Peter Sturman, Professor
Chinese Painting and Calligraphy, Early to Modern, intersections of texts, theories, and images.
Office hours: Winter 2016
Wednesday, 12:30 - 1:30
B.A. Stanford University
M.A., Ph.D. Yale University
Peter Sturman specializes in the study of Chinese painting and calligraphy with a particular focus on text-image relationships. His primary focus is on literati culture of the Northern Song and its immediate aftermath, though he has also published on landscape painting of the tenth and eleventh centuries, court art of the late Northern Song, loyalist art of the Song-Yuan transition, and most recently, painting and calligraphy of the seventeenth century. Among his notable publications are Mi Fu: Style and the Art of Calligraphy in Northern Song China (Yale University Press, 1997) and The Artful Recluse: Painting, Poetry, and Politics in 17th-Century China (The Santa Barbara Museum of Art, 2012), winner of the Alfred H. Barr Jr. Award for museum scholarship. He recently concluded scholarship on Shen Zhou’s “Falling Blossoms” project of the early sixteenth century. His current projects include a book on the development of literati painting in the late Northern Song and participation in a collaborative study of Xu Wei (1521–1593), the noted Ming-dynasty playwright, poet, calligrapher, and painter. Professor Sturman has organized a number of noted international conferences, including one on painting of the Song dynasty that was held in Hangzhou (Zhejiang University, 2014).
Mi Fu: Style and the Art of Calligraphy in Northern Song China (Yale University Press, 1997).
Double Beauty: Qing Dynasty Couplets from the Lechangzai Xuan Collection (The Chinese University Art Museum, Hong Kong, 2003).
"Cranes Above Kaifeng: The Auspicious Image at the Court of Huizong." Ars Orientalis, vol. XX (1990), 33-68.
"The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting." Artibus Asiae, vol. LV, 1/2 (1995), 43-97.
"Confronting Dynastic Change: Painting After the Mongol Reunification of North and South China." RES 35 (1999), 143-169.
"Grids, Ground Planes, Fragments and Fractures: Modernism and the Chinese Landscape," in At the East-West Crossroads—The Art of Wucius Wong (Hong Kong: Hong Kong Museum of Art, 2006), 15-25.
"Spreading Falling Blossoms: Style and Replication in Shen Zhou’s Late Calligraphy." Tsing Hua Xuebao (Tsing Hua Journal of Chinese Studies), New Series XL/3 (September, 2010), 365-410.
undergraduate coursesSurvey: History of Art in China
Art in Modern China
The Art of Landscape in China
History and Aesthetics of Chinese Calligraphy [seminar]
Art and Theory in an Age of Trauma: Seventeenth-Century Chinese Painting [seminar]
China in the Seventeenth Century Museum Exhibition Preparation [undergraduate/graduate seminar]
2015 Methods and their Anxieties
2012 17th‐Century Chinese Art Exhibition Practicum
2011 The Hermit in Chinese Art
2010 China in the 17th Century: Exhibition Preparation
2009 The Methods of Chinese Calligraphy
2008 The Real and Imagined in Song Dynasty Painting
2007 Modernist Structures and Strategies in 20th-Century Chinese Art