WANG Xizhi and Japanese Calligraphy

Total Page:16

File Type:pdf, Size:1020Kb

WANG Xizhi and Japanese Calligraphy The special exhibition WANG Xizhi and Japanese Calligraphy Kyushu National Museum 2018.2.10[sat]~ 4.8[sun] Organizers: Kyushu National Museum/ Fukuoka Prefecture; The Nishinippon Simbun Co., Ltd.; Some of the works on exhibit will be changed. Television Nishinippon Corporation ① 2.10~2.18 ② 2.20~2.25 ③ 2.27~3.4 ④ 3.6~3.11 ※Designations: ◉ = National Treasure, ◎ = Important Cultural Property, ○ = Important Art Object, ⑤ 3.13~3.18 ⑥ 3.20~3.25 ⑦ 3.27~4.1 ⑧ 4.3~4.8 □ = Prefectural Cultural Property, △ = City Cultural Property Audio No. ※ Title Artist Materials Period, Era(date) Owner ① ② ③ ④ ⑤ ⑥ ⑦ ⑧ Chapter 1 Reverence for WANG Xizhi Copied: Tang dynasty, Hanging scroll, Transcription of Wang Xizhi's Original: 7th-8th century The Museum of the Imperial 1 elaborate traced 1 by WANG Xizhi Original: Eastern Jin dynasty, Collection, Sannomaru Shozokan letter known as "Soranjo" copy on paper 4th century Copied: Tang dynasty, Hanging scroll, Transcription of Wang Xizhi's Original: 7th-8th century The Maeda Ikutokukai 2 ◉ elaborate traced by WANG Xizhi Original: Eastern Jin dynasty, Foundation, Tokyo letter known as "Koujichujo" copy on paper 4th century Copied: Tang dynasty, Hanging scroll, Transcription of Wang Xizhi's Original: 7th-8th century 3 elaborate traced Kyushu National Museum 3 by WANG Xizhi Original: Eastern Jin dynasty, letter known as "Maishijo" copy on paper 4th century Lined with back- Copied: Tang dynasty, Transcription of Wang Xizhi's Original: ing, elaborate 7th-8th century 4 letter known as "Daihojo" by WANG Xizhi traced copy on Original: Eastern Jin dynasty, paper 4th century Copied: Tang dynasty, Handscroll, Transcription of Wang Xianshi's Original: 7th-8th century Calligraphy Museum, Taito Ward, 5 elaborate traced 2 by WANG Xianshi Original: Eastern Jin dynasty, Tokyo letter known as "Jiotojo" copy on paper 4th century Illustrated scroll of the orchid Compiled: Ming dynasty, Handscroll, ink 6 pavilion gathering, Wangli dated 1592 Tokyo National Museum 4 rubbing on paper version (Wangli 20) Preface to the poems of the Original: Eastern Jin dynasty, orchid pavilion gathering, Original: Album, ink Calligraphy Museum, Taito Ward, 7 dated 353 by WANG Xizhi rubbing on paper Tokyo Dingwu version, Han Zhuchuan (Yonghe 9) edition Preface to the poems of the Original: Eastern Jin dynasty, Original: Album, ink 8 orchid pavilion gathering, Duhu dated 353 Tokyo National Museum by WANG Xizhi rubbing on paper version (Yonghe 9) Preface to the poems of the Original: Eastern Jin dynasty, Original: Album, ink Calligraphy Museum, Taito Ward, 9 orchid pavilion gathering, dated 353 by WANG Xizhi rubbing on paper Tokyo Shenlong version (Yonghe 9) Thousand-character classic in Album, ink on 10 ◉ By Zhiyong Sui dynasty, 7th century formal and cursive script paper Thousand-character classic in Original: Album, ink Original: Sui dynasty, 11 formal and cursive script Kyoto National Museum by Zhiyong rubbing on paper 6th century (Song rubbing) By Josetsu, Hanging scroll, Scene of Wang Xizhi painting Inscriptions by Muromachi period, 12 ◎ ink and light Kyoto National Museum DAIGAKU Shusu 15th century fans colors on paper and ISHO Tokugan Monju bosatsu (Manjusuri bodhisattva associated with Hanging scroll, Kamakura period, 13 ○ wisdom, doctrine and Fukuoka Art Museum color on silk 13th century awareness), riding on a lion's back Konkomyo saisho'o kyo (the Handscroll, Golden light of the most Nara period, 14 ◉ gold lettering on Nara National Museum 8th century victorious kings sutra) in gold purple paper letters on purple paper, volume 4 Detached segment of essay on Hanging scroll, Heian period, The Museum of the Imperial 15 Attributed to Kukai