Art as a pathway to God : a historical-theological study of the Jesuit mission to China, 1552-1773 / by Susangeline Yalili Patrick.

Based on a revision of the author's thesis (doctoral)--Asbury Theological Seminary, 2019, under the title: Art as a pathway to God : a historical-theological study of the Jesuit mission to China in the late Ming and early Qing dynasties (1552-1773).

Includes bibliographical references and index.

History, theology, and art in cross-cultural mission -- The Jesuits and Christian art in China -- Jesuit mission and art in the late Ming dynasty (1552-1644) -- Asian Christians and art in the late Ming dynasty (1552-1644) -- European Jesuits and art in the early Qing dynasty (1644-1773) -- Asian Christians and art in the early Qing dynasty (1644-1773).

"This book integrates history, theology, and art and analyzes the Jesuits' cross-cultural mission in late imperial China. Readers will find a rich collection of resources from historical sites, museums, manuscripts, and archival materials, including previous unpublished works of art. The production and circulation of art from different historical periods and categories show the artistic, theological, and missional values of Christian art. It highlights European Jesuits, Asian Christians, transnationalism, and gives voice to Chinese Christian women and their patronage of art in the seventeenth century. It offers a rare systematic study of the relation between art and mission history"--  Provided by publisher.

Local access dig.pdf [Patrick-Art Pathway.pdf]

Link to Brill eBooks via BC Libraries

Intro -- Contents -- Acknowledgments -- Maps and Figures -- Maps -- Figures -- Abbreviations -- General Abbreviations -- 1 History, Theology, and Art in Cross-Cultural Mission -- 1 Why Study Art and Mission? -- 2 Overview of Chapters -- 3 Theoretical Framework -- 3.1 Art as a Historical Source -- 3.2 Art as a Source of Theology -- 3.3 Art as a Cultural Source -- 4 Research Methodology -- 4.1 Works of Art from Art Museums and Historical Sites -- 4.2 Manuscripts and Archival Sources -- 5 Scope -- 2 The Jesuits and Christian Art in China -- 1 Christian Art and Architecture in China

1.1 Nestorian Art and Architecture in the Tang Dynasty -- 1.2 Nestorians and Franciscan Art in the Yuan Dynasty -- 1.3 Christian Art in the Early Ming Dynasty -- 2 Jesuit Motivation for Using Art in Mission -- 2.1 A Brief History and Theology of Art in the Catholic Tradition -- 2.2 Theology of Art during the Reformation in Europe -- 2.2.1 Protestant Impact on Catholic Art -- 2.2.2 The Jesuits' Role in the Catholic Reformation -- 2.3 Jesuit Theology of Art -- 2.3.1 Art as a Way of Contemplation -- 2.3.2 From Profane to Sacred -- 2.3.3 Art in Jesuit Catechisms -- 2.3.4 Art as a Pathway to God

3 Jesuit Mission and Art in the Late Ming Dynasty (1552-1644) -- 1 The Intercultural Theological Foundation -- 2 The Jesuit Missionaries and Their Use of Art -- 2.1 Transporting Christian Art from Europe -- 2.2 Art, Curiosity, and Faith -- 2.3 Art and Theology in Jesuit Catechisms -- 3 Jesuit Church Architecture and Mission -- 3.1 A Global-Local Synthesis -- 3.2 From Buddhist Temples to Christian Churches -- 3.3 Chinese Temple-Styled Churches -- 4 The Cultural and Theological Meaning of Jesuit Art -- 4.1 Art in Service of Mission -- 4.2 Cultural Accommodation or Intercultural Exchange

4.3 Hybridity and the Global Network -- 4.4 Christo-Centric and Theologically Focused Art -- 4.4.1 Theology of the Cross -- 4.4.2 Theology of Suffering -- 4 Asian Christians and Art in the Late Ming Dynasty (1552-1644) -- 1 Late Ming Seeing and Believing -- 1.1 Have You Any Art of Your God? -- 1.2 Idols to Feed the Worms and Fire -- 1.3 Christian Art in the Ming Imperial Palace -- 1.4 Rediscovering Nestorian Christianity -- 1.5 Christian Motifs in Ming Artistic Forms -- 1.6 Christian Ivories from Manila -- 2 Changing Faith and Art -- 2.1 Spontaneous and Systematic Changes

2.2 Christian Men and Women as Patrons of Art -- 2.3 Chinese, Japanese, and Vietnamese Artists in Macau -- 2.4 Chinese Jesuits and Missionaries -- 2.5 Ming House Churches -- 5 European Jesuits and Art in the Early Qing Dynasty (1644-1773) -- 1 Jesuit Artist-Missionaries in the Qing Court -- 1.1 Seven Artist-Missionaries and Their Faithful Service -- 1.2 Cultural Synthesis and Hybridity in Art -- 2 The Jesuit Commissioning of Art -- 2.1 Christian Iconography on Chinese Porcelain -- 2.2 Christian Catechetical Books -- 2.3 Jesuit Church Architecture -- 2.3.1 Jesuit Churches in Beijing 2.3.2 Jesuit Churches in Sichuan

This study investigates the significant role of art in Jesuit mission efforts in China (1552-1773). Archaeological materials and written texts reveal that Jesuits and Chinese Christians sustained their faith and expressed their devotion to God via art.

