This course covers Chinese art and material culture from the Neolithic period to today, focusing on significant themes and issues. Our program encourages contemplation, analysis, and appreciation of Chinese art by studying tangible objects from the Neolithic era to today. Each week introduces a new theme and area of exploration:

• Cultivating passion and opening the heart to approach Chinese art
• Developing the ability to give and receive both material and spiritual nourishment on this artistic journey.
• Promoting integral ecology.
• Having in-depth knowledge and the ability to "Bring China Home": presenting the history of Chinese art to family, friends, colleagues, acquaintances, clients, and others.
• Developing communication skills: presenting oneself and expressing scientifically verbally and in writing.
• Exploring the joy of life through Chinese art.
• Improve aesthetic ability

The teaching material prepared by the lecturer in addition to recommended textbooks (such as for instance slides, lecture notes, exercises, bibliography) and communications from the lecturer specific to the course can be found inside the Moodle platform › blended.uniurb.it

Calligraphy practice

Teaching

The course will involve face-to-face lessons with opportunities for dialogue. The teaching approach will focus on discussing key themes, categories, and paradigms to gain a comprehensive understanding of the history of Chinese art. Special emphasis will be placed on acquiring familiarity with specific art-related vocabularies.

Innovative teaching methods

Calligraphy practice

Attendance

The student is required to:

• Actively participate in discussions and dialogues during lessons, contributing with their own authentic perspectives.
• Prepare or purchase brushes, ink, and rice paper in advance for calligraphy practice.
• Dedicate time to create at least one piece of Chinese art by hand.
• Read the texts or manuals selected by the Professor.
• Complete any papers or assignments as instructed by the Professor.
• Notify the teacher in advance (at least three days prior) if they will be absent from a registered exam

Course books

Mandatory texts

J.Cahill, Chinese Painting, Rizzoli, 1977. （Versione in Chinese: 高居翰，《图说中国绘画史》，李渝译，北京：生活·读书·新知 三联书店， 2014.）

J. Cahill, The Lyric Journey: Poetic Painting in China and Japan, Cambridge: Harvard University Press, 1996

P.B. Ebrey, The Cambridge Illustrated History of China, Cambridge University Press, 2° edizione, 2010.

François Jullien, Essere o vivere: Il pensiero occidentale e il pensiero cinese in venti contrasti, Milano: Feltrinelli, 2016.

B. Porter, Road to Heaven: Encounters with Chinese Hermits, Counterpoint; illustrated edition 2009.

Recommended texts (two of these to choose from)

R. E. FISHER, Buddhist art and architecture, London and New York, Thames & Hudson, 1993.

F. Cheng, M. Ghilardi, Vuoto e pieno. Il linguaggio pittorico cinese, Morcelliana, Brescia 2016.

G. Pasqualotto, Estetica del vuoto. Arte e meditazione nelle culture d’Oriente, Marsilio, Venezia 2006.

X.F. Fang, I grandi giardini cinesi. Storia, concezione, tecniche, Jaca Book; Ilustrated edizione, Milano 2010.

J. Blofeld, L. Pietrantoni, L’arte cinese del tè, Mediterranee, Roma 2016. 

T. Petts, Mindfulness and Traditional Chinese Zen Arts: The Way of Calligraphy Painting, Kung Fu, and Tea, Daoscape, 2020. 

D. Rosen, Il libro del Tè verde, traduzione di llaria Dal Brun, Vicenza: edizioni il punto d’Incontro, 2005.

R. Finlay, The Pilgrim Art: Cultures of Porcelain in World History, Berkeley and Los Angeles: University of California Press, 2010.

P. B. Welch, Chinese Art: A Guide to Motifs and Visual Imagery, Clarendon: Tuttle Publishing, 2012.

C.A. S. Williams, T. Barrow, Chinese Symbolism & Art Motifs: A Comprehensive Handbook on Symbolism in Chinese Art Through the Ages, Tuttle Publishing, 2018.

W. M. Hawley, Chinese folk designs: a collection of 300 cut – paper designs used for embroidery together with 160 Chinese art symbols and their meanings, Dover publications, 1971.

