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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. -
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. -
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. -
736 | Asian Art China I – V Lot 1 – 948A 6 – 7 May 2016 Viewing: 3 – 5 May, 10.00 Am – 5.00 Pm
736 | Asian Art China I – V Lot 1 – 948a 6 – 7 May 2016 Viewing: 3 – 5 May, 10.00 am – 5.00 pm Please note that the times given below only give an approximation of the schedule of the auction, during which considerable delays may arise. Please note also that the succession of the following lot numbers may include numbers without belonging to an object. Friday, 6 May 2016 doors open: 09.00 am 9.30 am 1 – 39a China I - Hidden - treasures ca. 9.45 am 41 – 88 China II - Chinese paintings and calligraphy ca. 10.30 am 89 – 140 China III - Tibet, Nepal and South East Asia ca. 10.45 am 141 – 540 China IV ca. 2.00 pm 541 – 714 China V Saturday, 7 May 2016 doors open: 09.00 am 9.30 am 717 – 948a China V Please address enquiries about individual objects to the appropriate expert. Catalogue: Michael Trautmann, Tel.+49 (0) 711 / 649 69 - 310, [email protected] All participants in the auction are bound by our conditions of sale published at the end of this catalogue. Statements by us in the catalogue or in condition reports or made orally or in writing elsewhere regarding the autorship, origin, size, date, medium, attribution genuiness, provenience, condition or estimated selling prize of any lot are merely statements of opinion and are not to be relied on as statements of definitive fact. Prospective buyers are advised to examine the goods in which they are interested before auction takes place. Condition reports available on request Katalogbearbeitung / Catalogue / 圖錄 Michael Trautmann Tel.: ++49 (0)711 / 649 69 - 310 trautmann @ auction.de 1 1 China I 11 China I A FINE CIRCULAR, CARVED CINNABAR A CIRCULAR CINNABAR LACQUER BOX LACQUER (tihong) DISH WITH LANDSCAPE WITH DEPICTION OF SCHOLARS IN A DESIGN AND SCHOLARS IN A GARDEN GARDEN, China, c. -
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. -
The Controversy Between Aesthetic Standards of Seal Engraving Since the Ming and Qing Dynasties Kaiwei Zhang1,*
Advances in Social Science, Education and Humanities Research, volume 572 Proceedings of the 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) Clean or Dilapidated Style: The Controversy Between Aesthetic Standards of Seal Engraving Since the Ming and Qing Dynasties Kaiwei Zhang1,* 1 Arts College of Sichuan University, Chengdu, Sichuan, China *Corresponding author. Email: [email protected] ABSTRACT Since the Ming and Qing Dynasties, the art of seal engraving has become a literati style and the aesthetic standards of seal engraving have become controversial and been divided into clean style and dilapidated style. Taking the criticism and controversy of clean style and dilapidated style in seal engraving theory as the clue, this paper aims to explore the development of seal engraving art in the controversy between the two aesthetic standards since the Ming and Qing dynasties, reveal the inner development path of modern seal engraving art, and thus have a new understanding of the development history of seal engraving since the Ming and Qing Dynasties. Keywords: Standards of seal engraving, Clean style, Dilapidated style, Development of seal engraving. 1. INTRODUCTION 2. THE TRADITION OF SEAL In the Yuan and Ming Dynasties, the limitations ENGRAVING IN CLEAN STYLE in seal materials were broken through, which makes AND THE APPRECIATION OF it available to "engrave seal for private use'", and "NATURAL DILAPIDATED the art of seal engraving became a literati style STYLE" flourished. Indeed as Zhou Lianggong said, "the way of seal engraving was founded by Wen Peng "Seal is a token". As a voucher of credit, seal and then abided by later generations and has solemn and formal significance. -
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. -
The Interartistic-Intersemiotic Value of Chinese Calligraohy in Cross-Cultural Education
