「品读」系列讲座第四季·中国艺术经典
北京大学 2025年秋季
主讲人简介：
Peter Sturman（石慢） is a Chinese art historian whose studies focus on text-image relationships. His research is primarily centered on the Song dynasty, with particular attention paid to calligraphy and painting produced by Su Shi and his circle active in the late Northern Song. Sturman’s studies probe the factors and motivations that gird the structure of literati art and fuel its interdisciplinary nature. His notable publications include 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 Seventeenth-Century China (Santa Barbara Museum of Art, 2012). Among his current projects is a book focused on the calligraphy of the Ming-dynasty polygraph Xu Wei (1521–1593) titled Xu Wei and the Spatial Dimensions of Talent, based on the University of Kansas Franklin D. Murphy lectures of 2024. Peter Sturman received his Ph.D. from Yale University and is Professor and Associate Dean at the University of California, Santa Barbara, where he has taught since 1989.
讲座信息：
题 目：重思北宋“三绝”
主讲人：Peter Sturman（石慢） 美国加州大学圣芭芭拉分校教授
主持人：王一楠 中国艺术研究院艺术学研究所副研究员
时 间：2025年11月03日 下午3:00-5:00
地 点：北京大学美学与美育研究中心（燕南园56号）
讲座提要：
The “three perfections,” or sanjue 三绝, born from the Tang scholar Zheng Qian’s purported mastery of poetry, painting, and calligraphy, is one of those worn-out old labels that seems to have little use beyond introducing outsiders to the intermedial nature of Chinese literati painting. But while the term may elicit little interest from students today, when examined in its early historical context, the idea of the three perfections has the potential of illuminating key aspects of artistic practice. In this presentation, three surviving works of art associated with the circle of Su Shi 苏轼 (1037–1101)—Wang Shen’s Misty River, Layered Peaks (王诜《烟江叠嶂图》), The Ear Picker attributed to the tenth-century painter Wang Qihan (王齐瀚《挑耳图》), and Mi Fu’s Coral (米芾《珊瑚帖》)—will provide focal points to suggest that the attraction of the three perfections in the eleventh century had as much to do with the Song literati’s affinity with Zheng Qian’s failures as an official as it did his multidimensional skillset as an artist.