S. G. Valenstein, A handbook of Chinese ceramics, New York: The Metropolitan Museum of Art, 1989.

V. Garrett, Chinese Dress: From the Qing Dynasty to the Present Day, Tutte Publishing, 2020.

 

 

Assessment

Examinees will be expected to demonstrate their understanding of the overarching narrative of Chinese art history and fundamental concepts such as 'ink is divided into five colors' and 'void,' among others. Furthermore, they are required to showcase their genuine interest and passion for specific topics through a comprehensive summary.

The exam will consist of a written section in the present with the Prof and an oral presentation regarding their personally created work of art.

Grades will be awarded based on the students' individual dedication throughout the course, including personal reflections on specific topics, authenticity,  and the ability to engage with the chosen topic, either selected by them or the teacher. Additionally, their capacity to synthesize Chinese art history and aesthetic philosophy will be considered.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.

Teaching

Study of the exam texts plus two texts of your choosing; before the semester begins, communicate with the Prof via email.

Attendance

Non-attending students are required to study two additional texts of their choice from the recommended readings, in addition to the compulsory texts. Furthermore, they must prepare a hand-crafted Chinese artwork (which may also be a Chinese dance) for presentation.

Course books

Mandatory texts

J.Cahill, Chinese Painting, Rizzoli, 1977. （Versione in Chinese: 高居翰，《图说中国绘画史》，李渝译，北京：生活·读书·新知 三联书店， 2014.）

J. Cahill, The Lyric Journey: Poetic Painting in China and Japan, Cambridge: Harvard University Press, 1996

P.B. Ebrey, The Cambridge Illustrated History of China, Cambridge University Press, 2° edizione, 2010.

François Jullien, Essere o vivere: Il pensiero occidentale e il pensiero cinese in venti contrasti, Milano: Feltrinelli, 2016.

B. Porter, Road to Heaven: Encounters with Chinese Hermits, Counterpoint; illustrated edition 2009.

Recommended texts (two of these to choose from)

R. E. FISHER, Buddhist art and architecture, London and New York, Thames & Hudson, 1993.

F. Cheng, M. Ghilardi, Vuoto e pieno. Il linguaggio pittorico cinese, Morcelliana, Brescia 2016.

G. Pasqualotto, Estetica del vuoto. Arte e meditazione nelle culture d’Oriente, Marsilio, Venezia 2006.

X.F. Fang, I grandi giardini cinesi. Storia, concezione, tecniche, Jaca Book; Ilustrated edizione, Milano 2010.

J. Blofeld, L. Pietrantoni, L’arte cinese del tè, Mediterranee, Roma 2016. 

T. Petts, Mindfulness and Traditional Chinese Zen Arts: The Way of Calligraphy Painting, Kung Fu, and Tea, Daoscape, 2020. 

D. Rosen, Il libro del Tè verde, traduzione di llaria Dal Brun, Vicenza: edizioni il punto d’Incontro, 2005.

R. Finlay, The Pilgrim Art: Cultures of Porcelain in World History, Berkeley and Los Angeles: University of California Press, 2010.

P. B. Welch, Chinese Art: A Guide to Motifs and Visual Imagery, Clarendon: Tuttle Publishing, 2012.

C.A. S. Williams, T. Barrow, Chinese Symbolism & Art Motifs: A Comprehensive Handbook on Symbolism in Chinese Art Through the Ages, Tuttle Publishing, 2018.

W. M. Hawley, Chinese folk designs: a collection of 300 cut – paper designs used for embroidery together with 160 Chinese art symbols and their meanings, Dover publications, 1971.

S. G. Valenstein, A handbook of Chinese ceramics, New York: The Metropolitan Museum of Art, 1989.

V. Garrett, Chinese Dress: From the Qing Dynasty to the Present Day, Tutte Publishing, 2020.

 

 

Assessment

In the written and oral exam:

Written part: The student must demonstrate an understanding of the fundamental course concepts and the ability to synthesize and convey the relevant knowledge (based on the study of textbooks).

Oral part: Students must prepare a presentation related to a Chinese artwork they have personally created.

Note: Non-attending students are required to contact the Prof. via email before taking the exam.

Disability and Specific Learning Disorders (SLD)

Students who have registered their disability certification or SLD certification with the Inclusion and Right to Study Office can request to use conceptual maps (for keywords) during exams.

To this end, it is necessary to send the maps, two weeks before the exam date, to the course instructor, who will verify their compliance with the university guidelines and may request modifications.