Course Requirements and Grades 1. Class Attendance and Participation (20 %) 2. Short Essay (15 %) The objective of this essay is to investigate the interplay between text and image as they appear together in artworks, picture books, commercial posters and prints and other media in our contemporary society. Select your topic from within your area of interest and then explicate how you can define the relationship between word and image therein and what the role of word and image is in conveying meaning and information and in articulating artistic values and social practice. In this essay, you will connect your argument and findings to theoretical concepts and/or significant issues with regard to case studies discussed in class or in course readings. This assignment will allow you to engage contemporary visual culture and society with a critical eye and to explore the course topic in further depth. 3. One-page Project Proposal and a Bibliography for Final Paper (15%) 4. Student Presentation (20 %) + Research Essay (30%) You will have the opportunity to select topics from various genres and forms of East Asian artworks in order to explore various issues in further depth and to debate on the relationship between word and image and the multilayered functions and meanings of verbal and visual elements in art. Responding to theoretical implications and critical interpretations offered by particular scholars, you will develop your own conceptual framework to approach the issue of the text-image relationship in the cultural context of East Asia. In the latter half of the semester, you will have a chance to present your ongoing research to the class and receive constructive feedback. Your research will culminate in a final essay of approximately ten pages. close

This course will explore the relationship between text and image as an integral aspect of artistic theory and practice in East Asian visual culture from, ancient to modern periods, using recent art historical discourse and perspectives on that relationship as analytical tools. Investigating the notions and meanings of texts and images and their semiotic perspectives, this course addresses a wide variety of regionally and historically interwoven topics. The topics that will be addressed include: 1) theories on the origins of writing and painting, 2) the role of text in creating visual art, 3) the multiple means of narrating stories through images, 4) tensions and potential correspondence between words and images in illustrated scripts, 5) iconographic analyses with regard to text-image relations, 6) the role of poems and inscriptions as para-text framing images in the literati painting tradition, 7) the negotiation between text and image in religious art , and 8) the significance of illustrated books and prints as a combined form of image and word in shaping and transmitting knowledge, cultural and religious practices. Throughout the course, students will discuss how texts and images interact in the formulation of canonical works and how the image-text nexus informs questions of representation, modes of narrative, cultural memory, and viewership or ownership. Based on an understanding of the art historical narrative of continuous, coherent development of text and image relations in East Asian art, students will further explore how this tradition is being creatively viewed and reinterpreted by modern and contemporary artists. Each lecture will introduce representative examples selected from the visual arts and literature of China, Korea and Japan and integrate them into the aforementioned specific topics. Students will be encouraged to draw on methodologies from art history, literature, religious studies, and intellectual and cultural history to improve their understanding of the dialectic between text and image as represented in the cultural traditions of East Asian art, and to develop intellectual and critical thinking skills applicable to their own fields of study. close

