DOI Kapitel:
Essays
DOI Kapitel:Ning, Yao: Propagating the Confucian Virtues: Chinese Artists in Serialized Printed Portrait Books
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.70035#0039
Yao Ning
Fig. 14: Image of Wang Xizhi wood-
block print, 1856, in: Yuyue xianxian xiang
zhuan zan (The Pictures,
Biographies and Eulogies of the Former Wor-
thies from the Yue Area), Ren Xiong )£
the print of Wang Xizhi has achieved
vividness and can be associated with the
brush techniques used in calligraphy
(Fig. 14). The appropriation of brush-
stroke in woodblock print reminds the
viewer of the close relationship between
print, calligraphy, and painting, in which
calligraphy is regarded as the highest art.
The subsequently added inscriptions
after Ren Xiong’s death and the playful
interaction between calligraphy/text
and image mark the nineteenth century
as a unique period in which elements of
painting and calligraphy were well
absorbed in printed images. The period
from the late eighteenth century to 1911
- the end of the Qing dynasty - was a
decisive, radical, and revolutionary
epoch in the history of calligraphy in
China.59
In the series of the illustrated printed
worthies, two aspects emerged in the
nineteenth century that are of relevance.
First, the book Wujun mingxian tu zhuan
zan by Gu Yuan and the book Yuyue
xianxian xiang zhuan zan by Ren Xiong
indicate a social and cultural shift in
Chinese society, with the ideas of
xiangxian local worthies, and local
identity appearing and developing. For centuries, the Yangzi Delta region was the
richest area in China. Related to this factor was the very high percentage of the civil
examination success that had promoted local pride. Finally, the devolution of imperial
power to local elites after the Qianlong ^reign (1735-1796) was another relevant
factor for the increased local identity in this area.60
Second, the category of the worthy had shifted in the case of Ren Xiong. Ren Xiong
personally dictated the rule regarding the worthies. Many well-known Confucian
literati - including Confucius himself - were left out. These exclusions may have been
due to the geographical limitation of the Yue area. However, some lesser-known
historical figures, filial sons and daughters - especially ten filial, or chaste women -
were included. There has been a long tradition of collections of illustrated women of
filial piety, chastity, or those women of virtue who gave wise advices to the rulers or
educated their sons successfully. Derived from the concept of the book Lienü zhuan
(Exemplary Women) by Liu Xiang Hl] (79-8 BCE), such illustrations were
32
Fig. 14: Image of Wang Xizhi wood-
block print, 1856, in: Yuyue xianxian xiang
zhuan zan (The Pictures,
Biographies and Eulogies of the Former Wor-
thies from the Yue Area), Ren Xiong )£
the print of Wang Xizhi has achieved
vividness and can be associated with the
brush techniques used in calligraphy
(Fig. 14). The appropriation of brush-
stroke in woodblock print reminds the
viewer of the close relationship between
print, calligraphy, and painting, in which
calligraphy is regarded as the highest art.
The subsequently added inscriptions
after Ren Xiong’s death and the playful
interaction between calligraphy/text
and image mark the nineteenth century
as a unique period in which elements of
painting and calligraphy were well
absorbed in printed images. The period
from the late eighteenth century to 1911
- the end of the Qing dynasty - was a
decisive, radical, and revolutionary
epoch in the history of calligraphy in
China.59
In the series of the illustrated printed
worthies, two aspects emerged in the
nineteenth century that are of relevance.
First, the book Wujun mingxian tu zhuan
zan by Gu Yuan and the book Yuyue
xianxian xiang zhuan zan by Ren Xiong
indicate a social and cultural shift in
Chinese society, with the ideas of
xiangxian local worthies, and local
identity appearing and developing. For centuries, the Yangzi Delta region was the
richest area in China. Related to this factor was the very high percentage of the civil
examination success that had promoted local pride. Finally, the devolution of imperial
power to local elites after the Qianlong ^reign (1735-1796) was another relevant
factor for the increased local identity in this area.60
Second, the category of the worthy had shifted in the case of Ren Xiong. Ren Xiong
personally dictated the rule regarding the worthies. Many well-known Confucian
literati - including Confucius himself - were left out. These exclusions may have been
due to the geographical limitation of the Yue area. However, some lesser-known
historical figures, filial sons and daughters - especially ten filial, or chaste women -
were included. There has been a long tradition of collections of illustrated women of
filial piety, chastity, or those women of virtue who gave wise advices to the rulers or
educated their sons successfully. Derived from the concept of the book Lienü zhuan
(Exemplary Women) by Liu Xiang Hl] (79-8 BCE), such illustrations were
32