@mastersthesis {12688,
	title = {Chinese Traditionalist Painting and the Poetry of Du Fu (712-770): Politicization, Institutionalization, and Self-Expression between 1912 and 1966},
	year = {2018},
	school = {Ohio State},
	abstract = {This dissertation outlines the history of the symbiosis between painting and Du Fu{\textquoteright}s poetry from the poet{\textquoteright}s time to the twentieth century. Examining the combination of the two arts between 1912 and 1966 will show artists{\textquoteright} various ways of incorporating Du Fu{\textquoteright}s poems in their paintings. It suggests that a shift of spectatorship from private circles of the educated elite to the common people and the Chinese Communist Party (CCP) took place around 1949, which fundamentally changed the functions of traditionalist art from private communication to service to the masses and the country. In the People{\textquoteright}s Republic of China (PRC, 1949 onwards) the establishment of the Du Fu Memorial Museum in 1955 marked an important moment in the processes of politicizing and institutionalizing the symbiosis of painting and Du Fu{\textquoteright}s poetry. The museum has directed and controlled the production, exhibition, and circulation of paintings after Du Fu{\textquoteright}s poems based on constantly changing political realities. In this context, I argue in this dissertation that artists used their agency and incorporated Du Fu{\textquoteright}s poetry in their paintings in ingenious ways. They transformed their paintings, with Du Fu{\textquoteright}s texts, into versatile spaces, where on the surface they might appear satisfactory to the censors, but at other levels suggested alternative meanings available to elite viewers.},
	keywords = {East Asia, Painting, Twenty-first Century},
	author = {Yin, Yanfei}
}
