By Susan Bush, Hsio-yen Shih
For college students of chinese language artwork and tradition this anthology has confirmed valuable because its preliminary ebook in 1985. It collects very important 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 was once noticeable and understood within the artists' personal instances. a few of the texts during this treasury fall into the wide classification of aesthetic thought; a few describe particular innovations; a few speak about the paintings of person artists. provided in exact and readable translations, and prefaced with creative and ancient heritage info to the formative classes of chinese language concept 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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For one such story see Shio Sakanishi, The SpiriJ of the Brush (London: John Murray, 1957), p. 18. Pre-T'ang Interpretation and Criticism 19 natural beings were easier to render than dogs and horses was to reverberate in the minds of later writers. Representation and its significance were the main concerns of the philosophers, essayists, and poets who commented on painting in the Han. The art they described had evidently moved from the decorative to the practical realm. c. tombs excavated at Ch'angsha in Hunan province.
Omp. Liu An, Book 13. pref~rn:~d subjects in Huai-nan-tzu, Pre-Tang Interpretation and Criticism 25 Optical Illusion Han Fei (d. ) There was a retainer who painted a tablet for the Lord of Chou, completing it after three years. When the lord saw that it had the same appearance as any lacquered tablet, he was very angry. The tablet's painter said: "Build a wall of ten planks' height and cut out a window of eight feet. " The Lord of Chou did this and perceived the tablet's appearance. It was entirely formed of dragons, snakes, birds, beasts, and horse-drawn chariots, the forms of myriad beings complete in every detail.
Contemporary anecdotes stress his interest in capturing a sitter's personality. " 3 Such stories are most relevant to the first two essays attributed to Ku, which certain commentators now prefer to combine under the single title of Lun-hua (Essay on Painting). Apart from a general opening statement ranking different types of painting, the first text or section consists primarily of critical assessments of individual paintings by third- or fourth-century masters. The second text, which is evidently mislabeled, deals mainly with the techniques of copying as did Ku K'ai-chih's "Essay on Painting" according to the Li-tai ming-hua chi entry.