The Interartistic-Intersemiotic Value of Chinese Calligraohy in Cross-Cultural Education
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
Downloaded 4.0 License
86 Chapter 3 Chapter 3 Eloquent Stones Of the critical discourses that this book has examined, one feature is that works of art are readily compared to natural forms of beauty: bird song, a gush- ing river or reflections in water are such examples. Underlying such rhetorical devices is an ideal of art as non-art, namely that the work of art should appear so artless that it seems to have been made by nature in its spontaneous process of creation. Nature serves as the archetype (das Vorbild) of art. At the same time, the Song Dynasty also saw refined objects – such as flowers, tea or rocks – increasingly aestheticised, collected, classified, described, ranked and com- moditised. Works of connoisseurship on art or natural objects prospered alike. The hundred-some pu 譜 or lu 錄 works listed in the literature catalogue in the History of the Song (“Yiwenzhi” in Songshi 宋史 · 藝文志) are evenly divided between those on manmade and those on natural objects.1 Through such dis- cursive transformation, ‘natural beauty’ as a cultural construct curiously be- came the afterimage (das Nachbild) of art.2 In other words, when nature appears as the ideal of art, at the same time it discovers itself to be reshaped according to the image of art. As a case study of Song nature aesthetics, this chapter explores the multiple dimensions of meaning invested in Su Shi’s connoisseur discourse on rocks. Su Shi professed to be a rock lover. Throughout his life, he collected inkstones, garden rocks and simple pebbles. We are told, for instance, that a pair of rocks, called Qiuchi 仇池, accompanied him through his exiles to remote Huizhou and Hainan, even though most of his family members were left behind. -
Chancellors Under Emperor Zhaozong of Tang: Cui Yin, Cui Yuan (Late Tang)
G6YZWYSL3OMU / eBook # Chancellors Under Emperor Zhaozong of Tang: Cui Yin, Cui Yuan (Late Tang),... Ch ancellors Under Emperor Zh aozong of Tang: Cui Y in, Cui Y uan (Late Tang), Cui Zh aowei, Dugu Sun, Du Rangneng, Kong W ei, Liu Can (Tang Dynasty), Liu C Filesize: 2.87 MB Reviews It is really an amazing pdf which i have possibly go through. Indeed, it really is play, nevertheless an amazing and interesting literature. I am just very happy to let you know that this is the best ebook i have got study in my very own life and might be he very best ebook for actually. (Evan Sporer) DISCLAIMER | DMCA O3KMEHTB0XFZ ^ eBook < Chancellors Under Emperor Zhaozong of Tang: Cui Yin, Cui Yuan (Late Tang),... CHANCELLORS UNDER EMPEROR ZHAOZONG OF TANG: CUI YIN, CUI YUAN (LATE TANG), CUI ZHAOWEI, DUGU SUN, DU RANGNENG, KONG WEI, LIU CAN (TANG DYNASTY), LIU C BooksLLC.net, 2016. Paperback. Book Condition: New. PRINT ON DEMAND Book; New; Publication Year 2016; Not Signed; Fast Shipping from the UK. No. book. Read Chancellors Under Emperor Zhaozong of Tang: Cui Yin, Cui Yuan (Late Tang), Cui Zhaowei, Dugu Sun, Du Rangneng, Kong Wei, Liu Can (Tang Dynasty), Liu C Online Download PDF Chancellors Under Emperor Zhaozong of Tang: Cui Yin, Cui Yuan (Late Tang), Cui Zhaowei, Dugu Sun, Du Rangneng, Kong Wei, Liu Can (Tang Dynasty), Liu C GVARZPYZ7TOE \\ Book // Chancellors Under Emperor Zhaozong of Tang: Cui Yin, Cui Yuan (Late Tang),... Related Books Bully, the Bullied, and the Not-So Innocent Bystander: From Preschool to High School and Beyond: Breaking the Cycle of Violence and Creating More Deeply Caring Communities HarperCollins Publishers Inc, United States, 2016. -
"Ancient Mirror": an Interpretation of Gujing Ji in the Context of Medieval Chinese Cultural History Ju E Chen
East Asian History NUMBER 27 . JUNE 2004 Institute of Advanced Studies Australian National University Editor Geremie R. Barme Associate Editor Helen Lo Business Manager Marion Weeks Editorial Advisors B0rge Bakken John Clark Lo uise Edwards Mark Elvin (Convenor) John Fitzgerald Colin Jeffcott Li Tana Kam Lo uie Le wis Mayo Gavan McCormack David Marr Tessa Morris-Suzuki Benjamin Penny Kenneth Wells Design and Production Design ONE Solutions, Victoria Street, Hall ACT 2618 Printed by Goanna Print, Fyshwick, ACT This is the twenty-seventh issue of Ea st Asian History, printed August 2005, in the series previously entitled Papers on Far Ea sternHist ory. This externally refereed journal is published twice a year. Contributions to The Editor, Ea st Asian Hist ory Division of Pacific and Asian History Research School of Pacific and Asian Studies Australian National University Canberra ACT 0200, Australia Phone +61 2 6125 314 0 Fax +61 26125 5525 Email [email protected] Subscription