By Susan Bush, Hsio-yen Shih

For college kids of chinese language paintings and tradition this anthology has confirmed beneficial due to the fact that its preliminary e-book in 1985. It collects vital chinese language writings approximately portray, from the earliest examples in the course of the fourteenth century, permitting readers to work out how the paintings of this wealthy period used to be noticeable and understood within the artists' personal occasions. a number of the texts during this treasury fall into the extensive class of aesthetic thought; a few describe particular innovations; a few talk about the paintings of person artists. awarded in exact and readable translations, and prefaced with creative and ancient history info to the formative classes of chinese language thought 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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32 Early Chinese Texts on Painting CHANG SENG-YU [6TH CEKTURY]. He excelled in making pictures for pagodas and temples and strode beyond the multitude of artisans. In court robes or country clothes, he never overlooked what was ancient or modern. In strange forms and odd appearances, or various locales whether foreign or Chinese, he truly entered into their subtleties ... Yet his sages and wise men when narrowly examined are a little lacking in spiritual energy. But, how can one ask for perfection in one man?

If yellow [discoloration] fills the silk on a fine painting, one should then simply leave the [copy's] sides clear. At each of the two borders of a scroll, for example, this should be for not quite three-tenths [of an inch]. Human figures have greater or lesser height. Once their distance has been set in accordance with their scrutinization of an object, one must not alter their spacing or misplace them higher or lower. No living person salutes with his hands or gazes with his eyes if there is nothing before him.

Only Lu Tan-wei [5th century] and Wei Hsieh [active late 3rdearly 4th century] were thoroughly proficient in all of these. But, while works of art may be skillful or clumsy, aesthetics knows no ancient and modern. Respectfully relying upon remote and recent [sources] and following their classifications, I have edited and completed the preface and citations. Hence what is presented is not too far-ranging. As for the origins [of painting], it is merely reported that it proceeded from gods and immortals, but none was witness to such.

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