The Image and Text Relationship in TANG Yin＇s Scroll of Poetry and Painting

This paper seeks to examine the image and text relationship in TANG Yin＇s scroll of poetry and painting from three aspects： The first aspect focuses upon the schema type of its image and text relationship in physical form; the second aspect, explores the text＇s/poetry＇s functions of anchorage and relay while appreciating those images/paintings; the third aspect, traces the semiosis process of image, exploring how image and text as cultural products in the epistemological world mediates with the phenomenological world

On the Symbiotic Relationship between Pre-Raphaelite Poetry and Painting - A Case Study of Dante Gabriel Rossetti and William Morris

The poetry and painting of such Pre-Raphaelite artists as Rossetti and Morris are intimately linked in terms of both the theoretic base and the techniques adopted in the process of creation,so much so that the interaction between the two could be labeled symbiotic.The paper aims to trace the origin of this kinship by adumbrating the relationship between poetry and painting from ancient Greece to the 19th century,illustrating the art aesthetic of John Ruskin(his defense for poetry and painting as sister arts and his philosophy of beauty in particular)as the foundation for the two target artists'practice,and examining the diverse techniques employed in their artistic production.

Discussion on the Relation between Garden Landscape Constitution and Ancient Chinese Poetry and Paintings

From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment of Chinese literati.As a diverse and comprehensive aesthetic art,landscape expressed material and spiritual culture doubly,the spiritual connotation of which was inextricably linked within ancient Chinese poetry and paintings.In addition,ancient Chinese poetry and paintings can be directly used in landscape composition,such as the widely used in plaques,inscriptions,couplets,poems and inscriptions,carved beams and painted pillars,painting with words and so on.Chinese literati integrated the ethereal realm of poetry and paintings into garden art,making landscape endow with poetic charm.Therefore,the landscape revealed the traces of literature and arts in aesthetic idea and taste,pushing Chinese garden to a higher aesthetic realm.This study pointed the right way to the future of modern landscape which advocated ecological and harmonious development.

Building Landscape Art with Study of Buddhism in Poetry and Drawing

Many aspects have very important effects on garden art,such as landscape poetry,landscape painting,or related poetic theory,painting theory.Among them,the characteristics of the Buddhism of poetry and painting provide a basis on creating Zen State in garden.The ideal state of poetry constitutes the aesthetic realm of garden and its gardening techniques.

Chinese Sources for AfterWards:From Premodern Poetry,Paintings,and Medical Texts to Modern Novels,Film,and Documentaries

This paper focuses on Chinese sources suggested for a narrative medicine(NM)program,called AfterWards.Dr Lauren Small established AfterWards in 2014 and has been coordinating it since out of the Pediatrics Department at Johns Hopkins Medicine.In early 2019,she started giving a series of lectures and workshops about AfterWards to Chinese medical educators and clinicians in Beijing and Shanghai.She created an AfterWards Facilitator’s Guide based on Western-language sources for workshop participants.She also started to organize with Jiang Yuhong(Peking Union Medical College)a workshop for Chinese colleagues to be held at Johns Hopkins Medicine in October 2019.They invited the author to participate.The idea was hatched then to develop Chinese source materials following the AfterWards structure for an updated Facilitator’s Guide that Dr Small had initially written.A typical one-hour AfterWards session consists of a specific five-part structure:a literary text or artwork,an associated theme,discussion topics,a writing exercise,and shared reflection.While the content of the program always changes from session to session,the basic structure remains the same.This paper summarizes the types of Chinese sources and their related narrative-medicine themes that were originally selected for inclusion in the updated AfterWards Facilitator’s Guide intended for Chinese colleagues.These sources about coping with sick family members,aging,and illness ranged from the textual(classical Chinese poems on aging and diagnostic forms for training students)and visual(premodern Chinese paintings and murals of medical encounters)to the fictive(novels)and performative(contemporary Asian-American film in English and Chinese-language film and documentaries).

Analysis on the Gardening Characteristics of Wangchuan Villa Based on Wangchuan Anthology

During the building process of Wangchuan Villa,WANG Wei indulged in the enjoyment of nature. Based on realistic manner,more attentions were paid to artistic conception. A garden style of far-reaching,concise,simple and lingering artistic conception was created,which helped Wangchuan Villa become the representative work of artistic landscape gardens during Tang and Song Dynasties.

Poetic and Pictorial Splendor-Expression of Traditional Chinese Literati in Chinese Architecture

The expression of traditional Chinese literati is based on connection, seeking emotion and harmony. With various forms, though, this style of expression shares the same value in some art forms, like traditional Chinese poetry, calligraphy and paintings, and Chinese architecture. Based on the commonalities of various forms of literature and art, this paper offered an insight into Chinese architecture in light of poetic and pictorial expression of traditional Chinese literati. In order to illuminate the corresponding connection between traditional Chinese poetry, calligraphy and paintings, and Chinese architecture, this paper discussed the expression of Chinese architecture corresponding to the essence of traditional Chinese poetry, calligraphy and paintings respectively from the perspective of philosophy, aesthetics, and culture study of Chinese architecture. Via analogous analysis, which includes the analogy between the emotion of architecture and the feelings in traditional poetry, the analogy between the order of architecture and the spirit of calligraphy, and the analogy between the artistic conception and the picturesque scene, the poetic and pictorial expression of Chinese architecture was clarified. This paper emphasized that Chinese architecture needs to jump out of the concrete image, eradicate the interdisciplinary boundaries, and stress the integration of arts and humanities in a higher level, to express Chinese architecture in a Chinese way. That means making Chinese architecture modern in forms and techniques, and traditional in spirit and artistic conception.