calligraphy by Sun Guoting ink on paper 9th century Collection, Sannomaru Shozokan Rokoshi iki (a Comparative study Handscroll, ink Heian period, 16 ◉ of confucianism, taoism and By Kukai Kongobu-ji Temple, Wakayama on paper dated 797 (Enryaku 16) buddhism), volume 1 Annotation of Kongo han'nya kyo Handscroll, ink Heian period, 17 ◉ By Kukai Nara National Museum (the Diamond sutra) on paper 9th century 5 Annotation of Kongo han'nya kyo Handscroll, ink Heian period, 18 ◉ By Kukai Kyoto National Museum (the Diamond sutra) on paper 9th century Kanjo rekimei (List of initiates for Handscroll, ink Heian period, 19 ◉ the kanjo ceremony of Shingon By Kukai Jingo-ji Temple, Kyoto on paper dated 812-813 (Konin 3-4) buddhism) Katsuma kongo mokuroku Handscroll, ink Heian period, 20 ◉ By Saicho Enryaku-ji Temple, Shiga (Inventory of objects from China) on paper dated 811 (Konin 2) Hanging scroll, Heian period, 21 ◉ Letter known as "Kyukakujo" By Saicho Nara National Museum ink on paper dated 813 (Konin 4) Certificate of advanced buddhist Handscroll, ink Heian period, 6 22 ◉ By Emperor Saga Enryaku-ji Temple, Shiga studies for the priest Kojo on paper dated 823 (Konin 14) Audio No. ※ Title Artist Materials Period, Era(date) Owner ① ② ③ ④ ⑤ ⑥ ⑦ ⑧ Chapter 2 Establishment of Japanese-style Calligraphy or Wa-yo and Hiragana (Japanese syllabic characters) Archives and Mausolea Kinokashu (Collection of poems By Handscroll, ink Heian period, 23 Department, Imperial Household OE-no-Asatsuna on paper dated 919 (Engi 19) by the members of Ki family) Agency Imperial decree granting ecclesiastical rank of Hoin By Handscroll, ink Heian period, 24 ◉ Tokyo National Museum Daikasho and posthumous name ONO-no-Michikaze on paper dated 927 (Encho 5) Chisho Daishi to Enchin Drafts of calligraphy for screen By Handscroll, ink Heian period, The Museum of the Imperial 25 with poems known as 8 ONO-no-Michikaze on paper dated 928 (Encho 6) Collection, Sannomaru Shozokan "Byobudodai" Poems of Bai Juyi known as By Handscroll, ink Heian period, The Museum of the Imperial 26 "Gyokusenjo" ONO-no-Michikaze on paper 10th century Collection, Sannomaru Shozokan Poems of Bai Juyi in three types By Handscroll, ink Heian period, 7 27 ◉ The Masaki Museum of Art, Osaka of calligraphy ONO-no-Michikaze on paper 10th century Poem of Bai Juyi known as By Hanging scroll, Heian period, Shunkei Kinen Shodo Bunko, 28 "Kinujigire" ONO-no-Michikaze ink on silk 10th century Tokyo Hanging scroll, Kamakura period, The Museum of the Imperial 29 Portrait of Ono-no-Michikaze Attributed to Raiju ink and color on 13th century Collection, Sannomaru Shozokan paper Letter known as "Kuni no By FUJIWARA-no- Hanging scroll, Heian period, Shunkei Kinen Shodo Bunko, 30 moshibumijo" Sukemasa ink on paper dated 982 (Tengen 5) Tokyo By FUJIWARA-no- Hanging scroll, Heian period, Fukuyama Museum of 31 ○ Letter known as "Tonobenjo" Sukemasa ink on paper dated 998 (Chotoku 4) Calligraphy, Hiroshima Document concerning Prince By FUJIWARA-no- Hanging scroll, Heian period, The Museum of the Imperial 32 Atsuyasu's first audience with Yukinari ink on paper dated 1005 (Kanko 2) Collection, Sannomaru Shozokan Emperor Ichijo By FUJIWARA-no- Hanging scroll, Heian period, 33 ◎ Letter Tokyo National Museum Yukinari ink on paper dated 1020 (Kan’nin 4) Handscroll, ink By FUJIWARA-no- Heian period, 34 ◉ Poems known as "Hon'nojigire" on decorative Honno-ji Temple, Kyoto 9 Yukinari 11th century paper Handscroll, ink Poems of Bai Juyi, Kan'nin By FUJIWARA-no- Heian period, 35 ◉ on decorative Tokyo National Museum 10 Yukinari dated 1018 (Kan’nin 2) version paper Poems of Bai Juyi, Retired By FUJIWARA-no- Handscroll, ink Heian period, 36 ◉ The Masaki Museum of Art, Osaka Emperor Gosaga version Yukinari on paper 11th century Attributed to Anthology of