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Self as Image in Asian Theory and Practice
This is the third in a series dealing with the concept of self and its importance in understanding Chinese, Japanese, and Indian cultures. The authors examine the relationship between self and image and its significance in attaining a deeper knowledge of Chinese, Japanese, and Indian cultures. The relationship between self and image is as complex as it is fascinating. It takes on different meanings and significances in diverse cultures. In this volume, the focus of attention is largely on representational practices and symbolic media, such as literature, cinema, art, and dance. By examining both classical and contemporary works associated with China, India, and Japan, the authors seek, on the one hand, to demonstrate the intricate relationship between self and image and, on the other, to make use of that relationship to further our understanding of these cultures.
Yi zhou ming hua lu
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The Aesthetics of Qiyun and Genius
In The Aesthetics of Qiyun and Genius: Spirit Consonance in Chinese Landscape Painting and Some Kantian Echoes, Xiaoyan Hu provides an interpretation of the notion of qiyun, or spirit consonance, in Chinese painting, and considers why creating a painting—especially a landscape painting—replete with qiyun is regarded as an art of genius, where genius is an innate mental talent. Through a comparison of the role of this innate mental disposition in the aesthetics of qiyun and Kant’s account of artistic genius, the book addresses an important feature of the Chinese aesthetic tradition, one that evades the aesthetic universality assumed by a Kantian lens. Drawing on the views of influential...
益州名畫錄
益州名畫錄三卷，宋黃休復撰。前有景德三年（西元一○○六）李畋之序，可為本書簡介，其序云：「蓋益都多名畫，富視他郡。謂唐二帝播越及諸侯作鎮之秋，是時畫藝之傑者，游從而來，故其標格模楷，無處不有。…迨淳化甲午歲，盜發二川，焚劫略盡…。黃氏心鬱久之，又能筆之書，存錄之也。故自李唐乾元（七五八～七五九）初，至皇宋乾德（一○○四～一○○七）歲，其間圖畫之尤精，取其目所擊者五十八人，品以四格，離為三卷，命曰益州名畫錄。」 此畫錄首以地域性畫家編輯成書，雖郭若虛圖畫見聞志提及辛...
The Exercise of the Spatial Imagination in Pre-Modern China
This volume is distinctive for its extraordinarily interdisciplinary investigations into a little discussed topic, the spatial imagination. It probes the exercise of the spatial imagination in pre-modern China across five general areas: pictorial representation, literary description, cartographic mappings, and the intertwining of heavenly and earthly space. It recommends that the spatial imagination in the pre-modern world cannot adequately be captured using a linear, militarily framed conceptualization. The scope and varying perspectives on the spatial imagination analyzed in the volume’s essays reveal a complex range of aspects that informs how space was designed and utilized. Due to the complexity and advanced scholarly level of the papers, the primary readership will be other scholars and advanced graduate students in history, history of science, geography, art history, religious studies, literature, and, broadly, sinology.
The Chinese Literati on Painting
This classic work, first published in 1971, explores the transition in painting styles from the late Sung period to the art of Yuan dynasty literati. Building on the pioneering work of Oswald Siren and James Cahill, Susan Bush’s investigations of painting done under the Chin dynasty confirmed the dominance of scholar-artists in the north and their gradual development of scholarly painting traditions, and a related study of Northern Sung writings showed that their theory was shaped as much by the views of their social class as by their artistic aims. Bush’s perspective on Sung scholars’ art and theory helps explain the emergence of literati painting as the main artistic tradition in Yuan times. Social history thus served to supplement an understanding of the evolution of artistic styles.
Parting the Mists
In Parting the Mists, Aida Yuen Wong makes a convincing argument that the forging of a national tradition in modern China was frequently pursued in association with rather than in rejection of Japan. The focus of her book is on Japan’s integral role in the invention of "national-style painting," or guohua, in early-twentieth-century China. Guohua, referring to brush paintings on traditional formats, is often misconstrued as a residual conservatism from the dynastic age that barricaded itself within classical traditions. Wong places this art form at the forefront of cross-cultural exchange. Notable proponents of guohua (e.g., Chen Hengke, Jin Cheng, Fu Baoshi, and Gao Jianfu) are discussed ...
My TikTok Connects Myriad Realms
Zhou Yi downloaded a future trembling app and was pleasantly surprised to find out that this app was actually linked to the myriad heavens the video. He released was praised by countless immortal emperors and god kings and was even rewarded with various treasures. From then on zhou yi's ordinary life became colorful and colorful the little sister goddess was pleading for a dotcom relationship and the female emperor was also interested in him the devil realm ancestor did not hesitate to use the nine revolutions divine technique to bribe him in order to become popular online my voice booms through all worlds i am so strong that i am afraid of myself.
Xuanhe Catalogue of Paintings
Xuanhe Catalogue of Paintings is the first complete translation of the well-known document produced at the court of Emperor Huizong (r. 1100–1125). Dated to 1120, the Catalogue is divided into ten categories of subject matter. Under Daoist and Buddhist Subjects, Figural Subjects, Architecture, Barbarian Tribes, Dragons and Fish, Landscape, Domestic and Wild Animals, Flowers and Birds, Ink Bamboo, and Vegetables and Fruit are biographies of 231 painters, ranging from famous early masters, such as Wu Daozi (ca. 685-758) and Li Cheng (919-967), to otherwise unknown artists of the Song-dynasty court, including fourteen eunuch officials and sixteen male and female members of the royal family. T...