WEEK 1: Introduction: Images, Texts, and Disciplines • W.J.T. Mitchell, Picture Theory: Essays on Verbal and visual Information (Chicago: University of Chicago, 1994), 1-19; 83-105. WEEK 2: Lingering at the Threshold between Text and Image • Stephen W. Melville and Bill Readings, “General Introduction,” in Vision and Textuality (Durham: Duke University Press, 1995), 3-28. • Mitchell W. J. T., “What Is an Image?” New Literary History 15:3 (Spring, 1984): 503-537. • Mieke Bal and Norman Bryson, “Semiotics and Art History,” Art Bulletin 73: 2 (June, 1991), 174-208. • James Elkins and Maja Naef, eds., What is an Image (University Park, Pa: Pennsylvania State University Press, 2011), 19-34; 53-90. WEEK 3: Iconography without Text: Reading Ornament as Text • Robert W. Bagley, “Meaning and Explanation,” in The Problem of Meaning in Early Chinese Ritual Bronzes, ed. Roderick Whitfield (London: Percival David Foundation of Chinese Art, School of Oriental and African Studies, University of London, 1993), 34-55. • Martin J. Powers, Pattern and Person: Ornament, Society, and Self in Classical China. (Cambridge, Mass: Harvard University Asia Center, 2006), 18-54. • Robert Bagley, “Interpreting Prehistoric Designs,” in Iconography without Texts, ed. Paul Taylor (London: Warburg Institute, 2008), 43-68. WEEK 4: Narrative Painting in Chinese Art • Julia K. Murray, “Narrative and Visual Narrative across Disciplines and Cultures,” in Rethinking Visual Narratives from Asia: Intercultural and Comparative Perspectives, edited by Alexandra Green (Hong Kong: Hong Kong University Press, 2013), 13-27. • John Hay, “Along the River during Winter’s First Snow: A Tenth-Century Handscroll and Early Chinese Narrative,” Burlington Magazine 114: 830 (May, 1972), 294-303. • Wu Hung, “The Admonitions Scroll Revisited: Iconology, Narratology, Style, Dating,” in Gu Kaizhi and the Admonitions Scroll, ed. Shane McCausland (London: British Museum Press, 2003), 89-99. • Yu-chih Lai, “Historicity, Visuality and Patterns of Literati Transcendence: Picturing the Red Cliff,” in On Telling Images of China: Essays in Narrative Painting and Visual Culture, eds. Shane McCausland and Yin Hwang (Hong Kong: Hong Kong University, 2014), 177-212. WEEK 5: Storytelling in Japanese Art • Charles Franklin Sayre, “Japanese Court-Style Narrative Painting of the Late Middle Ages,” Archives of Asian Art 35 (1982), 71-81. • Watanabe Masako, Storytelling in Japanese Painting (New York: Metropolitan Museum of Art, 2011), 3-49. • Melissa McCormick, Tosa Mitsunobu and the Small Scroll in Medieval Japan (Seattle: University of Washington Press, 2009), 79-95. • Yoshiaki Shimizu, “The Shigisan-engi Scrolls, c. 1175.” In Pictorial Narrative in Antiquity and the Middle Ages, ed. Herbert L. Kessler and Marianna Shreve Simpson et al, Studies in the History of Art 16 (Washington: National Gallery of Art, 1985), 115-129. WEEK 6: Border Crossing: Chinese Narratives in Japanese and Korean Art • Julia K. Murray, “From Textbook to Testimonial: The Emperor's Mirror, an Illustrated Discussion (Di jian tu shuo/Teikan zusetsu) in China and Japan,”Ars Orientalis 31 (2001), 65-101. • Hiroshi Onishi, “Chinese Lore for Japanese Spaces,” Metropolitan Museum of Art Bulletin 51:1 (Summer, 1993), 3-47. • Kazuko Kameda-Madar, “Pictures of Social Networks: Transforming Visual Representations of the Orchid Pavilion Gathering in the Tokugawa Period (1615-1868),” (PhD diss., University of British Columbia, 2011), 17-104. • Shane McCausland, and Matthew P. McCausland, Chinese Romance from a Japanese Brush: Kano Sansetsu's Chogonka Scrolls in the Chester Beatty Library (London: Scala Publications, 2009), 35-72. WEEK 7: Text and Image in Religious Art (1): Buddhism • Julia K. Murray, “Buddhism and Early Narrative Illustration in China,” Archives of Asian Art 48, (1995), 17-31. • Hong, Yoon-sik, “The Painting, ‘Visualization of the Hwaom Pure Land’ Identified as a Koryo Buddhist Painting,” Korea Journal 37:1 (Spring, 1997), 53-67. • Beth McKillop, “A Korean Buddhist Illuminated Manuscript." The British Library Journal 24:1 (Spring 1998), 158-172. • Hsio-Yen Shih, “Readings and Re-Readings of Narrative in Dunhuang Murals,”Artibus Asiae 53:1/2 (1993), 59-88. • Robert Ford Campany, “Religious Repertoires and Contestation: A Case Study Based on Buddhist Miracle Tales,” History of Religions 52: 2 (November 2012): 99-141 WEEK 8: Text and Image in Religious Art (2): Daoism • Shih-shan Susan Huang, Picturing the True Form: Daoist Visual Culture in Traditional China (Cambridge, Mass: Harvard University Asia Center, 2012), 1-21. • François Louis, “The Genesis of an Icon: The “Taiji” Diagram’s Early History,” Harvard Journal of Asiatic Studies 63:1 (Junuary 2003), 145-196 • Shi-shan Susan Huang, “Early Buddhist Illustrated Prints in Hangzhou,” in Knowledge and Text Production in an Age of Print: China, 900-1400, ed. Lucille Chia (Leiden: Brill, 2011), 135-166. WEEK 9: The Representation of Auspiciousness in Images and Words • Qianshen Bai, “Image as Word: A Study of Rebus Play in Song Painting (960-1279),”Metropolitan Museum Journal 34 (1999), 57-72. • Maggie C. K. Wan, “Jiajing Emperor and His Auspicious Words,” Archives of Asian