State Power and the Confucian Classics: Observations on the Mengzi Jiewen and Truth Management Under the First Ming Emperor Chapter Author(S): Bernhard FUEHRER
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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. -
Chen Gui and Other Works Attributed to Empress Wu Zetian
chen gui denis twitchett Chen gui and Other Works Attributed to Empress Wu Zetian ome quarter-century ago, studies by Antonino Forte and Richard S Guisso greatly advanced our understanding of the ways in which the empress Wu Zetian ࣳঞ֚ made deliberate and sophisticated use of Buddhist materials both before and after declaring herself ruler of a new Zhou ࡌʳdynasty in 690, in particular the text of Dayun jing Օႆᆖ in establishing her claim to be a legitimate sovereign.1 However, little attention has ever been given to the numerous political writings that had earlier been compiled in her name. These show that for some years before the demise of her husband emperor Gaozong in 683, she had been at considerable pains to establish her credentials as a potential ruler in more conventional terms, and had commissioned the writing of a large series of political writings designed to provide the ideologi- cal basis for both a new style of “Confucian” imperial rule and a new type of minister. All save two of these works were long ago lost in China, where none of her writings seems to have survived the Song, and most may not have survived the Tang. We are fortunate enough to possess that titled complete with its commentary, and also a fragmentary Chen gui copy of the work on music commissioned in her name, Yue shu yaolu ᑗ ᙕ,2 only thanks to their preservation in Japan. They had been ac- quired by an embassy to China, almost certainly that of 702–704, led టԳ (see the concluding section of thisضby Awata no ason Mahito ொ article) to the court of empress Wu, who was at that time sovereign of 1 See Antonino Forte, Political Propaganda and Ideology in China at the End of the Seventh Century (Naples: Istituto Universitario Orientale,1976); R. -
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio Guide Script
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script 400 Exhibition overview Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition. Xubaizhai was designated by the late collector of Chinese painting and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “Wu School”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”. This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists. 401.Exhibit no. 1 Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 Hanging scroll, ink and colour on paper 143 x 62.5 cm Xubaizhai Collection Shen Zhou, courtesy name Qinan, was a native of Suzhou in Jiangsu province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Huang Tingjian (1045 – 1105), while his students included Wen Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the Ming dynasty (1368 – 1644). Studying under Chen Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his paintings on the styles of Wang Fu (1362 – 1416) and the Four Masters of the Yuan dynasty (1279 – 1368), but he also extended his interest to the works of the Zhe School and incorporated its techniques into his art. -
Review to Chinese Old Maps and Recent Study Progress* Wang Jun
Review to Chinese Old Maps and Recent Study Progress* Wang Jun (Chinese Academy of Surveying and Mapping, Beijing, 100039) [email protected] Abstract: Ancient Map is a significant constitution of historical culture treasure, which symbolizes the sovereignty, the national territory and the accumulation of geographical knowledge. The remarkable achievement of Chinese ancient cartography, which aggregated much knowledge and mapping techniques, has been recognized internationally. This paper draws an outline of the history of Chinese cartography, with several sample illustrations, and presents a brief review to the study achievements in this filed, from the approaches of project, scholar, publication, paper and digitalization work recently. Key words: history of cartography, academic review The History of cartography is inter-discipline among the geography, cartography and history of natural science. With reference to other civilizations in the world, the history of Chinese culture and science is long and continent, kept down much for investigating. In several periods, Chinese civilization, including