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Chinese calligraphy criticism

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Journal Article
Journal of Chinese Literature and Culture (1 November 2017) 4 (2): 216–247.
Published: 01 November 2017
... calligraphy was especially outstanding in this period of his life.” 60 After the Yuan, critical comments broke no new ground, except for a short wave of iconoclasm in the sixteenth century, initiated by Wang Shizhen 王世貞 (1526–1590). Zhuo Qishun's journey to Huizhou was then said to be motivated by his...
Journal Article
Journal of Chinese Literature and Culture (1 November 2017) 4 (2): 279–305.
Published: 01 November 2017
... at the Edge of the Sky”) and the two works he mentions as being owned by Xu Wenjing (Xu Pu 徐溥). 34 It is clear from what he says that literati and officials in the Jiangnan region during his time had great enthusiasm for Su Shi's brushwork. The evaluation of Su Shi's calligraphy by critics...
Journal Article
Journal of Chinese Literature and Culture (1 April 2017) 4 (1): 180–207.
Published: 01 April 2017
... literary theory Chinese calligraphy criticism Buddhist theory of consciousnesses For a long time now, studies of Chinese theories of literary creation have been in need of discovering fresher perspectives. The immense prestige of Lu Ji 陸機 (261–303) and Liu Xie 劉勰 (ca. 465–ca. 522) has meant that...
Journal Article
Journal of Chinese Literature and Culture (1 November 2016) 3 (2): 258–288.
Published: 01 November 2016
... position of (moralist, political, or intellectual) sincerity, we tend to stop short of grappling with the “authenticity and viability” of our own theoretical frameworks regarding the subjects under critique. It has become a commonplace to criticize the uneven development of discursive agency in Chinese...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 515–544.
Published: 01 November 2015
...Chen Yinchi; Paula Varsano Abstract While few would contest the importance of phonology and aural considerations in the study of classical Chinese poetry, the musicality of guwen (ancient-style prose essays) writing has attracted little attention thus far. This article redresses this imbalance by...
Journal Article
Journal of Chinese Literature and Culture (1 April 2015) 2 (1): 92–133.
Published: 01 April 2015
...Peter C. Sturman Abstract The renowned artist Shen Zhou (1427–1509) began to explore the theme of falling blossoms as a subject for poetry, painting, and calligraphy in his very late years. The theme stands out both for the number of times Shen Zhou worked on it and for the quality of the poems...
Journal Article
Journal of Chinese Literature and Culture (1 April 2019) 6 (1): 1–14.
Published: 01 April 2019
... we find a conception of poetry making so consistently and thoroughly grounded in such a dynamic interplay and merging of emotion, verbal patterning, and visualization. In exploring the inner dynamics, however, Chinese critics have long emphasized language at the expense of nontextual visuality as...
Journal Article
Journal of Chinese Literature and Culture (1 November 2016) 3 (2): 312–334.
Published: 01 November 2016
... brought personal significance and emotional depth to a mechanically reproduced work. The famous phrase “a pawn who has crossed the river” ( guohe zuzi 過河卒子) was used by the Chinese Communist Party to criticize Hu Shi as a pawn of Chiang Kai-shek during the war era. 4. For a comprehensive treatment...
Journal Article
Journal of Chinese Literature and Culture (1 April 2016) 3 (1): 108–136.
Published: 01 April 2016
... cultured men of the Chinese tradition, and because it is inextricably linked to Chinese culture, it is arrayed as one of the “four elegant arts” to be mastered by a gentleman ( qin , go [chess], calligraphy, painting). 4 From the Wei-Jin period (220–589), the saying prevailed, “The qin to the left...
Journal Article
Journal of Chinese Literature and Culture (1 November 2014) 1 (1-2): 216–240.
Published: 01 November 2014
... wrote matching poems and played a critical role in establishing Tao's standing. Tao Yuanming cultural symbol Chinese culture scholar-official community Tao Yuanming 陶淵明 (ca. 365–427; Tao Qian 陶潛 being his formal name), a writer who lived during the Eastern Jin and Southern and Northern...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 545–572.