Books Becoming Museums:Exploring Intertextuality and Pictorial Influence in Susan Howe’s Debths

At the end of the seventies,science,philosophy and arts became a succulent material for poets,especially for those belonging to experimental groups like Susan Howe.Debths(2017),probably Howe’s last book,is a museum for any reader as it is not just an ensemble of memoirs and related poems,but also a source of pictorial and literary information.It includes extracts from 19th and 20th century texts(fairy tales,essays,and other genres)by her favorite influential authors as well as her ekphrastic poems that evocate paintings and sculptures from the Isabella Gardner Museum where she once found the inspiration.Even music has a place in this book,as Howe tends to include sound effects,interferences and references to musical pieces in her poems to make them multidimensional works of art.Along the pages,Howe highlights the materiality of writing,as well as the relevance of the form,especially in“Tom Tit Tot”,where she shows her mastery of the collage technique.All these carefully chosen pieces have the mission of representing the eternal return,the relativity of time,and how death can also be a beginning.

Painted in Oil, Composed in Ink： Late-Qing Ekphrastic Poetry and the Encounter with Western-Style Painting

This essay explores the poetic responses of several Qing-dynasty poets to their encounter with Western-style oil painting. Unfamiliar with Western post-Renaissance techniques, most notably the use of perspective and of oil paints, these poets expressed their anxiety, distaste, curiosity and appreciation of Western aesthetics and cultural practices through their poems. By focusing on previously un-translated poems of Weng Fanggang 翁方纲 （1733-1818）, Li Xialing 李遐龄 （1768-1832）, Kang Youwei 康有为 （1858-1927） and others, I argue that these poems function as metaphors for the complex ways in which China＇s late imperial elites negotiated their country＇s encounter with the West, both as a tight-knit group bound by dynastic conventions and as a loose network of individual thinkers whose varied talents allowed for highly original reflections on the cultural potential of East-West encounters. I will show that--while strictly adhering to traditional Chinese prosodic conventions--these poets through their creative and nuanced poetic commentaries on Sino-Western relations achieved an unusual degree of cultural cross-fertilization. Intrigued by the ＂foreignness＂ of the art works they set their eyes on, these poets, I will illustrate, were able to expand the horizons of poetic discourse without surrendering to the lure of the foreign or abandoning indigenous formal conventions.

Appreciating Ancient Chinese Poetry (Chinese-English Bilingual)

The following are two poems by well known chinese poet Li Qing zhao(1084-C.1151),who lived hme SouthernSong Dynasty(11 27-1279)、The poems are translated by Chinese Canadian N.C.Doc.Li Qingzhao was a native ofZhangqiu in Qizhou(now in Shandong Province).Her early life was spent in affluence,and she and her husband,Zhao Mingcheng,devoted themselves to collecting and arranging callgraphy,painting and seals.This idyllic lifecame to an end afterjin troops had invaded the Central Plain and moved to the south of China.Her early poetrydescribes mostly her leisure life,while her late works are full of sorrow for her husband,who had died,and for hernative land in the Central Plain.She writes in a straightforward manner,and her wording is both elegant and mild.

宋徽宗茶书诗画及其茶道精神探析

作为一位才华横溢且爱好饮茶的帝王,宋徽宗对宋代茶文化的发展起到了重要的引领作用。在宋代崇尚风雅的社会文化氛围下,他创作了许多优秀的茶书诗画作品,如茶书《大观茶论》、茶画《文会图》以及多首描绘茶事活动的茶诗。这些作品充分体现出“致清导和”“韵高致静”和“中澹闲洁”的茶道精神,反映了宋人的审美情趣与价值追求,在茶文化史上有着重要的地位,并对茶文化的发展产生了深远的影响。

论程抱一作品中的诗画意境

法国华裔作家程抱一曾以西方结构主义和符号学方法对中国传统诗画艺术做系统研究,这使他备受西方学界赞誉。他在早期诗画共论的批评实践中呈现出整体、转化、和谐等美学意蕴,进而在诗画一体的文艺创作中深入存在、死亡、虚、元气、道等哲学思考,力图在跨越中西文化的对话中揭示隐秘而真实的生命和世界。诗画共论的批评范式和诗画一体的创作风格共同营造出趋虚向道、走向大开的诗画意境,构成程抱一文艺思想的重要面向。得益于中西合璧的诗画艺术,他在多个领域的写作都体现出生命存在的和谐以及宇宙整体的共鸣。

