Cincinnati Art Museum canceled the exhibition. We cannot adequately apologize to the museums in China, Europe, and Taiwan with which we had negotiated contracts, vii Acknowledgments the museums that were scheduled to host the additional venues, the catalog essay authors whose finished work we could not publish, and the anticipated symposium speakers whose plans were so abruptly changed. Nonetheless we do apologize, and thank them for their gracious acceptance of the circumstances. This volume of essays evolved from research done for the proposed exhibition and symposium. Some of the illustrations included were among those previously planned for the museum show. The book, however, is not an attempt to reproduce what would have been the exhibition catalog. The emphasis has changed from visual presentation to an examination of the social context of the works. I am grateful to Patricia Crosby of the University of Hawai‘i Press for her willingness to consider pub- lishing a volume of essays. I appreciate her support, patience, and editorial expertise. NEH consultants to the proposed museum project, to whom Ellen and I owe many thanks for their enthusiastic support, their time, and their knowledgeable sug- gestions, are Richard Barnhart, art history, Yale University; Terese Tse Bartholomew, art history, Asian Art Museum of San Francisco; Anne Behnke Kinney, history, University of Virginia; Anne El-Omami, art education, Cincinnati Art Museum; Miriam Levering, religion, University of Tennessee at Knoxville; Stephen Little, art history, Chicago Art Institute; Catherine Pease, literature, Western Washington University; Diana Tenckho¤, art history, University of Oregon; Nora Ling-yun Shih, art history, New York; Ann Waltner, history, University of Minnesota; and Zhou Xiuqin, museum studies, University of Pennsylvania. I would also like to thank the many following museum curators and personnel for their time, expertise, and kindness. Each of them contributed something to the outcome of this book. In China: Ma Chengyuan, Wang Qingzheng, and Zhong Yinlan of the Shanghai Museum; Yang Xin, Shan Guoqiang, and Xia Jinping of the Palace Museum, Beijing; Liang Baiquan, Xu Huping, Zhang Pusheng, Zhou Guangyi, and Huang Ping of the Nanjing Museum; Chen Jun of the Suzhou Museum; Chen Ruinong of the Wuxi Municipal Museum; Ren Zhilu, Tao Zhenggang, Wang Xiaorong, Zhang Xishun, and Gao Ke of the Museum of Shanxi Province, Taiyuan, and Shanxi Provincial Cultural Relics Bureau; Cui Jin, Liu Guozhan, and Zhang Shulan of the Tianjin Museum of Fine Arts; Cai Changkui of the Tianjin Folk Customs Museum; Lü Changsheng and Zhou Baozhong of the Museum of Chinese History, Beijing; Philip Y.C. Mak of the Tsui Museum of Art, Hong Kong; Christina Chu of the Hong Kong Museum of Art; Wang Limei of the State Bureau of Cultural Relics, Beijing. In Taiwan: Chin Hsiao-yi, Lin Po-t’ing, and Chang Lin-sheng of the National Palace Museum, Taipei; Shi Shou-chien of the Graduate Institute of Art History, National Taiwan University, Taipei. In Japan: Yutaka Mino, Asaka Hiroshi, Suzuki Yukito, and Ishikawa Tomohiko of the Osaka Municipal Museum of Art; viii Acknowledgments Nishigami Minoru and Kawahara Masahiko of the Kyoto National Museum; Fujita Shinya of the Museum Yamato Bunkakan; Kohno Keiko of the Sumitomo Collection; Koike Tomio, Yamamoto Yasukazu, and Sato Toyozo of the Tokugawa Art Museum; Minato Nobuyuki, Nishioka Yasuhiro, and Imai Atsushi of the Tokyo National Museum; Ebine Toshio of the Tokyo National University of Fine Arts and Music. In Europe: Jessica Harrison-Hall, Anne Farrer, and Joe Cribb of the British Museum, London; the Percival David Foundation, London; Regina Krahl and Craig Clunas of the Barlow Collection; Peter Hardie of the Bristol Museums and Art Gallery; Jean-Paul Desroches, Laure Feugere, Vêra Linhartová, and Anne Marie Amon of the Musée National des Arts Asiatiques Guimet, Paris; Lucie Borotová and Ladislav Kesner, the National Gallery, Prague; Willibald Veit, Uta Rahman-Steinert, Herbert Butz, and Waldemar Porzezinski of the Museum für Ostasiatische Kunst,Berlin; Jan Wirgin, Mette-marie Siggstedt, and Louise Virgin of the Museum of Far Eastern Antiquities, Stockholm; Vladimir A. Nabatchikov, Guenrikh P. Popov, Andrey Anikeyev, Natalia A. Kanevskaya, and Vladimir E. Voitov of the State Oriental Museum, Moscow; G.Vilinbakhov, Maria L. Ptchelina (Rudova), and Tatiana B. Arapova of the Hermitage Museum, St. Petersburg. In North America: Jim Robinson of the Indianapolis Museum of Art; Li Jian and the now deceased Clarence Kelley of the Dayton Art Institute; Maxwell K. Hearn of the Metropolitan Museum, New York; Wu Tung of the Museum of Fine Arts, Boston; Shen C.Y. Fu and Jan Stuart of the Freer and Sackler Galleries of Art, Washington, D.C.; Patricia Berger and Terese Bartholomew of the Asian Art Museum of San Francisco; Sheila Keppel and James Cahill of the University Art Museum, Berkeley; Michael Knight of the Seattle Art Museum; Stephen Little and Julia White of the Honolulu Academy of Arts; Stephen Little and Elinor Pearlstein of the Chicago Art Institute; Bennet Bronson and Chui- mei Ho of the Field Museum of Natural History, Chicago; Steven D. Owyoung of the Saint Louis Art Museum; Yang Xiaoneng of the Nelson-Atkins Museum of Art; Barbara Stephen, Doris Dohrenwend, Hsu Chin-hsiung, Patty Proctor, and Ka Bo Tsang of the Royal Ontario Museum, Toronto; Mark Carr-Rollitt of the Museum for Textiles, Toronto; Diana Tenckho¤ of the University of Oregon Museum of Art; Claudia Brown of the Phoenix Art Museum. We owe thanks to numerous private collectors and dealers who allowed us to study works in their collections and kept us informed of new pieces on the market. Among these are Wango H. C. Weng, New Hampshire; Howard and Maryanne Rogers, Kamakura; Paul Moss, London; Valery Garrett, Hong Kong; Dr. S.Y.Yip, Hong Kong; John Fong, Pennsylvania; John Singer, London; and Sam Fogg, London. I would like to acknowledge support received from Miami University for this book. A grant from the Committee on Faculty Research paid for computer equip- ix
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