Published: 01 November 2015
... engenders a dynamic interplay of all its elements, from which poetic vision emerges. Copyright © 2016 by Duke University Press 2016 What's unique about Chinese poetic art? To what extent has the Chinese language given rise to it? These questions weren't raised by traditional Chinese critics working...
Journal Article
Journal of Chinese Literature and Culture (1 April 2015) 2 (1): 43–91.
Published: 01 April 2015
... one), ink on paper, 30 × 54 cm. Taipei: Chen Chi-te Collection. Reproduction from Cai Yixuan 蔡宜璇, ed., Yuemu: Zhongguo wanqi shuhua 悅目: 中國晚期書畫 (Enchanting Images: Late Chinese Painting and Calligraphy from the Shih-t'ou Shu Wu Collection) (Taipei: Rock Publishing House, Ltd., 2001), 1:88 Figure 1...
Journal Article
Journal of Chinese Literature and Culture (1 April 2015) 2 (1): 173–206.
Published: 01 April 2015
... Chinese Painting and Calligraphy) (Beijing: Remin meishu chubanshe, 1978–2001), 22:142 Figure 1. Liu Yin, Misty Willows by Moonlit Dike, dated 1643. Title inscription and documentation by Qian Qianyi at the beginning of the painting, followed by Huang Jieling's landscape, and Qian's preface to Huang's...
Journal Article
Journal of Chinese Literature and Culture (1 April 2019) 6 (1): 15–55.
Published: 01 April 2019
.... This is followed by analyses of key works of calligraphy related to Su's efforts to give visual form to a discourse on emotions that ironically includes a vocal declaration of the absence of emotions as a philosophical ideal. A final section draws attention to Su's one known painting, Old Tree, Rock...
Journal Article
Journal of Chinese Literature and Culture (1 November 2017) 4 (2): 420–438.
Published: 01 November 2017
... of author, poetic persona, provenance claim (whether it comes from author, confidant, independent anecdote, or other record), and commentary or interpretive reading. The examples are then shown in their connection to larger, enduring issues in the reading and interpretation of Chinese poetry...
Journal Article
Journal of Chinese Literature and Culture (1 April 2019) 6 (1): 96–136.
Published: 01 April 2019
...Anne Burkus-Chasson Abstract Historians of Chinese literature and philosophy have written extensively about the significance of emotion ( qing 情) in late Ming times (1522–1644). But how did a pictorial image manifest emotion, and how were its visible signs of emotion conceptualized? This article...
Journal Article
Journal of Chinese Literature and Culture (1 November 2016) 3 (2): 448–470.
Published: 01 November 2016
... Kowloon as a place of exile in Chinese history and the lyrical symbolism of its representation in the compilation's classical poetry. More than merely a commemoration to a long-lost past, Chen's efforts instigated a collective response from loyalist scholars that created a literary space in early...
Journal Article
Journal of Chinese Literature and Culture (1 November 2017) 4 (2): 383–419.
Published: 01 November 2017
... the possibility of poems addressed to Nanpo not being included in the Yifanfeng . The physical form of these extant manuscripts differs from what may be surmised about those of the poems in the initial Yifanfeng . An example is the oft-reprinted calligraphy by Chinese monk Wushi Kexuan 無示可宣, a...
Journal Article
Journal of Chinese Literature and Culture (1 November 2017) 4 (2): 336–359.
Published: 01 November 2017
... in literary criticism that elaborates on the qi of the writer and the living force of literary works. Such a viewpoint provides an alternative way to understand what some of the Guwen proponents mean by the “ yong ” of writing. Students of Chinese literature can immediately recognize Shi's...
Journal Article
Journal of Chinese Literature and Culture (1 November 2015) 2 (2): 481–514.
Published: 01 November 2015
... potential and also, by the use of expressive rhythm as a guiding force, to strictly maintain the fundamental distinction between poetry and prose. In considering why Du Fu's work is considered shishi 詩史 (history in poetry), we must recognize the critical formal expedient provided by this important creative...