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2002 1983 813 11 3B 812 18A 812 2 18B 1992 222-230 2002 9 1 42 1 ?- 962 2 1 903-965 3 4 5 1 2002 2 1983 813 11 3b 3 812 18a 4 812 2 18b 5 1992 222-230 6 6 20 2002 3 175-222 67 1992 5 43-65 1015- 1080 919-967 7 8 9 1082-1135 10 11 1037-1101 12 1078 13 7 813 18b 8 3 5b 9 814 4a 10 12 2b-3a 11 2001 689-717 12 1987 17 900-901 13 1170 2 1170 14 15 16 1962 3 89 826 5 45b 14 15 16 812 5a 1074- 1151 17 1051-1107 1075-1080 18 1555-1636 19 20 21 3 17 1086-1165 1980 25-27 18 31 1982 6 241-242 19 828 43 66a-b 20 1994 1 52-55 32 Peter Charles Sturman, Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-play Ph. D. dissertation (Yale University, 1989), pp. 470-477 21 871 2 3b-4a 867 4 12a 22 4 1090 23 1107 1138 24 1135 25 ? 1136 26 1141 1136 1141 27 5 28 6 22 1996 313 818 28 5a-6a 23 32 1982 10 214-216 1084 1085 243 1999 46-54 24 1999 180 25 1970 13 2626 26 1997 470 27 Peter Charles Sturman 9 4 1992 89-126 1137 Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-play, pp. 303-337,463-467 28 1997 165-166 7 1141 29 1135 ` 1135 1117-1184 1123-1202 1127-1194 1427-1509 1137-1181 1130-1200 1179 1181 300 8 30 31 29 815 11 34b-40a 30 1994 2 76-80 31 1142 1151 Sturman, Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-play , pp. 395-442,485-494 1248-1310 1302-1393 1484-1544 32 1187- 1269 33 1168 34 35 1076-1141 32 17 1 2000 1 70-74 2000 554-555 1988 2001 33 1979 105 13b 913 34 813 3 11b-12a 35 814 25a 1130 36 37 38 39 9 1104 40 36 815 3 35 b 37 11 45b-46a 38 39 7b 40 1980 16 444 13123 41 10 1123-1126 1136 ?-1121 42 43 44 45 46 47 1137-1213 48 960-1030 49 41 1991 - 22 1317 14958 42 21 1269 14325 43 21 1269 14325 44 25b 45 1987 23-24 46 2 7b 47 2 4b 48 1153 77 16b 49 4 118 Wen C. Fong et al., Images of the Mind: Selections from the Edward L. Elliott Family 11 50 51 52 53 12 1207- 1291 54 13 55 14 56 1190-1230 and John B. Elliott Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University (Princeton, N.J.: Princeton University Press, 1984) 50 Alfreda Murck, Poetry and Painting in Song China: The Subtle Art of Dissent (Cambridge: Harvard University Press, 2000). 51 61 1973 1-61 79 1979 1-84 52 6 1990 41-55 53 20 2001 10 83-110 54 1989 55 86 1981 279-336 1096 1986 5-28 1097 1986 31-59 8 1986 137-155 56 2000 149-162 9 1993 57 58 1071-1128 59 60 61 ?-664B.C. 57 Museum 569 2000 33-57 14 1999 7-47 58 18a 59 1116 8 7b 60 6b 61 6a 1099 1025-1102 1105 62 63 64 65 1103 66 67 68 62 1991 1997 241-272 1997 312-358 3 1998 129-150 2000 63 6 15a 64 26 19a 65 3 24a 66 16 8b 67 3 3a 68 3 6b 69 70 71 1081-1169 72 1024- 1104 1063-1135 73 1067-1120 74 1104 75 1099 1104 76 69 3 6a 70 18 15b 71 19 20b 72 1135 42 19a 73 1994 502-503 74 1053 19 49 b 75 1052 2b 76 77 78 ?-1160 79 1132 1136 1160 80 77 8 6b 78 7b 79 31 1761 19606 80 31 1761 19606 81 ?-1142 82 1232-1298 83 343B.C.-? 1102-1180 84 1238 81 58 3052 36400 82 27 1537 17444 83 67 3559 42533 84 34 1932 21575 85 86 87 1184 88 201 -169B.C. 85 86 1981 34 87 224 88 51 2719 31984-31985 89 ?-1158 90 91 92 93 813-858 94 95 96 89 47 2540 29398 90 33 1876 21025 91 5 8a-b 92 1992 16 539 6151 93 5 8b 94 15 33a 95 96 43 2356 27052 97 98 99 100 101 102 103 104 105 106 107 97 15 33b 98 61 3185 38209 99 42533 100 55 2865 34211 101 8 6b-7a 102 38209 103 54 2835 33758 104 35 2005 22454 105 38209 106 8 7b-8a 107 26 1488 17012-17013 108 1093-1169 109 ?-1211 110 1199?-? 