cartography and geography, stood in the front at the ancient time. At the meantime of accumulate of materials and ideology, much maps or plots were produced, recorded, conserve and survive to present, which records the massage of technology of Chinese past surveying and mapping. These past map, are worthwhile for research with the view of history of cartography, and draw the world attention. According to the mapping methods and way of conservation, the catalogues of past maps are formal or official map, commercial published map and draft map in achieves. For the reason for the official map, which was believed to represent the status of past surveying and mapping, secretly conserved in the palace, or lost in war. -
Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. -
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's Name Dates R Pinyin Romanization of Artist's
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's name ❍ Dates ❍ Pinyin Romanization of Artist's name Artists are listed alphabetically by Wade-Giles. This list is not comprehensive; it reflects the catalogue of visual resource materials offered by AAPD. Searches are possible in either form of Romanization. To search for a specific artist, use the find mode (under Edit) from the pull-down menu. Lady Ai-lien ❍ (late 19th c.) ❍ Lady Ailian Cha Shih-piao ❍ (1615-1698) ❍ Zha Shibiao Chai Ta-K'un ❍ (d.1804) ❍ Zhai Dakun Chan Ching-feng ❍ (1520-1602) ❍ Zhan Jingfeng Chang Feng ❍ (active ca.1636-1662) ❍ Zhang Feng Chang Feng-i ❍ (1527-1613) ❍ Zhang Fengyi Chang Fu ❍ (1546-1631) ❍ Zhang Fu Chang Jui-t'u ❍ (1570-1641) ❍ Zhang Ruitu Chang Jo-ai ❍ (1713-1746) ❍ Zhang Ruoai Chang Jo-ch'eng ❍ (1722-1770) ❍ Zhang Ruocheng Chang Ning ❍ (1427-ca.1495) ❍ Zhang Ning Chang P'ei-tun ❍ (1772-1842) ❍ Zhang Peitun Chang Pi ❍ (1425-1487) ❍ Zhang Bi Chang Ta-ch'ien [Chang Dai-chien] ❍ (1899-1983) ❍ Zhang Daqian Chang Tao-wu ❍ (active late 18th c.) ❍ Zhang Daowu Chang Wu ❍ (active ca.1360) ❍ Zhang Wu Chang Yü [Chang T'ien-yu] ❍ (1283-1350, Yüan Dynasty) ❍ Zhang Yu [Zhang Tianyu] Chang Yü ❍ (1333-1385, Yüan Dynasty) ❍ Zhang Yu Chang Yu ❍ (active 15th c., Ming Dynasty) ❍ Zhang You Chang Yü-ts'ai ❍ (died 1316) ❍ Zhang Yucai Chao Chung ❍ (active 2nd half 14th c.) ❍ Zhao Zhong Chao Kuang-fu ❍ (active ca. 960-975) ❍ Zhao Guangfu Chao Ch'i ❍ (active ca.1488-1505) ❍ Zhao Qi Chao Lin ❍ (14th century) ❍ Zhao Lin Chao Ling-jang [Chao Ta-nien] ❍ (active ca. -
Chinese Local Elites and Institutional Changes: the Local Self-Government in Jiaxing 1905-1914
Leiden University Asian Studies (Research), Humanities Chinese Local Elites and Institutional Changes: The Local Self-Government in Jiaxing 1905-1914 Master thesis Author: Chen Wenxi Supervisor: Dr. Limin Teh Advisor: Professor Hilde De Weerdt Date: 2017-08-01 [email protected] CHINESE LOCAL ELITES AND INSTITUTIONAL CHANGES: THE LOCAL SELF-GOVERNMENT IN JIAXING 1905-1914 CHEN WENXI 2 / 92 Abstract This paper proposes a new perspective to understand the local self-government movement during the late Qing New Policies era. On the one hand, this new perspective moves beyond the common practice of interpreting the local self-government movement as failed state efforts to bridle the local elite by enlisting them into bureaucracy, and instead looks at it from the perspective of local society. On the other hand, it emphasizes the relations between local self-government institutions and other contemporaneous professional associations, like the chamber of commerce, education association, agriculture association, and the anti-opium bureau. To facilitate a comprehensive understanding of the local self-government movement, this paper examines the case in Jiaxing from 1905 to 1914. This period witnessed the whole process of the first wave of the local self-government movement from its start and preparation in the last years of the Qing to its abolition by Yuan Shikai in the Republic. A clear understanding of local power structure is indispensable for researching local self-government. Previous scholars generally draw a line between upper-degree elites and lower elites, urban elites and countryside-based elites, suggesting that there were serious conflicts between upper urban elites and lower elites during the local self-government movement. -
Roots and Branches: Woodland Institutions in South China, 800-1600
