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Su Shi

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Published: 01 April 2019
Figure 9. Opening page of Shi zhu Su shi [Poetry by Su Shi with Shi Yuanzhi’s Annotations], by Song Luo (Chinese, 1634–1713) and Shao Changheng (Chinese, 1634–1704), 1699. Photograph: courtesy of Cheng Yu Tung East Asian Library, University of Toronto. Figure 9. Opening page of Shi zhu Su shi More
Journal Article
Archives of Asian Art (1 April 2019) 69 (1): 103–120.
Published: 01 April 2019
...Figure 9. Opening page of Shi zhu Su shi [Poetry by Su Shi with Shi Yuanzhi’s Annotations], by Song Luo (Chinese, 1634–1713) and Shao Changheng (Chinese, 1634–1704), 1699. Photograph: courtesy of Cheng Yu Tung East Asian Library, University of Toronto. Figure 9. Opening page of Shi zhu Su shi...
Image
Published: 01 April 2019
Figure 3. Opening page of juan 3 from Zhu Dongpo xiansheng shi (Poems by Su Shi with Annotations), 1213. National Central Library of Taiwan, Taipei (402.52.10204). Figure 3. Opening page of juan 3 from Zhu Dongpo xiansheng shi (Poems by Su Shi with Annotations), 1213. National Central More
Image
Published: 01 April 2019
Figure 4. Page 83 of juan 37 from Zhu Dongpo xiansheng shi (Poems by Su Shi with Annotations), 1213. National Central Library of Taiwan, Taipei (402.52.10204) Figure 4. Page 83 of juan 37 from Zhu Dongpo xiansheng shi (Poems by Su Shi with Annotations), 1213. National Central Library of More
Image
Published: 01 April 2019
Figure 1. Unidentified artist, Portraits of Su Shi and Weng Fanggang , 1812. Album leaf; ink on paper, 21.5 × 24.3 cm. Kansong [Gansong] Art Museum, Seoul. Figure 1. Unidentified artist, Portraits of Su Shi and Weng Fanggang, 1812. Album leaf; ink on paper, 21.5 × 24.3 cm. Kansong [Gansong More
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Published: 01 April 2019
Figure 2. Su Shi (Chinese, 1037–1101), Dark Clouds at the Edge of the Sky , or The Songyang Manuscript , ca. 1077, detail of section two with inscription by Weng Fanggang (Chinese, 1733–1818). Ink on paper, dimensions unknown. Shanghai Museum, Shanghai. From Bai and Chen, Su Shi shufa jing More
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Published: 01 April 2019
Figure 6. Zhu Henian (Chinese, 1760–1834), Copy of the Portrait of Su Shi by Li Gonglin , late eighteenth century. Ink on paper, 26.6 × 16 cm. Shanghai Museum, Shanghai. From Su Wenzhong Tianji Wuyun tie zhenqi . Figure 6. Zhu Henian (Chinese, 1760–1834), Copy of the Portrait of Su Shi by Li More
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Published: 01 April 2019
Figure 7. Zhu Henian (Chinese, 1760–1834), Portrait of Su Shi after Zhao Mengjian , late eighteenth century. Hanging scroll, ink on paper, dimensions unknown. Whereabouts unknown. From H. Kim, “Chu’sa Kim Chŏng-hŭi ka suyonghan Ong Panggang sojang So Sik chinyŏng,” 131. Figure 7. Zhu Henian More
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Published: 01 April 2019
Figure 8. Zhu Zhifan (Chinese, jinshi 1595), Portrait of Su Shi in Rustic Attire , 1619. Hanging scroll; ink on paper, 92 × 29 cm. Guangdong Provincial Museum, Guangzhou. Figure 8. Zhu Zhifan (Chinese, jinshi 1595), Portrait of Su Shi in Rustic Attire, 1619. Hanging scroll; ink on paper, 92 More
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Published: 01 April 2019
Figure 10. Su Shi in Rustic Attire with inscription by Song Luo (Chinese 1634–1713), 1667. Inkstone, 21 × 17.7 × 2.3 cm. National Palace Museum, Taipei. Figure 10. Su Shi in Rustic Attire with inscription by Song Luo (Chinese 1634–1713), 1667. Inkstone, 21 × 17.7 × 2.3 cm. National Palace More
Journal Article
Archives of Asian Art (1 April 2016) 66 (1): 25–49.