Enquiries to Marion Weeks, East Asian History, at the above address, or to [email protected]. au Annual Subscription Australia A$50 (including GST) Overseas US$45 (GST free) (for two issues) ISSN 1036-6008 iii CONTENTS 1 Friendship in Ancient China Aat Vervoom 33 The Mystery of an "Ancient Mirror": An Interpretation of Gujing ji in the Context of Medieval Chinese Cultural History Ju e Chen 51 The Missing First Page of the Preclassical Mongolian Version of the Hs iao-ching: A Tentative Reconstruction Igor de Rachewiltz 57 Historian and Courtesan: Chen Yinke !l*Ji[Nj. and the Writing of Liu Rushi Biezhuan t9P�Qjll:J,jiJf� We n-hsin Yeh 71 Demons, Gangsters, and Secret Societies in Early Modern China Robert]. -
Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy. -
Basic Idea Conclusion Results Annotated Dictionary Creation Of
Using Time Periods Comparison for Eliminating Chronological Discrepancies between Question and Answer Candidates at QALab NTCIR11 Task Yasutomo Kimura, Fumitoshi Ashihara, Arnaud Jordan, Keiichi Takamaru, Yuzu Uchida, Hokuto Ototake, Hideyuki Shibuki, Michal Ptaszynski, Rafal Rzepka, Fumito Masui and Kenji Araki NNLP Basic idea To solve the Center Exams for world history in Japanese, our system firstly extracts -me related phrases from ques-ons and their answer candidates. Then the terms are compared from various viewpoints to the compared one. The candidate whose terms are the most consistent with each other is selected as most probable answer. There are a numerous viewpoints to find correctness of answer candidate, e.g. date, place, country, religion, etc. The NNLP team considered that dates of the terms are most important clue to solve an exam for history. Method Our system focuses on dates within the terms from world history. The system checks up temporal overlaps between periods of terms in ques-ons and their answer candidates. Incorrect candidates are likely to contain terms that do not overlap with other terms. The dates related to most of the terms usually span over a period of several years, although some terms are events within a year. Therefore, we needed to specify the Time Period Beginning point (TPB) and the Time Period Ending point (TPE) of all applicable terms. Creation of annotated dictionary Raw data TPB TPE 1795,1806 1795 1806 1861,65 1861 1865 We considered Dic-onary of World History as a sufficient database Dictionary of March, 1802 1802.16 1802.16 world history since almost each term contains such informaon as ``me period", 1838/39,97 1838/39 1897 ``area" or ``religion". -
Body: a New Issue in Contemporary Calligraphy Aesthetics
Journal of Literature and Art Studies, April 2019, Vol. 9, No. 4, 425-432 doi: 10.17265/2159-5836/2019.04.010 D DAVID PUBLISHING Body: A New Issue in Contemporary Calligraphy Aesthetics JIANG Wen, ZHOU Wen-jie Dalian University of Technology, Dalian, China With the development of new media, an important dimension of contemporary calligraphy has been highlighted, namely the body. One of the most intriguing phenomena of the body is the video of some calligraphy creations on the Internet. The exaggerated body movements and performances have caused heated discussion among the calligraphy circles and many netizens. However, the critics still lack deep and comprehensive thinking about the problems related to the body in calligraphy. We believe that the physical dimension of calligraphy refers to the appearance of the body in the practice of calligraphy in three ways: experience, imagery, and performance. Through the consideration of the body dimension of calligraphy, this article tries to put forward the general criticism of the calligraphy works and the creative practice of physical phenomena. It should be divided into the following parts. One of them is that this kind of physical phenomenon expresses the spirit of the times and expresses the individual “feeling”; “sorrow and joy” is helpful; the second is the merits and demerits of the work itself, and the third is the relationship between the generation of the work and the body and the degree of harmony. Keywords: body, calligraphy, performance, aesthetics The Background of the Body Highlights: The Aesthetics of Calligraphy From the Essence of Beauty to Aesthetic Activities Calligraphic aesthetics is discussed earlier in China’s academic circles, and its basics are compatible with the development of aesthetics in China. -
Moral and Philosophical Implications of Chinese Calligraphy Peimin Ni Grand Valley State University