Roots and Branches: Woodland Institutions in South China, 800-1600 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Miller, Ian Matthew. 2015. Roots and Branches: Woodland Institutions in South China, 800-1600. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467396 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Roots and Branches: Woodland Institutions in South China, 800-1600 A dissertation presented by Ian Matthew Miller to The Committee on History and East Asian Languages in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History and East Asian Languages Harvard University Cambridge, Massachusetts April 2015 © 2015 Ian Matthew Miller All rights reserved. Advisor: Professor Michael Szonyi Ian Matthew Miller Roots and Branches: Woodland Institutions in South China, 800-1600 Abstract In this dissertation I trace the evolution of the institutions governing woodland in South China over the longue durée. I claim that after a high point of state forestry the imperial government lost both the interest and the ability to manage woodland effectively. Forestry was largely taken over by lineages - kin groups organized around the worship of shared ancestors. I tie this transition in woodland governance to two interrelated trends: growth in the power and independence of lineage organizations, and of long-distance trade in wood products. -
CONSOLING FRUSTRATED SCHOLARS: a COPY of a PARTING GIFT by WEN ZHENGMING by ZOE PEI-YU LI B.A., the University of British Columb
CONSOLING FRUSTRATED SCHOLARS: A COPY OF A PARTING GIFT BY WEN ZHENGMING by ZOE PEI-YU LI B.A., The University of British Columbia, 2004 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Art History) THE UNIVERSITY OF BRITISH COLUMBIA December 2007 © Zoe Pei-Yu Li, 2007 ABSTRACT Farewell in the Garden is a Qing dynasty (1644-1911) copy of a parting gift painted by Wen Zhengming (1470-1559) for his student Wang Chong (1494-1533) to mark the occasion of Wang Chong’s visit before he left to write the civil service examination. In addition to this painting, three other versions bearing similar poetic inscriptions exist. These four paintings present an intriguing riddle and oppourtunity to consider copies as works worthy of scholarly attention. The compelling scene of farewell between teacher and student who both failed the examinations numerous times resonated with audiences who empathized with their disappointments. A longing to serve in the government is visible when these paintings are considered in relation to earlier literati art. The sketch- like traces of a ledge that is in all of the copies except Farewell in the Garden, hint to the visual possibility of this scene being situated on a shore. Wen Zhengming, through his subtle lines, alludes to this powerful site of parting which is frequently depicted in literati landscape painting and associated with scholar officials and men of merit. This thesis situates Farewell in the Garden and its copies within the wider tradition of literati painting through the theme of service. -
ABSTRACT Title of Dissertation: LEARNING NEW PAINTING FROM
ABSTRACT Title of dissertation: LEARNING NEW PAINTING FROM JAPAN AND MAINTAINING NATIONAL PRIDE IN EARLY TWENTIETH CENTURY CHINA, WITH FOCUS ON CHEN SHIZENG (1876–1923) Kuo-Sheng Lai, Doctor of Philosophy, 2006 Dissertation directed by: Professor Jason C. Kuo Department of Art History and Archaeology In the early twentieth century, many Chinese painters went to Japan to study. This dissertation argues that, despite learning from Japan, these artists sought to create a better future for Chinese painting. They did not desire to create a single kind of “Eastern painting” with their Japanese counterparts. The Chinese had long claimed a kind of cultural superiority, called Sino-centrism, which did not diminish in the early twentieth century. The Japanese, however, developed a kind of thinking termed pan-Asianism, in which Asia was considered a unity, and Japan, its leader. Because of this difference, the similarities between Chinese art and Japanese art in the early twentieth century cannot be interpreted as the emergence of an “Asian art” because the Chinese did not endorse Japanese pan-Asianism. Li Shutong was one of the first Chinese painters to visit Japan to learn Western-style painting. Gao Jianfu, founder of the Lingnan School, went to Japan to learn painting and returned with the style known as Nihonga, a synthesis of traditional Japanese painting and Western-style painting. Chen Shizeng was a traditional painter of the scholar class. He also went to Japan to study. But he studied natural history, not painting. Chen Shizeng was most active during the May Fourth Movement of the late 1910s and early 1920s, when radicals wanted to abandon traditional Chinese culture. -