Published: 01 April 2016
...Lei Xue Abstract The Nelson-Atkins Museum of Art's Illustration to the Second Prose Poem on the Red Cliff, attributed to Qiao Zhongchang, has been long celebrated as a major achievement of early Chinese literati painting. Nevertheless, the lifelike portraiture of Su Shi and the depiction of an...
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Published: 01 April 2019
Figure 12. Hŏ Ryŏn (Korean, 1807–1892), Portrait of Kim Chŏnghŭi in the Guise of Su Shi in Rustic Attire . Hanging scroll; ink and color on paper, 51 × 24 cm. AmorePacific Museum of Art, Seoul. Figure 12. Hŏ Ryŏn (Korean, 1807–1892), Portrait of Kim Chŏnghŭi in the Guise of Su Shi in Rustic More
Journal Article
Archives of Asian Art (1 April 2007) 57 (1): 51–94.
Published: 01 April 2007
... dynasty, late 11th–late NA court 12th c. 11 Lord of the Eastern Peak 2.4 Â 3.64 Â .66 Song dynasty, late 11th–late NA and his consort 12th c. 12 Deng Cheng’s Jixing shi 1.04 Â...
Journal Article
Archives of Asian Art (1 April 2010) 60 (1): 19–42.
Published: 01 April 2010
... earliest extant Japanese copy of the Yijing’s Shi- Shichibutsu Yakushi could be interpreted either as six chibutsu Yakushi Su¯ tra is dated to 741.19 Since many manifestations of the one Yakushi or as seven different original scriptures have been destroyed, it is difficult to Yakushi.17 In the latter...
Journal Article
Archives of Asian Art (1 April 2001) 52 (1): 44–62.
Published: 01 April 2001
... accompanied by an attendant on foot is a mounted fig- painting (shidaifu hua) theory, articulated most thorough- ure, who must represent the travelling official for whom ly by Li Gonglin's friend and admirer Su Shi (1037-1101). this painting was made (Fig. 3). Minuscule but located in A similar idea was...
Journal Article
Archives of Asian Art (1 April 2004) 54 (1): 23–33.
Published: 01 April 2004
... came from the close circles of high-ranking civil and shoots is as good as one by the great Song literati painter hereditary appointees to the army. In 1576, a few years Su Shi and that his representation of them might satisfy his after his release from prison, Xu received an offer of hunger for...
Journal Article
Archives of Asian Art (1 April 2011) 61 (1): 107–126.
Published: 01 April 2011
... of the two Buddhist been in the collection of Prince Anpyeong.11 paintings attributed to Wu Daozi, however, bore a Unfortunately there is no evidence that any collec- eulogy by Su Shi (1036–1101), allowing the surmise tion seal was used by the prince, and it is thus impos- that it was a copy...
Journal Article
Archives of Asian Art (1 April 2001) 52 (1): 11–43.
Published: 01 April 2001
..., was the first great chronicler of the ically troubled times, and to Mount Lu, which had come Lu mountains. His Record of Mount Lu (Lushan JO describes to epitomize retreat culture. Su Shi (1037-1101) stopped its famous sites and the personages and events connected there on his return from exile...
Journal Article
Archives of Asian Art (1 October 2014) 64 (2): 97–118.
Published: 01 October 2014
...) topics are illustrated with what has been called ‘‘sound- music. This reference is to the ability of the noted musi- less poems It is a handscroll by second- and third- cian Bo Ya 伯牙 to evoke images of mountains and generation descendants of friends of Su Shi 蘇軾 (1037– streams for his friend, Zhong...
Journal Article
Archives of Asian Art (1 April 2005) 55 (1): 39–52.
Published: 01 April 2005
... early ninth century) and Su Shi (of ed only the regional landscape they knew best; and only a the late eleventh) lived too soon, of course, to observe the handful created styles that historians of their own day could Song-Yuan transition, but both reckoned that they had appreciate and note down...