By Susan Bush, Hsio-yen Shih
For college kids of chinese language paintings and tradition this anthology has confirmed useful considering its preliminary e-book in 1985. It collects vital chinese language writings approximately portray, from the earliest examples throughout the fourteenth century, permitting readers to work out how the artwork of this wealthy period used to be obvious and understood within the artists' personal instances. a few of the texts during this treasury fall into the huge class of aesthetic concept; a few describe particular strategies; a few talk about the paintings of person artists. provided in actual and readable translations, and prefaced with inventive and historic historical past info to the formative sessions of chinese language conception and feedback. A word list of phrases and an appendix containing short biographies of 270 artists and critics upload to the usefulness of this quantity.
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Additional resources for Early Chinese Texts on Painting
This response and accord will affect the spirit and, as the spirit soars, the truth will be attained. Even though one should again futilely seek out remote cliffs, what more could be added? Furthermore, the spirit, which is essentially limitless, resides in forms and stimulates all kinds 17. Members of the monk Hui-yuan's religious community are known to have climbed this peak and to have celebrated it in poetry. See Susan Bush, ''Tsung Ping's Essay on Painting Landscape and the 'Landscape Buddhism' of Mount Lu," in Theories of the Arts in China, ed.
Mountains arc often associated with sages or immortals in Chinese mythology. See Karlgren, "Legends and Cults in Ancient China," for various traditions about heroes and rulers in prehistory, especially P- 279 for the hermit Kuang-ch'eng and the sage Ta-k'uei. i Yu, and the brothers Po-i and Shu-ch'i, are all noted by Ssu-ma Ch'ien (145-ca. ) in Shih-chi (Historical Records), Book 61, as recluses who disdained worldly power. 16. All famous scenic areas in the Kiangsi, Hunan, Hupei, and Szechwan regions.
Both in the laying on of colors and the delineation of form, he was the originator of new ideas. Ku K'AI-CHIH (cA. 345-cA. 406, PLACED IN THE THIRD CLASS). His investigation of form was refined and subtle, and he never used his brush haphazardly. But his brushwork did not come up to his ideas, and his fame exceeds the reality. MAo HUI-YUAN (D. CA. 490, PLACED IN THE THIRD CLASS). In painting style he was complete and sufficient, and there was nothing that he tried that he did not accomplish perfectly.