songs for rituals Handscroll, ink Heian period, 37 ◎ MINAMOTO-no- Tokyo National Museum on paper 10th-11th century offered to the gods Nobuyoshi Attributed to ONO-no- Handscroll, ink Poems and copy of Wang Xishi's Heian period, 38 ◉ Michikaze and on decorative Tokyo National Museum 11th-12th century letters, known as "Akihagijo" FUJIWARA-no- paper Yukinari Hanging scroll, Poem starting with "Koishisani," Attributed to Heian period, 39 ink on Tokyo National Museum ONO-no-Michikaze 10th-11th century Tsugi shikishi version decorative paper Poem starting with "Amatsu Attributed to Hanging scroll, Heian period, 11 40 ◎ Itsuo Museum, Osaka kaze," Tsugi shikishi version ONO-no-Michikaze ink on paper 10th-11th century Attributed to Hanging scroll, Poem starting with "Ima wa Heian period, 41 FUJIWARA-no- ink on Tokyo National Museum 11th century haya," Masu shikishi version Yukinari decorative paper Poem starting with Hanging scroll, Attributed to Heian period, 42 "Toshifureba," Sunshoan ink on Tokyo National Museum KI-no-Tsurayuki 12th century shikishi version decorative paper Segment from Kokin wakashu Attributed to Hanging scroll, Heian period, 43 (Poetry anthology) Sekido FUJIWARA-no- ink on 11th century version Yukinari decorative paper Kokin wakashu (Poetry Hanging scroll, Attributed to Heian period, 44 ◎ anthology) volume 1, Koyagire ink on The Gotoh Museum, Tokyo KI-no-Tsurayuki 11th century version decorative paper Kokin wakashu (Poetry By Hanging scroll, Heian period, 45 anthology) volume 2, Koyagire MINAMOTO-no- ink on 11th century version Kaneyuki decorative paper Wakansho (Anthology of Attributed to Handscroll, Ink Heian period, 46 ◉ Japanese and Chinese poems), FUJIWARA-no- on decorative Yomei Bunko Foundation, Kyoto 11th century volume 2 Yukinari paper Handscroll, ink Poems from Wakan roeishu By on decorative Heian period, The Museum of the Imperial 47 anthology, Kumogami version, MINAMOTO-no- paper with cloud 11th century Collection, Sannomaru Shozokan Kaneyuki volume 1 design Attributed to Kokin wakashu (Poetry 2 albums, ink on Heian period, Kyushu
Recommended publications
  • A Lingering Taste of Chinese Calligraphy CHINESE WISDOM
    Chinese Social Sciences Today Culture 8 THURSDAY JUNE 18 2020 A lingering taste of Chinese calligraphy CHINESE WISDOM By JI SHAOYU message of Nature. These works are when calligraphers talk about how tician Kang Youwei (1858–1927) in nothing but dross. One can easily the second stroke of 力 (li, strength) Guang Yi Zhou Shuang Ji. Works of calligraphy are often know how they taste. Any piece of should be written like a crossbow When Kang mentioned “flavor” seen as an analogy for the works of work that is not created by heart is that is tightly pulled back, they he was emphasizing the need for nature. As calligrapher Wei Heng doomed to lack spirit.” are stressing the use of Shi, or the calligraphy to be a fusion of multiple (?–291) described it, “Strong and Without “spirit,” a work of cal- strength of calligraphy. elements. Calligraphy continues to vigorously the brush goes, like a ligraphy has no inner beauty, which enrich itself by drawing from vari- dragon rising from a deep river. makes its pretty form meaningless. State of mind ous sources. Take the calligraphy Book High above it falls, like raindrops However skillful a calligrapher is, A masterpiece can only be cre- works created during the Wei Dy- falling from the sky.” without enough emotional depth ated when the calligrapher puts his/ nasty (220–266) and Jin Dynasty Calligraphy is also often linked to and cultural instinct, one can only her real emotions into the work. (266–420) for example, they are one’s own senses of taste, smell, hear- come up with a shallow piece of As Zhao Gou (1107–87, Emperor expressive and artistic because dif- ing and touch.
