Luo Yue
Luo Yue
Max Loehr (1903-1988) was the first world-famous scholar of Chinese art history. He was once a professor in the Art Department of Harvard University.
brief introduction
he creatively used the style analysis of patterns to divide the bronze wares in Anyang of Henan Province into five periods, which was confirmed in subsequent archaeological excavations, thus greatly encouraging the later scholars of art history to introduce the style analysis into the study of Chinese painting history.
research field
Ancient Chinese art history, ancient Chinese bronzes, jades and paintings
Life
Born in kemnitz, Saxony, Germany, in 1903. He entered the University of Munich in 1931, where he studied far eastern art and received his doctorate in 1936. He then studied Asian art collections at the Munich Museum. In 1940, he went to Beijing to study in Sino German University, and then he served as the director of the Institute, assistant professor, Tsinghua University. In 1949, he returned to his two years in Munich and moved to the United States to become a professor at the University of Michigan. He died in 1988, Nashua, New Hampshire.
Publishing books
·BronzeStylesoftheAnyangPeriod，ArchivesoftheChineseArtSocietyofAmerica7(1953):42-53. · EARLYCHINESEJADES.ALoanExhibitionPresentedbytheMuseumofArt , UniversityofMichigan.AnnArbor ,1953. ·CHI NESEBRONZEAGEWEAPONS.TheWernerJanningsCollectionintheChineseNationalPalaceMuseum .AnnArbor, 1956. ·Chineselandscapewoodcuts——fromanimperialcommentarytothetenth-centuryprintedediti onoftheBuddhistcanon.Cambridge ，Mass，HarvardUniversityPress，1968. ·RitualVesselsofBronzeAgeChina， NewYork:TheAsiaSociety ,Inc., 1968. ·ThegreatpaintersofChina/ MaxLoehr.Oxford , Phaidon, 1980 HINESISCHEPICKELAXTE.MonumentaSericaVol.IV ,Fasc.2.Peiping,1940.pp.594-604plus2pp.b/wplates. ·THEEARLIESTCHINESE SWORDSANDTHEAKINAKES.OrientalArt ,Vol.I,No.3.London,1948.pp.132-142. ·ORDOSDAGGERS ANDKNIVES:PARTONE :DAGGERSA NDPARTTWO:KNIVES.NewMaterial , Classif icationandChronology.ArtibusAsiae , Vol.XII ,1/2&XIV,1/2.Ascona,1949-51.pp.23-83;pp.77-162.Manyb/wtextdrawings.2vols. ·THEBRONZESTYLESOFTHEANYANGPERIOD(1300-1028B.C.).ArchivesChinese ArtSocietyAmericaVII.NewYork ,1953.pp.42-53plus5pp.b/wplates. ·THESTAGIMAGEIN SCYTHIAANDTHEFAREAST.ArchivesChineseArtSocietyAmericaIX .NewYork, 1955.pp.63-73plus3pp.b/wplates. ·APROPOSOFTWOPAINTINGSATTRIBUTEDTOMIYU- JEN.ArsOrientalisIII.AnnArbor ,1959.pp.167-173and8b/wplates. ·ALANDSCAPEATTRIBUTEDTOWENCHENG- MING.ArtibusAsiaeVol.XXII ,1/2.Ascona,1959.pp.143-152.2pp.b/wplates. ·THEQUESTIONOFINDIV IDUALISMINCHINESEART.JournaloftheHistoryofIdeasXXII :2.NewYork, 1961.pp.147-158. ·SOMEFUNDAMENTALISSUESINTHEHIST ORYOFCHINESEPAINTING.JournalofAestheticsandArtCriticism .N.p.,1965.pp.37-43. ·THEFATEOFTHE ORNAMENTINCHINESEART.ArchivesofAsianArtVol . XXI.NewYork ,1968.pp.8-19 ·ART-HIST ORICALART:ONEASPECTOFCH ' INGPAINTING.OrientalArt , Vol.XVI ,No.1.London, 1970.pp.1-3 ·THEMESANDV ARIATIONS:AWINTERLANDSCAPEINTHEFREERGALLERYANDRELATEDVERSIONS.ArsOrientalisIX.N.p. ,1973.pp.131-136and4pp.b/wplates.
evaluate
Luo Yue and Chinese bronzes have their own troubles. Because the materials studied by the early art historians are mostly from the hands of archaeologists, they suffer from the latter's locking up of the materials, and they also suffer from the fact that they regard themselves as the masters of the materials; while the art history scholars suspect that they are peeping, coveting or "willing other family's treasures". The elimination of this estrangement requires the magnanimity of archaeology, but on the other hand, the history of art also needs the self-consciousness of the discipline. It can expand its territory and take care of its land. In the eyes of archaeology, it is a rogue invader who invades the territory or destroys people's treasures. If the early scholars of art history had such a heart, they would like to learn from Professor Bagley's Luo Yue and the study of Chinese bronzes ertBagley:MaxLoehrandtheStudyofChineseBronzes Cornell East Asia series, 2008) is a must read book. Taking Luo Yue's Bronze research as an example, it clearly outlines the intersection and division between art history and archaeology. Although the title of the book is Luo Yue, the work of Luo Yue is inseparable from that of Gao Benhan. Therefore, there is a relationship between Jiao and Meng in the book. Bernhard Karlgren (1889-1978) should be a familiar name to readers. His research on ancient Chinese phonetics has influenced a whole generation of Chinese linguists, such as Luo Changpei and Wang Li. Besides the ancient Chinese, Gao Benhan's interest is also related to the antiquities of the three dynasties, such as ritual vessels and bronze mirrors. As for Luo Yue, I doubt his reputation in the field of archaeology or art history. Max Loehr (1903-1988) was a German. He first received training in Chinese art history under Ludwig bachhofer. Later, he was in charge of the Asian Department of the "Folk Museum" in Munich. Later, he moved to Peiping occupied by the Japanese army and became the president of the Sino German society. In 1945, Germany collapsed and the Institute closed down. Luo Yue stayed in Beijing and taught German at Tsinghua University. During this period, he and other "three generations" experts, such as Rong Geng, Chen Mengjia, and sun Haibo, had a lot of pleasure in learning. Because they saw many ancient artifacts from the Shang and Zhou Dynasties and the northern grassland, they heard about the excavation made by Academia Sinica in Xiaotun, Anyang. With the development of communication, his learning has been improved. In 1949, when the mainland was liberated, Luo Yue returned to Germany. In 1951, he was invited to the United States to set up accounting classes, and finally buried his bones here. Besides bronzes, his teaching and research in the United States also include
Chinese PinYin : Luo Yue
Luo Yue