THE BEAUTY WITHOUT FRONTIERS 39 The Beauty Without Frontiers: the Interartistic-Intersemiotic Value of Chinese Calligraphy in Cross-Cultural Education Da’an Pan California State Polytechnic University, pomona As an intermedia art Chinese calligraphy bridges the visual and verbal arts; its role goes beyond language learning to provide a key to understanding Chinese art as a holistic art. Furthermore, Chinese calligraphy can be used as a model to illustrate the concept of beauty peculiar to Chinese culture and even the entire system of Chinese aesthetics. Chinese calligraphy can be taught most effectively as an intersemiotic and ideogramic art and is best appreciated in a holistic context. Chinese calligraphy education in a cross-cultural context enables students to develop a genuine appreciation of the Chinese aesthetic tradition. It further helps students enhance their aesthetic judgment and sensibilities across cultures and disciplines toward a global vision of beauty. Many students have come to appreciate the beauty and value of this art not merely for art’s sake but for their own personal cultivation and fulfillment. Beauty Across Media In Chinese language teaching calligraphy is a convenient and necessary tool that provides a visual complement to the pin-yin and a verbal reference to the writing system. Involving calligraphy in Chinese language teaching places the learning process in a unique cultural context as well as a verbal-visual frame of reference and thus facilitates this process. It helps to balance the pedagogic emphasis on the phoneticity of the Chinese language with a cognitive attention to the morphology and etymology of this language; a familiarity with the pictographic / ideogramic features of the Chinese written characters facilitates and reinforces proficiency in Chinese. -
Introduction to the History, Use and Function of Chinese Book Collectors’ Seals*
FÖLSTER | INTRODUCTION TO CHINESE BOOK COLLECTORS‘ SEALS 25 Article Introduction to the History, Use and Function of Chinese Book Collectors’ Seals* Max Jakob Fölster | Hamburg εany old Chinese books (both printed ones and manuscripts) other hand, has a very long tradition of using seals to mark bear red stamps on them (see igs. 1 and β, for example). books and other collectibles, especially paintings and pieces seals’ of calligraphy. This dates back to at least the sixth century.6ش These are imprints of what is conventionally called (yinzhang 印). Book collectors’ seals (cangshuyin 印)1 What further distinguishes Chinese book collectors’ seals Ḳ one special kind of seal in China Ḳ are often compared from European ex libris is the common practice among to European bookplates or ex libris. In fact, some Western collectors of adding their seal imprint to those of previous libris seals’ for them.2 The owners.7 This sometimes resulted in large numbers of شscholars even use the term ex two have a number of common featuresμ they are not merely imprints being made in a single book. Not only can such marks of ownership, but have developed into a form of art in imprints be used to identify the various owners of a book, their own right, which could be used by collectors to express but they are also an important source of information in the their personality.3 Despite these similarities, however, there dificult task of authentication and open up the possibility of are also a number of important differences: bookplates are revealing which books once belonged to a speciic collector if a product of the age of printing in Europe, while Chinese the person did not happen to draw up or bequeath a catalogue book collectors’ seals are not exclusively conined to printed of the works in his collection. -
Kineska Kaligrafija
Chinese Intermezzo Vladimir Živanović Far East Society Belgrade, Serbia Chinese Characters (汉字) One character = one syllable = one semantical unit (≈ one word) More than 60.000 characters in existence Zhoghua zihai has collected 85.568 characters Three to five thousand characters actually needed and used in everyday communication Used outside of China Universal written language Wade-Giles and pinyin Pictograms 人 Man 女 Woman 子 Child Pictograms 馬 Horse 鳥 Bird 龜 Turtle 象 Elephant Transformation Creation of contemporary Chinese characters Misinterpretations are possible: Original pictogram: sheep 美 big A man (shaman) wearing ceremonial Beautiful head gear Ideograms 木 Tree 林 Forest 森 Jungle Ideograms axe or shield hand 我 Me man woman too too He She 他 (other) 她 Ideograms child woman 好 good woman roof/house pig roof 安 peace 家 home Ideograms field strength 男 male eye eye lose damaged blind blind 盲 (figuratively) 瞎 (for real) Ideograms ≠ 鳥 烏 bird crow man roof dark mouth dark 夜 night 名 name Ideograms (rare ones, though) (dot) stone