Zhao Mengfu Calligraphy and Painting for Khubilai’S China
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The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
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. -
Administrative Law and the Making of the First <I>Da Qing Huidian</I>
$GPLQLVWUDWLYH/DZDQGWKH0DNLQJRIWKH)LUVW'D4LQJ+XLGLDQ 0DFDEH.HOLKHU /DWH,PSHULDO&KLQD9ROXPH1XPEHU-XQHSS $UWLFOH 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV '2,ODWH )RUDGGLWLRQDOLQIRUPDWLRQDERXWWKLVDUWLFOH KWWSVPXVHMKXHGXDUWLFOH Access provided by Indiana University Libraries (4 Jul 2016 00:49 GMT) Administrative Law and the Making of the First Da Qing Huidian Macabe Keliher, West Virginia University* In the fall of 1690, after decades of development and deliberation, the Qing court issued the first edition of the collected statutes of the dynasty. This hundred-volume compilation pulled together all organizational stipulations for government personnel, as well as the institutional regulations and codes for administrative procedure and activity. It incorporated rules pertaining to political and administrative actors, including the emperor, and outlined the organization and operations of every office and political station of the Qing state. These compiled regulations were, for all intents and purposes, the administrative law of the Qing Dynasty.1 This was the Da Qing huidian, and it laid the ∗ The idea for this article developed in a conversation with my dissertation advisor, Mark Elliott, whose advice and comments on numerous drafts have been invaluable. Michael Chang read and commented on an early draft as a panel discussant at the 2014 Northeast AAS conference, and continued to provide valuable feedback on subsequent revisions in his role as an editor for this journal. I would also like to thank Michael Szonyi and Ian M. Milller for their detailed comments, as well as John Greggory, Nancy Park, David Porter, Teemu Ruskola, and the two anonymous reviewers. Additional research and final revisions were completed during my year as a Jerome Hall Postdoctoral Fellow at Indiana University Maurer School of Law. -
Climbing the Ladder of Success in the Imperial China: Chang Chien's
Open Access Library Journal Climbing the Ladder of Success in the Imperial China: Chang Chien’s Examination Life Shun-Chih Sun Department of Translation and Interpretation Studies, Chang Jung Christian University, Tainan, Chinese Taipei Email: [email protected] Received 7 August 2015; accepted 22 August 2015; published 28 August 2015 Copyright © 2015 by author and OALib. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract Chang Chien (1853-1926) was a native of Nant’ung, Kiangsu. In spite of the Various works on Chang Chien, which testify to the significance of his role in modern China, Chang Chien’s examina- tion life is still not well-researched. The purposes of this paper are firstly, to analyze Chang Chien’s examination life systematically and clearly in the hope that it may become a useful reference for researchers on modern China, and secondly, to stimulate scholars for further research. This paper depends more on basic source materials rather than second-hand data. Among various source materials, Chang Chien’s Diary, The Nine Records of Chang Chien and The Complete Work of Chang Chien are the most important. Chang Chien’s examination life has close connection with the Im- perial China’s Civil Service examination and the establishment of New Education system of China in the late Ch’ing Period. Chang Chien’s examination life can be divided into three periods: 1) The period to Siu-ts’ai diploma (licentiate). 2) The period to Chu-jen diploma (a successful candidate for provincial examination). -
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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. -
Describing Visuality and Imagining Vision in Eleventh-Century Chinese Painters’ Biographies 87
DOI: 10.6503/THJCS.202103_51(1).0003 Learning How to See Again: Describing Visuality and Imagining Vision in ∗ Eleventh-Century Chinese Painters’ Biographies Ari Daniel Levine∗∗ Department of History University of Georgia ABSTRACT This article seeks to reconstruct the implicit epistemic assumptions that shaped descriptions of visuality and vision in three mid-eleventh-century collections of painters’ biographies—Liu Daochun’s 劉道醇 (fl. 1050-1060) Shengchao minghua ping 聖朝名畫評 (c. 1057) and Wudai minghua buyi 五代名畫補遺 (1059), and Guo Ruoxu’s 郭若虛 (c. 1041-c. 1098) Tuhua jianwen zhi 圖畫見聞志 (c. 1074). Through a close reading of these texts, which record how these two Northern Song literati viewed and recalled paintings both lost and extant, this article will explain how they imagined the processes of visual perception and memory to function. Liu and Guo’s written descriptions of the experiences of observers viewing paintings, and of painters viewing and painting pictorial subject matter, provide evidence of two distinctive understandings of visuality that involved both optical visualization in the present and mentalized visions in memory. For Liu and Guo, writing about viewing paintings re-activated the experience of seeing for themselves, which involved reconstituting images from their own visual memories, or describing other observers’ ∗ I presented earlier versions of this article at the Second Conference on Middle-Period China at Leiden University in September 2017, at the Karl Jaspers Centre for Transcultural Studies at Heidelberg University in June 2019, and at the International Conference “New Perspectives on Song Sources: Reflecting upon the Past and Looking to the Future” at National Tsing Hua University in December 2019. -
A Great Masterpiece: Zhao Mengfu's "Autumn at Que and Hua Buzhu Hills"
