DOI chapter:
Essays
DOI chapter:Ning, Yao: Propagating the Confucian Virtues: Chinese Artists in Serialized Printed Portrait Books
DOI Page / Citation link:https://doi.org/10.11588/diglit.70035#0043
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
36
Yao Ning
corruption in historiography is very unpopular due to his policy of taxation and some other
reforms. The stele was erected under the order of the chief councillor Cai Jing. There are
two extant steles in today’s Guangxi province, one was erected in 1198 and the other in
1211, a reproduction to commemorate this political event after its rehabilitation. Both of
the steles are of relevance in the history of Chinese calligraphy since Cai Jing and the Song
emperor Zhao Jie, who also left his edict written in his own hand on the steles were excellent
calligraphers.
Sherry J. Mou: Fathoming Consort Xian: Negotiated Power in the Liang, Chen, and Sui
Dynasties, in: Don J. Wyatt (ed.): Battlefronts Real and Imagined: War, Border, and Identity
in the Chinese Middle Period, New York 2008, pp. 11-42, here p. 30.
It is a story of how a group of 108 outlaws formed an army first against the emperor in the
Song dynasty and later surrendered to the Song government.
Cheng-hua Wang: Prints in Sino-European Artistic Interactions of the Early Modern Period,
in: Rui 0. Lopes (ed.): Face to Face. The Transcendence of the Arts in China and Beyond -
Historical Perspectives, Lisboa 2014, pp. 425-457, here p. 438. Following the Song nianzhu
guicheng, more illustrated books were published by the Jesuits in the first half of the
seventeenth century, at least one of them, Tianzhu jiangsheng chuxiang jingjie it
(Illustrated Explanation of the Incarnation of the Lord ofHeaven) of 1637 supervised
by Giulio Aleni was widely distributed.
Benjamin Elman: Western Learning and Evidential Research in the Eighteenth Century, in:
The National Palace Museum Research Quarterly 21 (2003), No. 1, pp. 65-100, p. 66.
Ibid., pp. 98-99.
Wen C. Fong: Between Two Cultures. Late-Nineteenth- and Twentieth-Century Chinese
Paintings from the Robert H. Ellsworth Collection in The Metropolitan Museum of Art, New
York/New Haven/London 2001, p. 24.
Cynthia Brokaw: Commercial Woodblock Publishing in the Qing (1644-1911) and the
Transition to Modern Print Technology, in: Idem and Christopher A. Reed (eds.): From
Woodblocks to the Internet. Chinese Publishing and Print Culture in Transition, circa 1800
to 2008, Leiden/Boston 2010, pp. 39-58, here p. 44.
Jonathan Hay: Painters and Publishing in Late Nineteenth-Century Shanghai, in: Ju-hsi Chou
(ed.): Art at the Close of China's Empire, Phoebus 1998, pp. 134-188, here p. 135.
Brokaw 2010 (see fn. 49), p. 39.
Hay 1998 (see fn. 50), p. 136.
Ibid., p. 137.
Ibid.
Oliver Moore: Zou Boqi on Vision and Photography in Nineteenth-Century China, in:
Kenneth J. Hammond and Kristin Stapleton (eds.): The Human Tradition in Modern China,
Lanham 2008, pp. 39, 41.
There are numerous publications on the social, economic and technical aspects of printing
in Late Imperial China in recent years, just to mention some of them that were relevant for
my study: Joseph P. McDermott and Peter Burke (eds.): The Book Worlds of East Asia and
Europe, 1450-1850. Connections and Comparisons. Hong Kong 2015; Brokaw and Reed
2010 (see fn. 49); Meyer-Fong 2007 (see fn. 16).
Han 2005 (see fn. 18), p. 156.
Hay 1998 (see fn. 50), p. 146.
Lothar Ledderose: Calligraphy at the Close of the Chinese Empire, in: Chou 1998 (see fn. 50),
pp. 189-207, here p. 189.
Han 2005 (see fn. 18), pp. 155-157.
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
36
Yao Ning
corruption in historiography is very unpopular due to his policy of taxation and some other
reforms. The stele was erected under the order of the chief councillor Cai Jing. There are
two extant steles in today’s Guangxi province, one was erected in 1198 and the other in
1211, a reproduction to commemorate this political event after its rehabilitation. Both of
the steles are of relevance in the history of Chinese calligraphy since Cai Jing and the Song
emperor Zhao Jie, who also left his edict written in his own hand on the steles were excellent
calligraphers.
Sherry J. Mou: Fathoming Consort Xian: Negotiated Power in the Liang, Chen, and Sui
Dynasties, in: Don J. Wyatt (ed.): Battlefronts Real and Imagined: War, Border, and Identity
in the Chinese Middle Period, New York 2008, pp. 11-42, here p. 30.
It is a story of how a group of 108 outlaws formed an army first against the emperor in the
Song dynasty and later surrendered to the Song government.
Cheng-hua Wang: Prints in Sino-European Artistic Interactions of the Early Modern Period,
in: Rui 0. Lopes (ed.): Face to Face. The Transcendence of the Arts in China and Beyond -
Historical Perspectives, Lisboa 2014, pp. 425-457, here p. 438. Following the Song nianzhu
guicheng, more illustrated books were published by the Jesuits in the first half of the
seventeenth century, at least one of them, Tianzhu jiangsheng chuxiang jingjie it
(Illustrated Explanation of the Incarnation of the Lord ofHeaven) of 1637 supervised
by Giulio Aleni was widely distributed.
Benjamin Elman: Western Learning and Evidential Research in the Eighteenth Century, in:
The National Palace Museum Research Quarterly 21 (2003), No. 1, pp. 65-100, p. 66.
Ibid., pp. 98-99.
Wen C. Fong: Between Two Cultures. Late-Nineteenth- and Twentieth-Century Chinese
Paintings from the Robert H. Ellsworth Collection in The Metropolitan Museum of Art, New
York/New Haven/London 2001, p. 24.
Cynthia Brokaw: Commercial Woodblock Publishing in the Qing (1644-1911) and the
Transition to Modern Print Technology, in: Idem and Christopher A. Reed (eds.): From
Woodblocks to the Internet. Chinese Publishing and Print Culture in Transition, circa 1800
to 2008, Leiden/Boston 2010, pp. 39-58, here p. 44.
Jonathan Hay: Painters and Publishing in Late Nineteenth-Century Shanghai, in: Ju-hsi Chou
(ed.): Art at the Close of China's Empire, Phoebus 1998, pp. 134-188, here p. 135.
Brokaw 2010 (see fn. 49), p. 39.
Hay 1998 (see fn. 50), p. 136.
Ibid., p. 137.
Ibid.
Oliver Moore: Zou Boqi on Vision and Photography in Nineteenth-Century China, in:
Kenneth J. Hammond and Kristin Stapleton (eds.): The Human Tradition in Modern China,
Lanham 2008, pp. 39, 41.
There are numerous publications on the social, economic and technical aspects of printing
in Late Imperial China in recent years, just to mention some of them that were relevant for
my study: Joseph P. McDermott and Peter Burke (eds.): The Book Worlds of East Asia and
Europe, 1450-1850. Connections and Comparisons. Hong Kong 2015; Brokaw and Reed
2010 (see fn. 49); Meyer-Fong 2007 (see fn. 16).
Han 2005 (see fn. 18), p. 156.
Hay 1998 (see fn. 50), p. 146.
Lothar Ledderose: Calligraphy at the Close of the Chinese Empire, in: Chou 1998 (see fn. 50),
pp. 189-207, here p. 189.
Han 2005 (see fn. 18), pp. 155-157.