Art 57 (2007), 95-120. • Robert Moes, “Auspicious Spirits: Korean Folk Paintings and Related Objects.” Orientations 14:9 (September 1983), 30-43. • Peter C. Sturman, “Cranes above Kaifeng: The Auspicious Image at the Court of Huizong,”Ars Orientalis 20 (1990), 33-68. • Maggie Bickford, “Emperor Huizong and the Aesthetic of Agency,” Archives of Asian Art 53 (2003), 71-104. WEEK 10: Calligraphy as an Embodied Image • Lothar Ledderose, “Chinese Calligraphy: its Aesthetic Dimension and Social Function,” Orientations 17:10 (October, 1986), 35-50 • John Hay, “The Human Body as a Microcosmic Source of Macrocosmic Values in Calligraphy” in Theories of the Arts in China, edited by Susan Bush and Christian F. Murck (Princeton, N.J.: Princeton University Press, 1983), 58-74 • Peter Charles Sturman, Mi Fu: Style and the Art of Calligraphy in Northern Song China (New Haven, Conn: Yale University Press, 1997), 87-120. • Wen C. Fong, “Chinese Calligraphy: The Theory and History,” in The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection, edited by Robert E. Harrist and Wen Fong (Princeton, N.J.: Art Museum, Princeton University, 1999), 28-86. WEEK 11: The Three Perfections: Poetry, Calligraphy, and Painting • Fu Shen, “Format and the Integration of Painting and Calligraphy” in Traces of the Brush: Studies in Chinese Calligraphy (New Haven, Conn: Yale University Press, 1980), 179-201. • Susan Bush and Hsio-yen Shih, Early Chinese Texts on Painting (Cambridge, Mass: Published for the Harvard-Yenching Institute by Harvard University Press, 1985), 191-240. • Robert Harrist, The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection, edited by Robert E. Harrist and Wen Fong (Princeton, N.J.: Art Museum, Princeton University, 1999), 281-301. • Michael Sullivan, The Three Perfections: Chinese Painting, Poetry, and Calligraphy (New York: G. Braziller, 1980), 11-80 • Wen C Fong and Alfreda Murck, “Introduction: The Three Perfections: Poetry, Calligraphy, and Painting,” in Words and Images: Chinese Poetry, Calligraphy, and Painting, edited by Alfreda Murck and Wen Fong (New York: Metropolitan Museum of Art, 1991): 11-20. WEEK 12: Poetic Allusion in East Asian Art • James Cahil, The Lyric Journey: Poetic Painting in China and Japan (Cambridge, Mass: Harvard University Press,1996): 7-72, 135-196. • Yukio Lippit, “Tawaraya Sōtatsu and the Watery Poetics of Japanese Ink Painting,” RES: Anthropology and Aesthetics 51 (Spring, 2007): 57-76. • Chow, Brian G and Sŭng-hey Sŏn ed., The Lure of Painted Poetry: Japanese and Korean Art (Cleveland: Cleveland Museum of Art, 2011),13-55; 82-96. • Qi Gong, “The Relationships between Poetry, Calligraphy, and Painting” in Words and Images: Chinese Poetry, Calligraphy, and Painting, edited by Alfreda Murck and Wen Fong (New York: Metropolitan Museum of Art, 1991), 11-20. WEEK 13: Book and Print Culture • Young Kyun Oh, “Printing the Samgang haengsil-to (Illustrated Guide to the Three Relationships), a Premodern Korean Moral Primer,” East Asian Publishing and Society 1(2011), 1-38. • Anne Burkus-Chasson, “Visual Hermeneutics and the Act of Turning the Leaf: A Genealogy of Liu Yuan’s Lingyan ge,” in Printing and Book Culture in Late Imperial China, edited by Cynthia Joanne Brokaw and Kai-wing Chow (Berkeley: University of California Press, 2005), 371-416. • Scarlett Ju-yu Jang, “Form, Content, and Audience: A Common Theme in Painting and Woodblock-Printed Books of the Ming Dynasty,” Ars Orientalis 27 (1997), 1-16. • Shane McCausland, “Copying and Transmitting, Knowledge and Nonsense: From the Great Encyclopedia to A Book from the Sky,” in Original Intentions: Essays on Production, Reproduction and Interpretation in the Arts of China, ed. Pearce, Nick and Jason Steuber et al. (Gainsville: University Press of Florida, 2012), 236-263. • Robert E. Hegel, “Habits of Viewing Pictures,” “Picturing Texts and Textualizing Pictures,” and “Picturing Through Texts - and Pictures,” in Reading Illustrated Fiction in Late Imperial China (Stanford: Stanford University Press, 1998), 311-326. WEEK 14: Reconsidering Text and Image in Modern and Contemporary Art • Hal Foster, “Xu Bing, A Western Perspective,” in Persistence/Transformation, 87–98. • Wu Hung, “Anti-Writing,” “Ruin Pictures,” and “Surface,” in Transience, 114–119; 130–135. • Wu Hung, Shu: Reinventing Books in Contemporary Chinese Art (New York: China Institute Gallery, 2006), 1–23. • Simon Leung and Jane A. Kaplan, “Pseudo-Languages: A Conversation with Wenda Gu, Xu Bing, and Jonathan Hay, “ Art Journal 58:3 (1999), 86-99. WEEK 15: Student Presentations close