In May of 1985, an international symposium was held at The Metropolitan Museum of Art in honor of John M. Crawford, Jr., whose gifts of Chinese calligraphy and painting have constituted a significant addition to the Museum's holdings. Over a three-day period, senior scholars from China, Japan, Taiwan, Europe, and the United States expressed a wide range of perspectives on an issue central to the history of Chinese visual aesthetics: the relationships between poetry, calligraphy, and painting. The practice of integrating the three art forms—known as san-chiieh, or the three perfections—in one work of art emerged during the Sung and Yuan dynasties largely in the context of literati culture, and it has stimulated lively critical discussion ever since.
This publication contains twenty-three essays based on the papers presented at the Crawford symposium. Grouped by subject matter in a roughly chronological order, these essays reflect research on topics spanning two millennia of Chinese history. The result is an interdisciplinary exploration of the complex set of relationships between words and images by art historians, literary historians, and scholars of calligraphy. Their findings provide us with a new level of understanding of this rich and complicated subject and suggest further directions for the study of Chinese art history. The essays are accompanied by 255 illustrations, some of which reproduce works rarely published. Chinese characters have been provided throughout the text for artists names, terms, titles of works of art and literature, and important historical figures, as well as for excerpts of selected poetry and prose. A chronology, also containing Chinese characters, and an extensive index contribute to making this book illuminating and invaluable to both the specialist and the layman.
Foreword
Philippe de Montebello
Preface
Alfreda Murck
Chronology
Abbreviations
Introduction: The Three Perfections: Poetry, Calligraphy, and Painting
Wen C. Fong and Alfreda Murck
Part I. Three Views of Unity
Reflections on the Poetic Quality and Artistic Origins of Ch'ü Ting's Summer Mountains
Xie Zhiliu
The Relationships between Poetry, Calligraphy, and Painting
Qi Gong
Masterpieces by Three Calligraphers: Huang T'ing-chien, Yeh-lü Ch'u-ts'ai, and Chao Meng-fu
Yang Renkai
Part II. Lyric Aesthetics
Chinese Lyric Aesthetics
Yu-Kung Kao
Calligraphic Style and Poetry Handscrolls: On Mi Fu's Sailing on the Wu River
Nakata Yüjirö
Huang T'ing-chien's Cursive Script and Its Influence
Shen C. Y. Fu
The Relationship between Landscape Representations and Self-Inscriptions in the Works of Mi Yu-jen
Ogawa Hiromitsu
Calligraphy and Painting: Some Sung and Post-Sung Parallels in North and South—A Reassessment of the Chiang-nan Tradition
Marilyn Wong-Gleysteen
Poetic Space: Ch'ien Hsiian and the Association of Painting and Poetry
John Hay
Grooms and Horses by Three Members of the Chao Family
Chu-Tsing Li
Part III. Art of the Imperial Academy
Streams and Hills under Fresh Snow Attributed to Kao K'o-ming
Richard Barnhart
Narrative Illustration in the Handscroll Format
Kohara Hironobu
The Mao Shih Scrolls: Authenticity and Other Issues
Xu Bangda
Imperial Calligraphy of the Southern Sung
Chu Hui-Liang
The Use of Gold in Southern Sung Academic Painting
Toda Teisuke
The Development of the Ch'ien-lung Painting Academy
Yang Boda
Part IV. Poetry into Painting
The Literary Concepts of "Picture-like" (Ju-hua) and "Picture-Idea" (Hua-i) in the Relationship between Poetry and Painting
Wai-Kam Ho
Painting and Poetry in the Late Sung
Richard Edwards
"Meaning beyond the Painting": The Chinese Painter as Poet
Jonathan Chaves
T'ang Yin's Poetry, Painting, and Calligraphy in Light of Critical Biographical Events
Chiang Chao-Shen
The Aesthetics of Irony in Late Ming Literature and Painting
Andrew H. Plaks
Words and Images in Late Ming and Early Ch'ing Painting
Wen C. Fong
K'un-ts'an and His Inscriptions
James Cahill
Contributors
Index
Photograph Credits