    [Show full text]
  • 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.
    [Show full text]
  • Revisiting the Scene of the Party: a Study of the Lanting Collection
    Revisiting the Scene of the Party: A Study of the Lanting Collection WENDY SWARTZ RUTGERS UNIVERSITY The Lanting (sometimes rendered as "Orchid Pavilion") gathering in 353 is one of the most famous literati parties in Chinese history. ' This gathering inspired the celebrated preface written by the great calligrapher Wang Xizhi ï^è. (303-361), another preface by the poet Sun Chuo i^s^ (314-371), and forty-one poems composed by some of the most intellectu- ally active men of the day.^ The poems are not often studied since they have long been over- shadowed by Wang's preface as a work of calligraphic art and have been treated as examples oí xuanyan ("discourse on the mysterious [Dao]") poetry,^ whose fate in literary history suffered after influential Six Dynasties writers decried its damage to the classical tradition. '^ Historian Tan Daoluan tliË;^ (fl. 459) traced the trend to its full-blown development in Sun Chuo and Xu Xun l^gt] (fl. ca. 358), who were said to have continued the work of inserting Daoist terms into poetry that was started by Guo Pu MM (276-324); they moreover "added the [Buddhist] language of the three worlds [past, present, and future], and the normative style of the Shi W and Sao M came to an end."^ Critic Zhong Rong M^ (ca. 469-518) then faulted their works for lacking appeal. His critique was nothing short of scathing: he argued Earlier versions of this article were presented at the annual meeting of the Association for Asian Studies in Phil- adelphia in March 2012 and at a lecture delivered at Tel Aviv University in May, 2011, and I am grateful to have had the chance to present my work at both venues.
    [Show full text]
  • Download File
    On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture.
    [Show full text]
  • Aristocratic Culture
    Part 3: Cosmopolitan Tang: Aristocratic Culture 12: The Unified Empire: Cosmopolitan Tang Historical Overview Year Event 589 Reunification The Sui defeat of the Southern Dynasties ended the north/south split and the split between the ethnically Han and non-Han dynasties. Like the Qin it its time, this period of reunification, into the first years of the seventh century, sowed the seeds for the cultural and socio-political trends that would come to fruition in the Tang: Strengthening of central control over civil and military authorities. Economic links between N and S that led to the building of the canal. Expansion of the empire into SE and NE Asia Flourishing of Sinisized state Buddhism 630 Tang begins Amid the military overextension and environmental pressures that fomented the Sui civil war, the NE military became a dominant force. By 630, if I understood the lecture correctly, this force had achieved hegemony. The first century-and-a-half saw a new centralized aristocratic empire. Taxes were reorganized around the equal-field system, centralizing control over land and taxes. Non-Chinese people were integrated into the empire. 755-763 An Lushan rebellion Expansion into new areas taxed the Tang militia, requiring professional armies to staff the frontier posts. The An Lushan rebellion of 755-763, a frontier military rebellion, wreaked havoc on the dynasty and ushered in the developments we associate with Later Tang (but not the Later Tang Dynasty of 923). 760-918 Later Tang In this period, the tax system broke down along with relationships with the frontier kingdoms. The government retreated from commerce, opening the way for private enterprise.