真幻交融:张云骧题画词及其时代精神

张云骧受燕赵地域文化及晚清时代影响,有着豪宕慷慨、奇逸清雅之气。其题人物画词或将真实人物性情与画中人物意象融合为一体,或借仙鬼形神寄托奔波行役、志气难伸的沉郁悲慨。题花鸟画词多用花卉拟仕女,隐喻晚清中下层文士“风流自赏”的末世悲情,将他们沉浮于家国创伤与内忧外患的时代潮流中,因生命自觉、文化责任、社会忧思无法挣脱而不得不直面时代的精神焦虑与生命选择寄寓其中,从而在晚清词坛中别具一格。

历史学维度下中国绘画的三种语图关系

在中国绘画史发展过程中,绘画和语言从来都是互为表里、相互补充的关系。从历史学维度涉及的语言和图像之间的关系角度,探讨中国绘画的三种语图关系。具体而言,中国绘画的语图关系主要包括语图一体、语图分体和语图合体这三大部分,包括分体关系、合体关系、直接影响古今文学艺术发展的特点及形成,并对当今艺术创作及发展有启示价值。

苏轼诗词书法作品接受中的语图关系变化

欣赏诗词书法作品可以欣赏书法艺术,也可以识读诗词内容,接受过程中表现出语图关系的变化。大多数接受者对苏轼诗词书法作品的欣赏分为三个过程:首先被书法书像所吸引,进入图像欣赏中,沉醉于视觉效果;其次对所书诗词内容进行识读,了解所写诗词的内容;再次将两者放在一起去欣赏,书法与诗歌在迭代中达到更高的融合,欣赏者获得双重的审美享受。

体认在原著与修订之间——重读钱锺书《中国诗与中国画》

重读《中国诗与中国画》1978年修订版,大体有“版本学”“学术史”两种视角。20世纪90年代以降,学界主要着眼于前者,确认此文在1949年前后的版本有六种。至于1978年修订版与1947年开明版原著相比,除篇幅增加一倍外,著者注入修订版的深意究竟何谓,这需诉诸“学术史”视角。从“学术史”考辨修订版及原著,可得出三点结论。其一,原著重在论述王维为符号的“神韵派风格”,在“画品”系统所享有的影响暨地位,并不与它在“诗品”系统所占有的影响暨地位呈“一律”或“对称”。其二,著者敏锐地感觉到“‘诗品-画品’的古典对立”这一逻辑建模,拟可被用来隐含他所体认的“‘风气-风向’的今世疏离”这一学术史现象,这恐是他执笔修订版的内驱力。其三,有识者只需咀嚼修订版一再提及的那个“作者——他”,将其读作给定语境中的“钱锺书——我”,也就不难领悟其修订版究竟想给后世留下何种启示。

西方诗学文化的时间化传统及空时性趋向

学界有一种观点认为,西方文化是一种视觉中心主义的文化,这其实是一种误解。空间化转向在西方诗学文化领域得以发生的前提,是传统的西方诗学文化具有一种时间化特质,而这种特质又与西方传统的逻各斯语言观具有内在联系。由于“逻各斯”的两大基本含义是“言说”和“理性”,在逻各斯语言观的影响下,西方诗学也有两大突出特征:注重语言音韵的感性审美特征,强调文学的理性本原和认识功能。由于音韵是在时间中存在的现象,理性逻辑也以时间秩序为基础,西方诗学文化传统因此具有一种时间化倾向。这一时间化倾向还表现在强调“诗画界限”、反对视觉化美学,把诗乐进行类比、强调“诗之乐境”诸方面。认识这一点,不仅有助于中西诗学文化、文明互鉴,而且有助于理解当代跨媒介艺术文化理论所表现出的空时性趋向。

论徐渭“墨戏”笔法的诗画互动

徐渭通过“墨戏”笔法将诗与画相联系,展现出独特的诗画互动关系。他的“墨戏”笔法,往往是不求形似,注重将自身感受注入其中,给予作品最大的情感表达。徐渭诗画在“墨戏”笔法的运用中彼此融合互动。一方面,徐渭探索题画诗中的文辞对于画境的拓展、创新和引导;另一方面,他又将“墨戏”笔法与色彩相结合,进一步探讨它与诗境的关系。与其他文人画家的作品相比,徐渭的创作更加注重自身情感的释放。他所追求的不求形似、放荡自由的诗画的艺术风格,进一步促进了诗与画的相互补充、相辅相成的发展。这不仅为当时的艺术发展做出巨大的贡献,也为当今中国画的“墨戏”的创新奠定了基础。

论胡祗遹题画诗的隐逸情怀

题画诗在元代逐渐成熟,在元初题画及隐逸之风盛行的情形下,以胡祗遹为代表的元初北方文人以画境寄托归隐心境,其山水类题画及题陶画诗托画寄意、诗画相融,以题画诗作为超脱现实的心灵寄托,表达超脱世俗的隐逸情怀。通过梳理这些诗歌,可以感悟元初题画诗托画寄意、诗画相资的艺术风貌,体会元初文人的慕陶情结,窥探胡祗遹务实济世思想之外的林泉之趣、隐逸之思及其题画诗重要的思想价值。