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Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 216–247.
Published: 01 November 2017
... By the eleventh month of 1095, he had composed some forty or fifty such works. 70 His plan to match Tao Yuanming's entire poetic corpus would come to fruition after he was banished to Hainan Island. 71 Copyright © 2017 by Duke University Press 2017 Su Shi calligraphy Tao Yuanming Zhuo Qishun...
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 279–305.
Published: 01 November 2017
... reproductions of Su Shi's calligraphy contain the Two Rhapsodies Scroll, and there are also specialized studies of it, treatments of it are incomplete and inadequate. In addition, from stone engravings, calligraphy models, and historical sources, we know that before the two rhapsodies were combined in a single...
FIGURES
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Published: 01 November 2016
Figure 2. The poem in calligraphy rewritten in 1931 (Lu, Lu Xun wenxian tuzhuan , 31) Figure 2. The poem in calligraphy rewritten in 1931 (Lu, Lu Xun wenxian tuzhuan, 31) More
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Published: 01 November 2014
Figure 2. Title page of Cuiluoge shici gao in calligraphy by Xu Mei (1797–1870) Figure 2. Title page of Cuiluoge shici gao in calligraphy by Xu Mei (1797–1870) More
Image
Published: 01 April 2019
Figure 1. Sun Yat-sen's calligraphy: “Hero in Kerchief,” from Wang Canzhi, Qiu Jin nüxia yiji . Figure 1. Sun Yat-sen's calligraphy: “Hero in Kerchief,” from Wang Canzhi, Qiu Jin nüxia yiji. More
Journal Article
Journal of Chinese Literature and Culture (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...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 173–206.
Published: 01 April 2015
... of the Ming-Qing dynastic transition as voiced through words and images in their paintings, calligraphy, and the iconography of the willow. This last point, in fact, was highly controversial. Liu Yin's unfortunate early years resulted in consignment to the life of a courtesan. Her talents attracted...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 43–91.
Published: 01 April 2015
...Lihong Liu Abstract This article examines birthday albums, a genre that combines paintings and literary texts in calligraphy, produced by a group of peer artists and writers to celebrate birthdays of elders in the Wu region (Suzhou) during the mid-Ming period (1450–1550). Each album pairs paintings...
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Journal Article
Journal of Chinese Literature and Culture (2017) 4 (1): 180–207.
Published: 01 April 2017
... notions of yi 意 to illuminate different phases of literary creation. Comparisons with the term's adaptations by earlier literary and calligraphy critics further accentuate Wang's unique and innovative approach. Looking into a hitherto neglected Buddhist source, the author uncovers a Buddhicized yi - xiang...
Journal Article
Journal of Chinese Literature and Culture (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, and Bamboo...
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Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 209–215.
Published: 01 November 2017
... in several different genres. Nor are they contributions to scholarship on the circumstances of Su Shi's life. So we know immediately that these three articles stand apart from the large number of Su Shi studies in recent decades. Two of the three concern Su Shi's involvement with calligraphy. Neither...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 249–250.
Published: 01 April 2015
... Modern China” in Rethinking East Asian Languages, Vernaculars, and Literacies, 1000–1919 (ed. Benjamin Elman, 2014). PETER STURMAN is professor of art history at the University of California, Santa Barbara. He specializes in the study of Chinese painting and calligraphy with a particular focus...
Journal Article
Journal of Chinese Literature and Culture (2019) 6 (1): 272–273.
Published: 01 April 2019
... in Lantian, Shaanxi. Recent publications include articles on comparative antiquarianism and regimes of risk in the manufacture of Chinese ceramics. PETER C. STURMAN is professor of Chinese art history at the University of California, Santa Barbara. He researches Chinese painting and calligraphy...
Journal Article
Journal of Chinese Literature and Culture (2019) 6 (1): 1–14.
Published: 01 April 2019
... the list of essential terms in painting and calligraphy scholarship. As our modern world is increasingly dominated by visual media, neither the neglect of nontextual visuality in poetry scholarship nor the marginalization of emotion in art scholarship is tenable. Hence, two related tasks emerge for us...
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (1): 19–55.
Published: 01 April 2017
...) and with Xiang also taking offense and requesting to be relieved of office. Emperor Gaozong chastised Pan, declined Xiang's request to retire, and instead rewarded him with two gifts: a work of calligraphy in the emperor's hand of the two characters for Aromal Arbor and a boat inscribed in the emperor's hand...
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (1): 160–179.
Published: 01 April 2017
..., and we each composed ten thousand poems. My courtesy name was Yunlian, who excelled at calligraphy and painting, and that is why I composed the line “Compiling a new poetry collection of Yunlian.” My cousin's courtesy name was Bingqin who had a collection titled A Collection of Exchanged Poems between...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 1–7.
Published: 01 April 2015
... into pictorial image. Yuan demonstrates how Du Jin 杜堇 (1465–1509) rose to the occasion by engaging texts and images on several levels simultaneously. In a handscroll painting, Du Jin copies selected poems of the past in running-style calligraphy, placing each of them next to a painted image while using...
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Published: 01 April 2015
Figure 11. Zhu Lang 朱朗 (active in mid-sixteenth century), Qi Men 齊門 (Qi Gate), painting on the right side; Huang Shouzeng 黃守曾 (sixteenth century), poem of “Qi Gate” in calligraphy on the left side. Wen album, 1549. Album leaves (mounted as facing one another), ink and colors on silk (painting More
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Published: 01 April 2015
and colors on silk (painting), ink on paper (calligraphy), each leaf 22.2 × 26.7 cm. Beijing: Palace Museum. Painting reproduction from Zhongguo gudai shuhua jiandingzu 中國古代書畫鑒定組 (Connoisseurial Team of Ancient Chinese Painting and Calligraphy), ed., Zhongguo huihua quanji 中國繪畫全集 (Complete Collection More
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Published: 01 April 2015
Figure 4. Ju Jie 居節 (ca. 1524–1585), Baihua Zhou 百花洲 (Hundred-Flower Islet), painting on the right side; Zhu Jinggu (sixteenth century), “Fude Baihua Zhou” 賦得百花洲 (Assigned Poem on the Title of Hundred-Flower Islet), poem in calligraphy on the left side. Wen album, 1549. Album leaves (mounted More