2019 3rd International Workshop on Arts, Culture, Literature and Language (IWACLL 2019) A Great Masterpiece: Zhao Mengfu’s "Autumn at Que and Hua Buzhu Hills" Luo Hongqiang Art College of Gansu University of Political Science and Law, Lanzhou 730070, China Keywords: Zhao Mengfu, “Autumn at Que and Hua Buzhu Hills”, appreciation. Abstract: "Autumn at Que and Hua Buzhu Hills" is the most representative landscape painting by Zhao Mengfu, a famous painter of the Yuan Dynasty. In his works, Zhao Mengfu borrows writing into the painting, using three-stage composition and the combination of ink and green. His works are classical and elegant with profound implication and feelings hidden in the landscape, and his painting theory has had a profound impact on later generations. This article introduces the creative background of Zhao Mengfu and his "Autumn at Que and Hua Buzhu Hills ". On this basis, this article analyses the artistic features and seclusion feelings of this masterpiece. 1. Introduction Zhao Mengfu is a famous painter of the Yuan Dynasty. He is also one of “the four great calligraphers” – the other three are Ouyang Xun, Yan Zhenqing and Liu Gongquan. He is versatile, and he is good at poetry, especially calligraphy and painting and he also understands economy, antique, appreciating literary and artistic works. He do well in painting landscapes, figures, bamboo, stones, flowers and birds, pommel horses. " Autumn at Que and Hua Buzhu Hills " was painted by Zhao Mengfu in his hometown of Wuxing, Zhejiang Province in 1295 for Zhou Ming, the famous poet and writer of the late Southern Song Dynasty. -
Chinas Examination Hell the Civil Service Examinations of Imperial China 1St Edition Free
CHINAS EXAMINATION HELL THE CIVIL SERVICE EXAMINATIONS OF IMPERIAL CHINA 1ST EDITION FREE Author: Ichisada Miyazaki ISBN: 9780300026399 Download Link: CLICK HERE The Chinese Imperial Examination System Transcriptions Revised Romanization gwageo. During the reign of Emperor Xizong of Jin r. It was called the nine-rank system. After the collapse of the Han dynastythe Taixue was reduced to just 19 teaching positions and 1, students but climbed back to 7, students under the Jin dynasty — The Hanlin Academy played a central role in the careers of examination graduates during the Ming dynasty. During the Tang period, a set curricular schedule took shape where the three steps of reading, writing, and the composition of texts had to be learnt before students could enter state academies. Western perception of China in the 18th century admired the Chinese bureaucratic system as favourable over European governments for its seeming meritocracy. In the Song dynasty — the imperial examinations became the primary method of recruitment for official posts. Stanford: Stanford University Press. By the time of the Song dynasty, the two highest military posts of Minister of War and Chief of Staff were both reserved for civil servants. Liu, Haifeng The Chinas Examination Hell The Civil Service Examinations of Imperial China 1st edition of the military examination were more elaborate during the Qing than ever before. China's Examination Hell: The Civil Service Examinations of Imperial China There was almost no other way to hit the really big time. Average rating 3. Just a moment while we sign you in to your Goodreads account. He and the assistant examiners were dispatched on imperial order from the Ministry of Rites. -
Making the Palace Machine Work Palace Machine the Making
11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). -
Lecture Notes, by James Cahill
Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 10A: Bird and Flower Painting: The Early Centuries This will be the first of two lectures on Chinese bird‐and‐flower painting through the Song dynasty—this one taking us up to around the time of the Emperor Huizong in the late Northern Song; the next one, 10B, will be on Huizong‐period and Southern Song bird‐and‐flower painting. In one respect, these lectures have been inconsistent—well, more than one, but one I want to speak about briefly. I announced near the beginning that they would be heavily visual, without trying to deal seriously with questions of meaning and function, what the paintings meant to the people who made and used them, how they functioned in different times and different contexts. Well, Iʹve followed that generally; but Iʹve also spent quite a lot of time talking about the philosophical system that I take to underlie Chinese landscape painting in the different periods. I believe I have things to say about that topic that arenʹt general knowledge, and landscape painting is the principal theme of this series. But I wonʹt try anything of the kind for bird‐and‐flower painting. There are rich textual sources, in Chinese and in modern scholarship, about the symbolism of these subjects, and how pictures of them could carry symbolic significance. But that isnʹt a matter on which I feel I have original things to say, so I leave it alone. -
At the End of the Stream: Copy in 14Th to 17Th Century China
Renaissance 3/2018 - 1 Dan Xu At the End of the Stream: Copy in 14th to 17th Century China There were no single words in Chinese equivalent to By the 14th century the three formats became the form the English word copy. By contrast, there were four preferred by artists, and remained unchallenged until distinctive types of copy: Mo (摹 ), the exact copy, was the early 1900s, when the European tradition of easel produced according to the original piece or the sketch painting came to provide an alternative.[1] The album of the original piece; Lin (临 ) denotes the imitation of was the last major painting format to develop. It ar- an original, with a certain level of resemblance; Fang rived along with the evolution of leaf-books. The album (仿 ) means the artistic copy of a certain style, vaguely was first used to preserve small paintings, later being connected with the original; and the last one, Zao (造 ), adopted by artists as a new format for original work refers to purely inventive works assigned to a certain and also as teaching resource or notebook for the master’s name. artist himself. Pictorial art in China frst emerged as patterns on In the process of the material change, it’s note- ritual vessels, then was transmitted to wall paintings worthy that Mo, the faithful copy, was involved in three and interior screens; later it was realised on horizontal slightly different ways: 1. to transmit an image from hand scrolls, vertical hanging scrolls and albums. manuscript/powder version to final work; 2.