Grand Valley Review Volume 20 | Issue 1 Article 8 1-1-1999 Moral and Philosophical Implications of Chinese Calligraphy Peimin Ni Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/gvr Recommended Citation Ni, Peimin (1999) "Moral and Philosophical Implications of Chinese Calligraphy," Grand Valley Review: Vol. 20: Iss. 1, Article 8. Available at: http://scholarworks.gvsu.edu/gvr/vol20/iss1/8 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Grand Valley Review by an authorized administrator of ScholarWorks@GVSU. For more information, please contact [email protected]. by PeiminNi Moral and Philosophical Implications of Chinese Calligraphy alligraphy is esteemed as an art univer sally. Good calligraphy adds beauty to the Cwords and enhances the impact that the words are able to bring to their readers. In East Asian countries such as China, calligraphy is tra ditionally respected as one of the most highly sophisticated forms of art. Peimin Ni is Associate Professor The reason that calligraphy can have such a ofPhilosophy. His research inter status in China is partly due to the fact that Chi ests include modern philosophy, nese written language is pictographic and Eastern philosophy, and meta ideographic, rather than alphabetic. In its primor physics of causation. dial form, Chinese written language consists of images that picture their referents or directly sig nify what they mean. That is different from most other languages that consist of alphabetic symbols that represent sounds, which in turn are used to refer to objects. -
Qin Notation Generator
Qin notation generator Candy L. K. Yiu, Jim Binkley Department of Computer Science Portland State University Portland, OR USA [candy,jrb]@cs.pdx.edu Abstract A Chinese character is a two-dimensional typological representation of strokes and radicals. This is unlike English letters, where there are only 26 letters which combine in one dimension. As there are thousands of Chinese characters, any Chinese character font requires more space (typically two bytes) for its computer encoding. Additionally, it takes more time for the creation of a complete font set. Another problem is web communication. If a character is not available from the client’s font set, there is no clean way to put the information in the web document. This is what originally motivated us to work on dynamic character generation. The Qin is a Chinese musical instrument with a music specification language that serves as a good example of Chinese character stroke and radical combina- tions. The notation which represents the music is made with a set of characters and radicals. People who show Qin notation on the web have to scan an image and put it on the web. This project attempts to use Qin notation generation to demonstrate the possibility of Chinese character rendering. This project is divided into two parts: the first is the Qin notation description language, and the second is the web notation generator. The description language will be based on Hanglyph, which is a syntax able to describe the hierarchical structure of Chinese characters. The Qin description language will use the basic characters and components. -
Chinese Zheng and Identity Politics in Taiwan A
CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin. -
Ideophones in Middle Chinese
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË ! Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas'Van'Hoey' ' Presented(in(fulfilment(of(the(requirements(for(the(degree(of(( Master(of(Arts(in(Linguistics( ( Supervisor:(prof.(dr.(Jean=Christophe(Verstraete((promotor)( ( ( Academic(year(2014=2015 149(431(characters Abstract (English) Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas Van Hoey This M.A. thesis investigates ideophones in Tang dynasty (618-907 AD) Middle Chinese (Sinitic, Sino- Tibetan) from a typological perspective. Ideophones are defined as a set of words that are phonologically and morphologically marked and depict some form of sensory image (Dingemanse 2011b). Middle Chinese has a large body of ideophones, whose domains range from the depiction of sound, movement, visual and other external senses to the depiction of internal senses (cf. Dingemanse 2012a). There is some work on modern variants of Sinitic languages (cf. Mok 2001; Bodomo 2006; de Sousa 2008; de Sousa 2011; Meng 2012; Wu 2014), but so far, there is no encompassing study of ideophones of a stage in the historical development of Sinitic languages. The purpose of this study is to develop a descriptive model for ideophones in Middle Chinese, which is compatible with what we know about them cross-linguistically. The main research question of this study is “what are the phonological, morphological, semantic and syntactic features of ideophones in Middle Chinese?” This question is studied in terms of three parameters, viz. the parameters of form, of meaning and of use.