    [Show full text]
  • The Forbidden Classic of the Jade Hall: a Study of an Eleventh-Century Compendium on Calligraphic Technique
    forbidden classic of the jade hall pietro de laurentis The Forbidden Classic of the Jade Hall: A Study of an Eleventh-century Compendium on Calligraphic Technique pecific texts regarding the scripts of the Chinese writing system and S the art of calligraphy began appearing in China at the end of the first century ce.1 Since the Postface to the Discussion of Single Characters and Explanation of Compound Characters (Shuowen jiezi xu 說文解字序) by Xu Shen 許慎 (ca. 55–ca. 149),2 and the Description 3 of the Cursive Script I would like to express my deepest gratitude to Ms. Chin Ching Soo for having provided sharp comments to the text, for having polished my English, and for having made the pres- ent paper much more readable. I would also like to thank Howard L. Goodman for his help in rendering several tricky passages from Classical Chinese into English. 1 On the origin of calligraphic texts, see Zhang Tiangong 張天弓, “Gudai shulun de zhao- shi: cong Ban Chao dao Cui Yuan” 古 代 書 論 的 肇 始:從 班 超 到 崔 瑗 , Shufa yanjiu 書法研究 (2003.3), pp. 64–76. 2 Completed in 100 ce; postface included in the Anthology of the Calligraphy Garden (Shu yuan jinghua 書苑菁華), 20 juan, edited by Chen Si 陳思 (fl. 13th c.), preface by Wei Liaoweng 魏了翁 (1178–1237), reproduction of the Southern Song dynasty (1127–1279) edition published in the series Zhonghua zaizao shanben 中華再造善本 (Beijing: Beijing tushuguan chubanshe, 2003), j. 16. English translation by Kenneth Thern, Postface of the Shuo-wen Chieh-tzu (Madison: University of Wisconsin, 1966), pp.
    [Show full text]
  • The Origin and Evolvement of Chinese Characters
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Portal Czasopism Naukowych (E-Journals) BI WEI THE ORIGIN AND EVOLVEMENT OF CHINESE CHARACTERS Writing, the carrier of culture and the symbol of human civilization, fi rst appeared in Sumer1. Like other ancient languages of Egypt and India, ancient Sumerian symbols have been lost in the process of history, but only Chinese characters still remain in use today. They have played a signifi cant role in the development of Chinese lan- guage and culture. This article intends to display how Chinese characters were creat- ed and how they were simplifi ed from the ancient form of writing to more abstract. Origin of Chinese characters Chinese characters, in their initial forms, were beautiful and appropriately refl ected images in the minds of ancient Chinese that complied with their understanding of reality. Chinese people selected the way of expressing meaning by fi gures and pic- tures, and Chinese characters begun with drawings. Three Myths in Ancient Times It is diffi cult to determine the specifi c time when the Chinese characters emerged. There are three old myths about the origin of Chinese characters. The fi rst refers to the belief that Chinese characters were created by Fu Xi – the fi rst of Three Sovereigns2 in ancient China, who has drew the Eight Trigrams which have evolved into Chinese characters. The mysterious Eight Trigrams3 used for divination are composed of the symbols “–” and “– –”, representing Yang and Yin respectively. 1 I.J. Gelb, Sumerian language, [in:] Encyclopedia Britannica Online, Encyclopedia Britannica, re- trieved 30.07.2011, www.britannica.com.
    [Show full text]
  • CHINA ACROSS the CENTURIES Papers from a Lecture Series in Budapest
    CHINA ACROSS THE CENTURIES Papers from a lecture series in Budapest EDITED BY GÁBOR KÓSA DEPARTMENT OF EAST ASIAN STUDIES, EÖTVÖS LORÁND UNIVERSITY BUDAPEST 2017 CONTENTS Foreword .............................................................................................................................vii OLIVIER VENTURE: Zeng: The Rediscovery of a Forgotten Regional State ..........................................................1 IMRE GALAMBOS: Graphic Variation in Early Chinese Writing .....................................................33 ANTJE RICHTER: Three Years and Not a Word Has Faded: Reading Letters in Early Medieval Chinese Poetry ......................................61 ROBERT H. SHARF: Is Nirvāṇa the Same as Insentience? Chinese Struggles with an Indian Buddhist Ideal ............................................89 ANGELA SCHOTTENHAMMER: The Song 宋 Dynasty (960–1279) – A Revolutionary Era Turn? .................................133 PAOLO SANTANGELO: Using Late Imperial Literary Sources for Historical Purposes ........................................175 About the Authors .............................................................................................................203 Three Years and Not a Word Has Faded: Reading Letters in Early Medieval Chinese Poetry* ANTJE RICHTER (University of Colorado, Boulder) There is very little mention of reading in Chinese poetry of the early medieval period, with one exception: the reading of letters. The few poems by literati men on the reading of books that we have from this time—Shu Xi’s 束皙 (263–302) “Poetic Exposition on Reading” (Du shu fu 讀書賦), Tao Qian’s 陶潛 (365–427) “Reading the Canon of Mountains and Seas” (Du Shanhai- jing 讀山海經), and Xie Lingyun’s 謝靈運 (385–433) “Reading in my Study” (Zhaizhong du shu 齋中讀書)—are exceptional pieces.1 Equally rare are po- ems about palace ladies reading in their boudoirs to while away their time and loneliness, although Xu Ling 徐陵 (507–583), editor of the anthology New Songs from a Jade Terrace (Yutai xinyong 玉臺新詠, ca.
