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ink bamboo

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Published: 01 April 2019
Figure 2. Wen Tong (1018–79), Ink Bamboo . Ca. 1075, Northern Song period. Ink on silk, 131.6 × 105.4 cm. National Palace Museum, Taiwan, Republic of China. Source: open data, website of the National Palace Museum, Taiwan. More
Journal Article
Journal of Chinese Literature and Culture (2019) 6 (1): 15–55.
Published: 01 April 2019
...Figure 2. Wen Tong (1018–79), Ink Bamboo . Ca. 1075, Northern Song period. Ink on silk, 131.6 × 105.4 cm. National Palace Museum, Taiwan, Republic of China. Source: open data, website of the National Palace Museum, Taiwan. ...
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Journal Article
Journal of Chinese Literature and Culture (2023) 10 (1): 221–243.
Published: 01 April 2023
..., and she painted orchids only as a respite from women's work, with no thought of using them to seek fame ( YTHS 2.13a–b). Ms. Jiang 蔣氏, another solitary widow, painted ink bamboo ( YTHS 2.13b–14a). In the Ming dynasty, Fang Mengshi 方孟式 (1583–1639) reflected on the Confucian classics, possessed “womanly...
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 8–42.
Published: 01 April 2015
... of the painting. In the middle section is a winding bamboo fence, and just beyond, bean flowers are barely perceptible. A chain of mountain peaks rises in the distance. With very little ink, this painting masterfully conveys the desolate mood of the poem. Looking closely at several of the painting's panels...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 43–91.
Published: 01 April 2015
... Ming Talents Celebrating Wen Zhengming's Eightieth Birthday: An Album of Poetry and Painting) (Wen album), 1549. Folding album leaves (two in 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...
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Journal Article
Journal of Chinese Literature and Culture (2019) 6 (1): 96–136.
Published: 01 April 2019
... thus intensified the woman's isolation. The harsh brilliance of the outlined bamboo contrasts with the rocks and clouds that Chen darkened with washes of ink, their tonalities ranging from deep black to pale gray. Like the shadows cast under moonlight, the inked shapes, which bleed into the paper...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 134–172.
Published: 01 April 2015
... by the tenth century, Shuiyue Guanyin is typically pictured, like Nanhai Guanyin, within a bamboo grove on a rugged outcrop at the edge of a water body. A full moon, however, encircles her head. For Shuiyue Guanyin, see Yü, [ Guanyin ], 233–47. 52. He Huijian (Ho Wai-kam) analyzes the derivation...
FIGURES
Image
Published: 01 April 2015
Figure 3. Wen Jia 文嘉 (1499–1582), Xiuzhu Wu 修竹塢 (Slender Bamboo Cove). In “Zhu ming xian shou Yuan Fangzhai shihua ce” 諸名賢壽袁方齋詩畫冊 (Various Famous Talents Celebrating Yuan Fangzhai's Birthday: An Album of Poetry and Painting) (Yuan album), 1527. Album leaves (mounted as facing one another), ink More
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 279–305.
Published: 01 November 2017
... zhuangguan 平生壯觀 (Outstanding Views through a Lifetime), juan 1 of An Qi's 安岐 (1683–1745) Moyuan huiguan 墨緣匯觀 (Ink Fate, Collected Views), and juan 53 of Shiqu baoji xubian 石渠寶笈續編 (Continued Compilation of Precious Artworks in the Imperial Collection), as well as in other catalogs. Engravings...
FIGURES
Image
Published: 01 April 2019
Figure 1. Su Shi (1037–1101), Old Tree, Rock, and Bamboo . Ca. 1080–95, Northern Song period. Ink on paper, 26.3 × 50 cm. Collection unknown. Source: © 2018 Christie's Images Ltd. More
Image
Published: 01 April 2019
Figure 14. Su Shi (1037–1101), Old Tree, Rock, and Bamboo (detail). Ca. 1080–95, Northern Song period. Ink on paper, 26.3 × 50 cm. Collection unknown. Source: © 2018 Christie's Images Ltd. More
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 173–206.
Published: 01 April 2015
... in the empty courtyard, no dust to be seen. 沁雪虛庭絕點埃 With a few branches of ink bamboo and a wisp of incense, 墨竹數枝香一縷 The small window awaits the arrival of Zhongji. 45 小窗留待仲姬來 Liu Rushi's quatrain alludes to the Gull Wave Pavilion of the great Yuan-dynasty scholar-official and artist Zhao...
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Image
Published: 01 April 2019
Figure 11. Inscriptions by Liu Liangzuo (right) and Mi Fu (1052–1107) (left) to Su Shi's Old Tree, Rock, and Bamboo . Ca. 1095, Northern Song period. Ink on paper, h: 26.3 cm. Collection unknown. Source: © 2018 Christie's Images Ltd. More
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 207–248.
Published: 01 April 2015
... for the protagonists of Stone , has been recognized as, among other things, a perfect specimen of the Jiangnan 江南 garden, that is, the southern-style garden transplanted to the North, presumably in Beijing. A lot of ink has been spilled about the so-called aesthetic principles of Chinese elite art underlying Stone...
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Journal Article
Journal of Chinese Literature and Culture (2023) 10 (2): 336–378.
Published: 01 November 2023
.... This indicates that his body of equine paintings served as a powerful personal statement after the demise of the Song dynasty (960–1279). Figure 1. Gong Kai (1222–1307), Emaciated Horse . Handscroll, ink on paper, 30 × 56.9 cm. Abe Collection, Osaka City Museum of Fine Arts. Figure 1. Gong Kai (1222...
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Journal Article
Journal of Chinese Literature and Culture (2023) 10 (1): 137–168.
Published: 01 April 2023
... and painting theory in the Song dynasty, they valorized the spontaneity and naturalness in the execution of monochrome ink paintings of landscape and devalued the mannered skill and craft associated with the repertory of detailed color paintings by professional painters of the imperial academy, of which...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 92–133.
Published: 01 April 2015
...,不能無悵然。觸物成詠,命為落花篇,得十律焉,寫寄徵明知己。 Figure 1. Shen Zhou (1427–1509), Falling Blossoms . Ca. 1506, Ming dynasty. Portion of a handscroll, ink and color on paper, h: 35.9 cm. Nanjing Museum Figure 1. Shen Zhou (1427–1509), Falling Blossoms. Ca. 1506, Ming dynasty. Portion of a handscroll, ink...
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Journal Article
Journal of Chinese Literature and Culture (2014) 1 (1-2): 155–185.
Published: 01 November 2014
... Liu admitted to doubting that the original component chapters “were by the same hand.” 25 Similarly, Liu Xiang made up a “revised and reduced” Zhanguo ce 戰國策 (Stratagems of the Warring States) in thirty-three bamboo bundles or pian 篇 from six different manuscripts whose contents he described...
Journal Article
Journal of Chinese Literature and Culture (2019) 6 (2): 432–460.
Published: 01 November 2019
... experts in the art of the ear: The taishī was responsible for the six pitches, the six pipes, and for matching the yin and yang notes. . . . These were set to words of five [musical] tones . . . and performed on eight types of instrument: metal, stone, clay, leather, strings, wood, gourds, and bamboo...
Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 216–247.
Published: 01 November 2017
... to private life, comparing it to the incongruity of silk fans—fixtures of urbanity—with the forlorn landscapes painted on them: “However, Guozhen is not a man of the woods. This is like the silk fans these days on which are often painted cold woods and snowy bamboo. What is hard to obtain in this world...