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Journal Article
Journal of Chinese Literature and Culture (2022) 9 (2): 473–475.
Published: 01 November 2022
...Michael Nylan mnylan@berkeley.edu Li Ling . The Chu Silk Manuscripts from Zidanku, Changsha ( Hunan Province ). Volume 1: Discovery and Transmission . Translated and edited by Lothar von Falkenhausen . Hong Kong : Chinese University of Hong Kong , 2020 . xxvi, 252 pp. ISBN...
Journal Article
Journal of Chinese Literature and Culture (2014) 1 (1-2): 289–308.
Published: 01 November 2014
.... This composite nature of the text suggests that its compilers drew upon a wide range of sources, which only enhances the value of the Liji as a source for early ritual. The article then moves on to trace the history of the Liji 's transmission through written versions on bamboo and silk, carved stelae, paper...
Journal Article
Journal of Chinese Literature and Culture (2019) 6 (1): 96–136.
Published: 01 April 2019
... Demons from the House , sixteenth century. Hanging scroll (mounted on panel), ink on silk, 190.8 × 104.1 cm. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC: Gift of Charles Lang Freer. F1916.554. Figure 5. Anonymous, formerly attributed to Li Tang 李唐 (c...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 43–91.
Published: 01 April 2015
... of life is considered a big event. Relatives and friends prepare for each other's [ceremonies], and all come to celebrate. Gifts of jade and silk are piled on top of each other; hosts and guests toast one another. Such is the splendor of the wine and food served on these occasions that it seems as though...
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Journal Article
Journal of Chinese Literature and Culture (2019) 6 (1): 15–55.
Published: 01 April 2019
...; otherwise (Su explains in an aside), he would be unable to author the calligraphy. But that was not all. Su had the temerity to send four pieces of silk and solicit a painting of bamboo, tree(s), and a few strange rocks to mount in a screen. Su goes on to write, “This would become a limitless wonder...
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Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 134–172.
Published: 01 April 2015
..., he takes delight in the markings of the brush on the silk surface. He imagines how the movement of the beauty's body would stir the banana palm and part the damask and silken gauze of her dress. Liu also appreciates how the painter manipulated her brush: rendering the brow, she adopted the technique...
FIGURES
Journal Article
Journal of Chinese Literature and Culture (2015) 2 (1): 92–133.
Published: 01 April 2015
...: 30.5 cm (poems only). The Collection of the National Palace Museum, Taiwan, Republic of China Figure 3. Shen Zhou (1427–1509). Falling Blossoms . Ca. 1506–1508, Ming dynasty. Detail of a handscroll, ink and color on silk, 30.7 x 138.6 cm (painting only). The Collection of the National Palace...
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Journal Article
Journal of Chinese Literature and Culture (2017) 4 (2): 279–305.
Published: 01 November 2017
... of either Jade Bracelet or Flying Sparrow?” [the two famous palace ladies, one heavy-set and the other thin]. He also said, “My calligraphy is like iron wrapped in silk floss.” Looking at these inscriptions today, although the brushwork is corpulent it does not have the appearance of an “ink pig...
FIGURES
Journal Article
Journal of Chinese Literature and Culture (2018) 5 (1): 95–118.
Published: 01 April 2018
... Way, the bridge had already been formed by the magpies, 65 銀漢橋横鵲 6 on wild ginger marshlands, 66 waves splashed on silk gauze stockings. 67 蘅臯襪濺羅 The jade goblets, receiving dew, became heavy; 玉杯承露重 8 from the jewel decorated fans, abundant wind arose. 鈿扇起風多 Fragrant isles...
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in Presenting Mortality: Shen Zhou's Falling Blossoms Project
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 10. Anonymous. The Return . Ca. 1110–1120, Song dynasty. Detail of a portion of a handscroll, ink on silk. Freer Gallery of Art, Smithsonian Institution, Washington, DC. Gift of Charles Lang Freer, F1919.119
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in Presenting Mortality: Shen Zhou's Falling Blossoms Project
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 13. Shen Zhou (1427–1509). “Water Buffalo,” from “The Album of Reclining Journeys.” Album leaf, ink and color on silk. Palace Museum, Beijing. Source: Zhongguo lidai huihua , 6:12
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in Presenting Mortality: Shen Zhou's Falling Blossoms Project
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 12. Qian Xuan (ca. 1235–before 1307). Living in Reclusion . Yuan dynasty. Portion of a handscroll, ink and color on silk. Palace Museum, Beijing. Source: Zhongguo huihua quanji , 7:16–18
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Journal Article
Journal of Chinese Literature and Culture (2022) 9 (2): 367–396.
Published: 01 November 2022
... is to say “There isn't much to be said” 卻不道怎的. Pretending to be servants, the ruffians precede the beggar to a silk brocade shop and announce that he, their master, wants to stock up on silks before traveling to the capital. The shop owner brings out bolt after bolt for the “servants” to display, each time...
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in Collecting the Here and Now: Birthday Albums and the Aesthetics of Association in Mid-Ming China
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 5. Ju Jie, Hu Qiu 虎丘 (Tiger Hill). Wen album, 1549. Album leaf, ink and colors on silk, 30 × 25.7 cm. Taipei: Chen Chi-te Collection. Photograph by the author
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in Performing the Emperor: Sui Jingchen's “Han Gaozu Returns to His Home Village”
> Journal of Chinese Literature and Culture
Published: 01 April 2021
Figure 1. Detail of Chujing tu 出警圖 (Departure Herald), Ming, Wanli reign period (1573–1620). Handscroll, ink and color on silk, 92.1 × 2601.3 cm. Collection of the National Palace Museum, Taiwan.
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in Like Not Like: Writing Portraits in The Peony Pavilion
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 1. Chen Hongshou (1598 or 1599–1652), Paintings after Ancient Masters: A Lady . Album leaf, ink and color on silk. 24.5 x 22.6 cm. The Cleveland Museum of Art, John L. Severance Fund 1979.27.2.16
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in Collecting the Here and Now: Birthday Albums and the Aesthetics of Association in Mid-Ming China
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 10. Qian Gu, Dongchan Si 東禪寺 (Eastern Chan Monastery). Wen album, 1549. Album leaf, ink and colors on silk, 30 × 25.7 cm. Taipei: Chen Chi-te Collection. Photograph by the author
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in Collecting the Here and Now: Birthday Albums and the Aesthetics of Association in Mid-Ming China
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 2. Xie Shichen 謝時臣 (1488–1567), Hengshan 衡山 (Mt. Heng). Wen album, 1549. Album leaf, ink on silk, 30 × 25.7 cm. Taipei: Chen Chi-te Collection. Photograph by the author
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in Presenting Mortality: Shen Zhou's Falling Blossoms Project
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 3. Shen Zhou (1427–1509). Falling Blossoms . Ca. 1506–1508, Ming dynasty. Detail of a handscroll, ink and color on silk, 30.7 x 138.6 cm (painting only). The Collection of the National Palace Museum, Taiwan, Republic of China
More
Image
in Presenting Mortality: Shen Zhou's Falling Blossoms Project
> Journal of Chinese Literature and Culture
Published: 01 April 2015
Figure 11. Shen Zhou (1427–1509). Falling Blossoms . Ca. 1506–1508, Ming dynasty. Detail of a handscroll, ink and color on silk, 30.7 x 138.6 cm (painting only). The Collection of the National Palace Museum, Taiwan, Republic of China
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