    [Show full text]
  • THE GREAT ERA of ART COLLECTING in CHINA Emperor Taizong and His Followers
    BBognaogna ŁakomskaŁakomska Academy of Fine Arts, Gdansk The State Ethnographic Museum in Warsaw Polish Institute of World Art Studies THE GREAT ERA OF ART COLLECTING IN CHINA Emperor Taizong and his followers n 618 AD when the Tang dynasty was founded, the Imperial Storehouse had merely three hundred scrolls, but all of them were regarded as treasures Ihanded down from the Sui dynasty.1) This small collection, however, only began to grow when on the throne sat Emperor Taizong 太宗 (626 – 649 AD) – one of the greatest art collectors of all times. An excellent scholar and calligra- pher, interested in art himself, Taizong almost fanatically began to buy art from private individuals.2) As a result, by the year 632 AD in the imperial collection there were already over 1,500 scrolls of calligraphy.3) The Imperial Storehouse was much more than simply a repository for art works. It was an exclusive institution uniting excellent intellectuals, artists and capable officials, who also were outstanding experts in art. Its core constituted a counsel of three authorities: Yu Shinan 虞世南 (558 – 638 AD) – once Emperor Taizong’s teacher of calligraphy; Wei Zheng 魏徵 (580 – 643 AD) – a brilliant officer and the emperor’s adviser; and Chu Suiliang 褚遂良 (597 – 658 AD) – 1) Acker (1979: 127). 2) In sponsored by the Emperor Huizong 徽宗 (1100 – 1126) the Xuanhe Huapu宣和画谱 (Catalogue of Paintings of the Xuanhe Emperor [Huizong]), there is a following description of Emperor Taizong as an artist as well as a patron of art: “…Taizong was good at fei bai飞白 (fl ying white) and gave some of his pieces in it to his top offi cials.
    [Show full text]
  • As Ran ART ______Volume 65 • Numbers R & 2 • 2Ors
    ARCHIVES OF As rAN ART ______ VoLUME 65 • NuMBERs r & 2 • 2ors Published by the University of Hawai'i Press for the Asia Society Made by Empire: Wang Xizhi's Xingrangtie and Its Paradoxes MARTIN KERN Shanghai Normal University and Princeton University Abstract The essay explores the history of one of the most celebrated pieces of Chinese calligraphy, an early Tang tracing copy of Ritual to Pray for Good Harvest (Xingrangtie) by Wang Xizhi (303-ca. 36I). The Tang paper slip with its fifteen characters is merely 8. 9 em wide but embedded into a scroll of 3 7 2 em, with seals and colophons from three Chinese emperors and an illustrious line of connoisseurs. The essay explores the numerous paradoxes in the reception of both the scroll and the Wang Xizhi persona, with the scroll exemplifying the constructed nature of Wang's persona in its dialectic relationship to Chinese imperial culture. KEYWORDS: Chinese calligraphy, Wang Xizhi (303-ca. 36I), Qianlong Emperor, Song Huizong, Dong Qichang, Xingrangtie, Ritual to Pray for Good Harvest, imperial culture, seals, colophons, authenticity, letters, copy An Iconic Artifact life,3 Wang appears to embody the idealized distance in relation to the imperial state that was highly prized o Chinese calligrapher is more revered than the among the early medieval Chinese intellectual elite for "sage of calligraphy" (shusheng fi~) Wang Xizhi exemplifying moral rectitude and personal integrity. Itlz (303-ca. 36I), an aristocrat whose prestigious This persona is not entirely dissimilar to the equally Langye Wang :Ee~~~_E refugee family from Shandong constructed one of Tao Qian ~1§1! (365-427).4 Coinci­ helped set up the Eastern Jin dynasty at Jiankang in 3 I7.