water stone water 砅 砯 to cross the river by sound of the water jumping on stones hitting rocks Rare and complex characters zhé biáng talkative (traditional dish) out of use since used rarely V century AD (local dialects only) Phono-semantic characters horse (mǎ) old (gǔ) 妈 姑 女 mother (mā) girl (gū) however (qiě) to be (nǎi) woman Semantic component in: 姐 奶 elder sister (jiě) breasts, milk (nǎi) Phono-semantic characters 苦grass woman姑 古 bitter (kǔ) girl (gū) surround corpse, body in horiz. position ancient (gǔ) Phonetic component in: 固 居 certain, firm (gù) live (јū) Simplification Non-standard simplification – calligraphy Standards after the 1949 revolution 馬 马 龍 龙 Horse Dragon Simplifications Misunderstandings can occur here too.. -
The Art of Calligraphy in Post-Mao China
ASIANetwork Exchange | spring 2012 | volume 19 | 2 Negotiating with the Past: The Art of Calligraphy in Post-Mao China Li-hua Ying Abstract: Chinese Calligraphy, an integrated form that combines language, art, phi- losophy, and poetry, was considered the highest art in traditional China. Although no longer used for daily communication, calligraphy manages to sustain its pres- ence in Chinese cultural life even in the computer age. The classical forms that were canonized nearly two millennia ago continue to command a large following while new styles and new practices have emerged in response to social, cultural and artistic influences. This paper looks at present trends in calligraphy and calligraphy- inspired practices against the backdrop of tradition. It is apparent that even within the most radical changes that have taken place, whether in the way calligraphy is practiced or evaluated, there are strong indications that the fundamental aesthetic principles passed down from the past are still very much alive today, showing the resilience of this ancient art. Keywords writing; art; calligraphy; language Chinese calligraphy, an integrated form that combines language, art, philosophy, and Li-hua Ying is an Associate Pro- poetry, was considered the highest art in traditional China, “the most fundamental artistic fessor in the Chinese and Japa- manifestation of the national mind.”1 Although no longer used for daily communication, nese Program at Bard College. calligraphy manages to sustain its presence in Chinese cultural life even in the computer age. The classical forms that were canonized nearly two millennia ago continue to com- mand a large following, while new styles and new practices have emerged in response to social, cultural, and artistic influences. -
Your Paper's Title Starts Here: Please Center Use
Advances in Social Science, Education and Humanities Research, volume 96 International Conference on Humanities Science, Management and Education Technology (HSMET 2017) Simple and elegant--The aesthetic of Mi Fu's cursive script Yipeng Luan School of Fine Arts, Weinan Normal University, Weinan Shaanxi, 714000, China Key words: Mi Fu, Simple and elegant, Cursive script, Natural and drifting, Revelation. Abstract. Mi Fu's aesthetic view on cursive script is very clear, that is, simple and elegant. Simple and elegant precisely requires a kind of natural and drifting quality as ancient people. This has created his unique small cursive script which seems contradictory with his running script creation, but the fact is that this aesthetic promoted the maturity and subsequent development of his running script style. The aesthetic of simple and elegant has a great significance on being able to see massive ruins of ancient calligraphy today. Introduction Most theorists agree that the achievement of Mi Fu's cursive script is not high, besides attributing which to his setting up a "treasure Jin" rope for himself. As for his cursing wild cursive of Zhang Xu and Huai Su and his views on cursive script, mainstream theorists more tent to think that it is because of his habitually speaking astonishing words or there is a deviation--"going out of way" on his understanding on the cursive script. I think, for this, it is can not be simply judged as right and wrong, or with the conclusion, the cause and effect, far-reaching among which deserve our pondering. Mi Fu's simple and elegant aesthetic Following let's see his major discusses on the simple and elegant aesthetic cursive script "If the cursive script could not introduce the style of people in Jin, then it would turn out to be something inferior.