Copyrighted Material
JWST592-IND JWST592-Powers Printer: Yet to Come September 8, 2015 10:31 Trim: 244mm × 170mm Index References to figures are in italic Above the Wall and on Horseback Album of Calligraphy and Analysis of Xiaoqing (Xiaoqing (Qiangtou mashang), 520 Paintings from Ten Bamboo zhi fenxi), 434 Academy of Calligraphy, 505 Studio (Shizhuzhai Anatomy of Love (Qingshi), 88 Achaemenid Palace Persepolis, shuhuapu), 80 ancestor portraits, 43, 147–149 380 Album of Paintings by Famous ancestor spirits, 16, 164–166, Achilles Tatius, 412 Masters throughout the Ages 171, 239 achu (painting, ritual act), 119 (Lidai minggong huapu), ancestor worship, 148–149, Admonitions of the Court 80, 81 159, 238–239, 248 Instructress, 15, 53, 115, Album of Tang Poetry and Confucian rituals, 238–239 141, 152, 171, 172, 393, Paintings, An (Tangshi and construction of tombs 398, 461, 462 huapu), 80, 81 and shrines, 165 fans, 393 albums of paintings, 79–84, 120 family altars, 206 lessons from, 116–120 readerships, 82 imperial, 149–150, 164–166 scroll acquired by British alchemy, 166, 169, 220 Anderson, Benedict, 352 Museum, 121 physiological, 219–220, 225 animals, symbolism of, 508 significance of rebuffal scene, time and, 220–221 animals in tombs, 98 119–120 Alsop, Joseph, 47, 48 Annals of LuBuwei,The¨ , 215 toilette scene, 117–118 on copies and forgeries, 63 Anthology of Discourses on Adventures of Leucippe and Ames, Roger, 237 Chinese Painting Clitophon, The, 412 Amitabha Buddha, 162 (Zhongguo hualun leibian), advertisement Amoghavajra, 142 121 and art, 436 COPYRIGHTEDAn Lushan rebellion, 511 MATERIALAnthology of Literature (Wen and art photography, 431, An Qi, 469 xuan), 269 442–447 Analects, 36, 461, 481 see also antiques and antique dealers, and female nudity, 446–447 Confucius 104, 265 historicity of advertising art, Analysis of Characters as an collecting, 385–386 437–442 Explanation of Writing, The Anyang (Shang capital), 98, nature of, 434 (Shouwen jiezi), 36, 198, 245, 377 afterlife, depictions of, 169 199, 237, 294, 300, 312 apsarases, 167 A Companion to Chinese Art, First Edition. -
The Embodied Art: an Aesthetics of Chinese Calligraphy
The Embodied Art: An Aesthetics of Chinese Calligraphy A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Art History and Theory at the University of Canterbury by Xiongbo Shi UNIVERSITY OF CANTERBURY 2017 Abstract This thesis uses present-day aesthetic terminology to elucidate traditional Chinese calligraphic theories. It examines four aspects of Chinese calligraphy: (1) the calligraphic artwork, specifically stone inscriptions, sutra transcriptions, and letters, all of which underwent transformations from utilitarian writings to artistic calligraphy works; (2) calligraphic xing (form) and its dependence on shi (force; dynamic configuration); (3) calligraphic creation as a psychosomatic process, that is, the coordination between the mind (xin) and the hand (shou); and (4) appreciation of Chinese calligraphy is identified with the Confucian value of de (virtue), and the process of reconstructing the calligrapher’s creation of the work. ii Contents iv Acknowledgements v List of Illustrations vii Notes to the Reader 1 Introduction PART 1 Calligraphic Work and Form 18 Chapter 1 Casual Letters from Famous Calligraphers are Sure to be Treasured (chidu bi zhen 尺牘必珍) 45 Chapter 2 Calligraphic Xing and Shi are Mutually Reflected (xingshi xiangyin 形勢相映) PART 2 Calligraphic Practice and Creation 69 Chapter 3 Being a Disciple of the Past (yu gu wei tu 與古為徒) 86 Chapter 4 Mind and Hand Acting in Harmony (xin shou shuang chang 心手雙暢) PART 3 Calligraphic Evaluation and Appreciation 154 Chapter 5 Calligraphy Mirrors the Calligrapher (shu ru qiren 書如其人) 182 Chapter 6 Calligraphic Appreciation is Like One Witnessed the Creation (ming ru qin du 明如親睹) 220 Conclusion 224 Appendix: Zhang Yinlin: A Preface to Chinese Calligraphy Criticism (1931) 261 Glossary 265 Bibliography iii Acknowledgements I am deeply grateful to my supervisors, Dr Richard Bullen and Professor Paul Millar, whose guidance, support, and encouragement has meant a great deal.