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Conference Paper: The Inefficacy of Gods
| Title | The Inefficacy of Gods |
|---|---|
| Other Titles | Literary Brush and Vernacular Gods |
| Authors | |
| Issue Date | 2017 |
| Citation | British Association of Chinese Studies (BACS) Annual Conference, University of Glasgow, Glasgow, UK, 7-9 September 2017 How to Cite? |
| Abstract | This paper focuses on the work of a Cantonese artist Su Renshan (1814-c.1850) and his unusual paintings of gods and immortals. Working in the early nineteenth century when political and social unease was rising at Canton port leading to the Opium War, Su Renshan’s ink paintings became a place where this artist vented his frustrations and questioned the moral and political role of a Confucian scholar. One way in which this manifests is by drawing on local histories and vernacular culture including local religious images of gods and immortals. Through close readings of paintings and an examination of artistic strategies, this paper examines the genre of popular images of gods in South China, its importance in constructing a regional identity and how these images, under the brush of one artist, became an iconoclastic force. |
| Description | Panel 12 - Religious Images and Objects in Late Imperial China |
| Persistent Identifier | http://hdl.handle.net/10722/247196 |
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Koon, YW | - |
| dc.date.accessioned | 2017-10-18T08:23:46Z | - |
| dc.date.available | 2017-10-18T08:23:46Z | - |
| dc.date.issued | 2017 | - |
| dc.identifier.citation | British Association of Chinese Studies (BACS) Annual Conference, University of Glasgow, Glasgow, UK, 7-9 September 2017 | - |
| dc.identifier.uri | http://hdl.handle.net/10722/247196 | - |
| dc.description | Panel 12 - Religious Images and Objects in Late Imperial China | - |
| dc.description.abstract | This paper focuses on the work of a Cantonese artist Su Renshan (1814-c.1850) and his unusual paintings of gods and immortals. Working in the early nineteenth century when political and social unease was rising at Canton port leading to the Opium War, Su Renshan’s ink paintings became a place where this artist vented his frustrations and questioned the moral and political role of a Confucian scholar. One way in which this manifests is by drawing on local histories and vernacular culture including local religious images of gods and immortals. Through close readings of paintings and an examination of artistic strategies, this paper examines the genre of popular images of gods in South China, its importance in constructing a regional identity and how these images, under the brush of one artist, became an iconoclastic force. | - |
| dc.language | eng | - |
| dc.relation.ispartof | British Association of Chinese Studies | - |
| dc.title | The Inefficacy of Gods | - |
| dc.title.alternative | Literary Brush and Vernacular Gods | - |
| dc.type | Conference_Paper | - |
| dc.identifier.email | Koon, YW: koonyw@hkucc.hku.hk | - |
| dc.identifier.authority | Koon, YW=rp01183 | - |
| dc.identifier.hkuros | 279833 | - |