111 112 113 114 108 53 3782 32936 109 32 1812 20179 110 50 2671 31394 111 38210 112 42533 113 32937 114 38209 1394-1365 115 116 701-762 117 714-767 118 718-772 119 749 120 115 1997 22 7 6a 116 1975 117 6 183 1866 118 8 250 2832 119 7 235 2598 120 5 147 1501-1502 121 122 1049-1100 123 124 125 126 15 121 122 29 1540 123 18 1062 12117-12118 124 1998 10 282 125 224 126 17 3 1983 5 88-121 24 4 1998 8 45-53 1998 1998 127 16 ? 128 129 130 751-835 131 132 132 17 127 47 2556 29646 128 15 33b 129 77 5 1995 11 41-48 1999 1 34-37 1996 1999 108-137 130 8 239 2688 131 9 297 3363 132 25 891 10061 133 50 2671 31395 18 134 1168-1224 135 136 137 712-770 138 134 42532 135 33758 136 8 7a-b 137 6 7a 138 7 226 2433 139 140 141 142 139 7 227 2452 140 38209 141 60 3168 38037 142 270-299 7 1992 11 115-127 50 1999 6 39-58 143 144 1002 -1060 145 1039-1112 146 143 1a-b 144 1996 1995 1998 2001 1994 83-98 1998 63-80 20 1 1999 2 53-56 145 5 259 3265-3266 146 15 864 10047 147 1088-1154 148 1117 1117 1107 1139 1104-1183 149 150 151 147 148 1138 16 2b-3a 149 1138 5 2a 150 1158 4 2a-b 151 9 5b 152 1126 153 154 365-427 155 156 157 152 169 153 154 1999 2 944 155 945 156 946 157 2000 4 74-83 2000 731-751 2001 12 15 16 158 159 160 158 15 1814 7 159 10 2001 3 1-36 160 43 2336 26861-26862 1025-1072 161 162 161 2a 162 6 1990 5 19-71 1 2 3 4 5 6 7 8 9 10 11 Art Museum 12 13 14 15 Art Museum 16 Art Museum 17 Art Museum 18 Art Museum Drifting and the Return-The Texture of Feelings in the Poems on Xiaoxiang Landscape Paintings from the Song Dynasty I Lo-fen Xiaoxiang landscape paintings first appeared in the Tang dynasty and reached maturity in the Song. This article examines the contents and the lyrical elements in the poems on the Xiaoxiang landscape paintings by Song poets. It probes the lyricism of the poets, to see how they appreciate the Xiaoxiang landscape paintings, and the texture of feelings induced by the visual qualities of the paintings. Since poems on paintings are written on and for the paintings, an understanding of Xiaoxiang paintings of the Song is the visual premise for interpreting the colophons. A survey of the Xiaoxiang landscape paintings is in order; an understanding of the creative processes of the Song painter spoints to the common reservoir that the painters and the poets draw on. We take as examples Mi Youren's Xiaoxiang qiguan tujuan and Xiaoxiang baiyun tujuan to discuss the “indigenizing” and the “abstracting” tendencies in the development of Xiaoxiang landscape paintings. The painters treat the Xiaoxiang paintings through “indigenization” and “abstraction,” and the poets, contemplating the visual experiences and the cultural memories behind them, conjure up universalized feelings that transcend the local sense of Hunan. These feelings, as revealed in the colophons, are of three types: the sorrows of a traveler; the desire to return; and the joy of being a hermit-fisherman. esides discussing the lyrical expression of the poets, this paper also explores the psychological implications of “the melancholy of a traveler”and “the desire to return,” themes which appear in the colophons on the basis of the paintings' raphic contents. We explore these elements by analyzing the literary images of “aiaoxiang traveler” and “the returning geese,” as well as the mental dimensions of the motifs “the urge to return while looking at the distance” and “the desire to go home in the dusk.” We will use the Southern Song painter Wang Hong's works, Eight Views of Xiaoxiang, Wild Geese on the Beach, and Returning Boat from the River Mouth, as examples. Keywords: Xiaoxiang expression of feelings Mi Youren Eight Views of Xiaoxiang desire to return hermit-fisherman.
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