Fanyu Tangyan : cong Tushanwan huaguan dao Furen huapai de yishu shijian 梵語唐言 : 從土山灣畫館到輔仁畫派的藝術實踐 ( (1583-1941) = L'histoire de la peinture catholique en Chine / Yao Peng, Tao Jianping bianzhou 姚鵬, 陶建平編著.
Includes bibliographical references.

第一章: 兩朝回顧
1．程氏墨苑 -- 2．玄宰筆書 -- 3．出像經解 -- 4．不得已辯 -- 5．墨井道人 -- 6．宮廷畫師

第二章: 山灣堂囝
7．篳路藍縷 -- 《救世主實行全圖》-- 《土山灣學校畫論》 -- 8．畫荻教子 -- 《透視學》-- 《鉛筆習畫帖》-- 9．後進卓犖 -- 《千奇萬妙》-- 《新史像解》

第三章: 畫館中興
10．道原精萃 -- 《萬物真源》 -- 《天主降生引義》-- 《天主降生言行紀略》-- 《宗徒大事錄》-- 《聖母傳》 -- 《宗徒列傳》-- 《教皇洪序》 -- 11．默思聖難 -- 12．古史像解

第四章: 梵語唐言
13．砥礪塞外 -- 狄化淳 -- 方希聖 -- 14．輔仁畫派 -- 陳緣督 -- 王肅達 -- 徐濟華 -- 陸鴻年 -- 李鳴遠 -- 王呈祥 -- 黃瑞龍 -- 同仁圈

跋
參考書目

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梵語唐言"是一部研究中國近代繪畫藝術嬗變歷史過程的學術專著.作者舉列自己蒐集的大量珍貴美術作品,分析了西方繪畫藝術對中國傳統審美觀念和表現手段的影響,著重從哲學角度探討清末民國以來中國畫家博採西方藝術理念,用於闡發中國民眾喜聞樂見的主題.作者側重介紹了被徐悲鴻譽為"中國西洋畫搖籃"的土山灣畫館,以及二十世紀四五十年代享譽世界的輔仁大學美術系.我國以往由於缺少實物參考,對這兩個美術機構的研究幾乎為空白,"梵語唐言"試圖在這個領域做一些有益的,建設性的探索.

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天主教在中國傳播耶穌福音，相伴而來的還有中國人眼中新異的歐洲繪畫藝術，不論明末清初，還是晚清民國，都對當時中國人的審美觀念有著潛移默化的影響，國人的鑑賞品位多了些濃墨淡雅，別樣馨香。同時期在歐洲，從宮廷到教會，時常不斷地收到來自東方的美術作品，以及對這個古老國家人文地理、民俗風情、科學藝術的介紹，豐富了那里人們對“遠在天邊”的類族之了解，調整著自身的思想內涵和文化格局。東海西海，心理攸同。

　 　“東西來去”帶來的不僅是文化的碰撞和交流，也改變著行為主體自身的方式和態度。從利瑪竇的“適應政策”，到“禮儀之爭”，再到“本地化”實踐，一條波浪曲線勾勒出天主教在中國的積極探索、保守搖擺和無奈選擇。天主教在中國從一群心揣理想、無依無靠的“探險者”，經過兩百餘年的披荊斬棘，成為中國第一次“對外開放”或日“第一次現代化進程”的參與者、推動者、見證者，又是利益攸關者，也是最大的受惠者之一。否極泰來，盛極而衰。世間事物難逃自然規律和社會進程的魔咒。第二次世界大戰打亂了世界以及中國文明的進程，前所未有的經濟能力的縮水和社會財富的滅失，使得這個社會難以供養寄附生存的宗教機構。不僅天主教如此，中國的其他宗教也是如此。百教凋敝。皮之不存，毛將焉附。何論繪畫？

　　從土山灣畫館到輔仁畫派的藝術實踐，人們在中國天主教繪畫嬗變中看到了什麼？第一，藝術即工具。最初下水嘗試者往往謹小慎微，小心翼翼地模仿歐洲同行的成熟作品，為其之用。他們的目的尚不清晰，僅僅為了滿足宣教需要。其中有些人久居中國，受中國文化的少許感染，提出“本地化”實踐更符合傳播耶穌基督福音的效果，比如范世熙神父，他提出了聖像畫繪製的改進方向，自己卻沒有做更多具體嘗試，與他在中國從事美術工作的時間短暫不無關係。第二，藝術即目的。土山灣畫館有賴於文化涵養深厚的一代領導人的遠見卓識，把一間默默無聞的加工聖像畫的作坊，建成蜚聲十里洋場的西洋畫教育和培訓基地，奠定了西洋藝術在中國傳播的基礎，生根開花結果，新生代藝術家從這裡走向全國。土山灣畫館繪畫藝術的內涵和外延給時代帶來的更多的不是天主教主題的變化，而是繪畫技藝的引進、鑑賞力的豐富以及世俗化的擴張。第三，藝術即存在。顧名思義，“本土化”實踐本質上是外來的思想和觀念與引入地傳統的融合過程，外來的東西蛻化揚棄，本土的傳統脫塵不凡。輔仁畫派歷存三十餘年，中經戰爭罹難，“本土化”實踐成果得到國際美術界充分肯定，是極少數公認的中國繪畫流派之一。對於那些才華橫溢的畫家來說或許往事如煙，然而他們出神入化的藝術作品一定會流芳百世。