China and Inner Asia
Organized Panel Session
What does emotion look like? What are the formal relationships that link the emotions with pictorial genres and image-text practices? The intertwined relationships between aesthetic emotions and ways of looking at gendered subjects, gardens, and landscapes serve as a critical lens through which a range of previously unexamined materials and social practices from the Song dynasty to Republican China will be discussed. In contrast to a general understanding of the subdued expression of emotion in painting, Jeehee Hong argues that the painted subjects of social minors in the Song achieve individualized expressions in complex interactions between the artist’s intention and the sitter in which new social relations were formed. While the garden is often viewed as the projection of the subjective mind, Anne Burkus-Chasson charts the multilayered connections between the literati mind and the natural world by examining the dairies and activities of the seventeenth-century scholar Qi Biaojia. Studying the act of reading by women inscribed in both painting and poetry, Grace Fong delineates the topography and routes of the circulation of gendered gaze and desire in the literary culture of the High Qing. Probing the role of lyricism in the new technological era, Shengqing Wu’s paper explores the embodiment of traditional lyrical visions and feelings in pictorial photography and its intermedial practices. This panel, participated by six scholars, traces multiple routes of signification and modes of expression in order to elucidate the interactive syntheses of media and genres at the affective and aesthetic levels in Chinese art and literature.