    [Show full text]
  • Chinese Writing and Calligraphy
    CHINESE LANGUAGE LI Suitable for college and high school students and those learning on their own, this fully illustrated coursebook provides comprehensive instruction in the history and practical techniques of Chinese calligraphy. No previous knowledge of the language is required to follow the text or complete the lessons. The work covers three major areas:1) descriptions of Chinese characters and their components, including stroke types, layout patterns, and indications of sound and meaning; 2) basic brush techniques; and 3) the social, cultural, historical, and philosophical underpinnings of Chinese calligraphy—all of which are crucial to understanding and appreciating this art form. Students practice brush writing as they progress from tracing to copying to free-hand writing. Model characters are marked to indicate meaning and stroke order, and well-known model phrases are shown in various script types, allowing students to practice different calligraphic styles. Beginners will fi nd the author’s advice on how to avoid common pitfalls in writing brush strokes invaluable. CHINESE WRITING AND CALLIGRAPHY will be welcomed by both students and instructors in need of an accessible text on learning the fundamentals of the art of writing Chinese characters. WENDAN LI is associate professor of Chinese language and linguistics at the University of North Carolina at Chapel Hill. Cover illustration: Small Seal Script by Wu Rangzhi, Qing dynasty, and author’s Chinese writing brushes and brush stand. Cover design: Wilson Angel UNIVERSITY of HAWAI‘I PRESS Honolulu, Hawai‘i 96822-1888 LI-ChnsWriting_cvrMech.indd 1 4/19/10 4:11:27 PM Chinese Writing and Calligraphy Wendan Li Chinese Writing and Calligraphy A Latitude 20 Book University of Hawai‘i Press Honolulu © 2009 UNIVERSITY OF HAWai‘i Press All rights reserved 14â13â12â11â10â09ââââ6 â5â4â3â2â1 Library of Congress Cataloging-in-Publication Data Li, Wendan.
    [Show full text]
  • A Case Study of Furong and Cangpo Villages in Wenzhou, Zhejiang Province, China
    The Spatial Formation and Transformation of Chinese Rural Clan Settlements: A Case Study of Furong and Cangpo Villages in Wenzhou, Zhejiang Province, China Dissertation zur Erlangung des akademischen Grades Doktor-Ingenieur (Dr.-Ing.) an der Fakultät Architektur der Bauhaus-Universität Weimar vorgelegt von Long, Jiang geboren am 06.04.1977 in Harbin Weimar, 2012 Gutachter: ………….. ………….. Tag der Disputation: ………….. Statement of Originality (ehrenwörtliche Erklärung) Ich erkläre hiermit ehrenwörtlich, daß ich die vorliegende Arbeit ohne unzulässige Hilfe Dritter und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen direkt oder indirekt übernommenen Daten und Konzepte sind unter Angabe der Quelle unmißverständlich gekennzeichnet. Weitere Personen waren an der inhaltlich-materiellen Erstellung der vorliegenden Arbeit nicht beteiligt. Insbesondere habe ich hierfür nicht die entgeltliche Hilfe von Vermittlungs-bzw. Beratungsdiensten (Promotionsberater oder anderen Personen) in Anspruch genommen. Niemand hat von mir unmittelbar oder mittelbar geldwerte Leistungen für Arbeiten erhalten, die im Zusammenhang mit dem Inhalt der vorgelegten Dissertation stehen. Die Arbeit wurde bisher weder im In-noch im Ausland in gleicher oder ähnlicher Form einer anderen Prüfungsbehörde vorgelegt. Ich versichere ehrenwörtlich, daß ich nach bestem Wissen die reine Wahrheit gesagt und nichts verschwiegen habe. ........................................ ........................................ Ort, Datum Unterschrift II
    [Show full text]