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The Sixty-Eighth A. W. Mellon Lectures in the Fine Arts: End as Beginning: Chinese Art and Dynastic Time, Part 1: The Emergence of Dynastic Time in Chinese Art
Wu Hung, Harrie A. Vanderstappen Distinguished Service Professor of Art History, University of Chicago. In the six-part lecture series End as Beginning: Chinese Art and Dynastic Time, Wu Hung explores the narratives of Chinese art and their relationship to artistic production while reflecting on a series of questions: How did dynastic time emerge and permeate writings on traditional Chinese art? How did it enrich and redefine itself in specific historical contexts? How did it interact with temporalities in different historical, religious, and political systems? How did narratives based on dynastic time respond to and inspire artistic creation? In the first lecture, “The Emergence of Dynastic Time in Chinese Art,” delivered on March 31, 2019, Wu Hung begins by introducing the concept of dynastic time and its sustained role in narrating the history of Chinese art then traces this narrative mode to the fourth century BCE, when a body of texts associated visual and material forms with a succession of archaic dynasties.
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By National Gallery of Art, Washington
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Wu Hung, Harrie A. Vanderstappen Distinguished Service Professor of Art History, University of Chicago. In the six-part lecture series End as Beginning: Chinese Art and Dynastic Time, Wu Hung explores the narratives of Chinese art and their relationship to artistic production while reflecting on a series of questions: How did dynastic time emerge and permeate writings on traditional Chinese art? How did it enrich and redefine itself in specific historical contexts? How did it interact with temporalities in different historical, religious, and political systems? How did narratives based on dynastic time respond to and inspire artistic creation? In the first lecture, “The Emergence of Dynastic Time in Chinese Art,” delivered on March 31, 2019, Wu Hung begins by introducing the concept of dynastic time and its sustained role in narrating the history of Chinese art then traces this narrative mode to the fourth century BCE, when a body of texts associated visual and material forms with a succession of archaic dynasties.
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