Dimensions of originality
Burnett, Katharine Persis,
Dimensions of originality essays on seventeenth-century Chinese art theory and criticism / [electronic resource] : Katharine P. Burnett. - Baltimore, Maryland : Project Muse, 2013. Hong Kong [China] : Chinese University Press, [2013] - 1 online resource (1 PDF (xxx, 414 pages) :) illustrations (some color).
Issued as part of UPCC book collections on Project MUSE.
Includes bibliographical references (pages 385-402) and index.
Part I -- 1. some problems of expectation or speculations on why originality can't be a "traditional Chinese" value (when it is) -- Some problems of interpretation or discerning the flavors of a fine kettle of fish -- Part II. Ideas and words -- How ideas spread across China and among the classes -- The importance of a word : a discussion of critical terms -- Part III. What the theorists and critics had to say -- What the texts say : originality in pre-seventeenth-century art theory and criticism -- What the texts say : originality in seventeenth-century painting theory and criticism -- What the texts say : originality in seventeenth-century calligraphy theory and criticism -- Part IV. Images -- The other Dong Qichang -- What originality looks like : Wu Bin's On the way to Shanyin -- Part V. The legacy of a concept -- 10. The End of originality as the seventeenth century knew it -- Epilogue. A new canon : qi becomes the new zheng -- Appendix. Instances of the ise of qi, yi, and guai in sobriquet dictionaries -- Notes -- Bibliography -- Index.
Dimensions of Originality investigates the issue of conceptual originality in seventeenth-century art criticism, a period in which China dynamically reinvented itself. The term which was called upon to indicate conceptual originality more than any other was qi, literally, "different"; but secondarily, "odd," like a number and, by extension, "the novel" and "extraordinary." Burnett speculates on why many have dismissed originality as a "traditional Chinese" value, and the ramifications this has had on understanding. She further demonstrates that a study of key terms can reveal social and cultural values, and provides a linear history of the increase in use of qi as "originality" through the seventeenth centuries.
9789629969141
Art, Chinese--Ming-Qing dynasties, 1368-1912.
Art criticism--History--China--17th century.
Electronic books.
Electronic books.
N7343.5 / .B874 2013
Dimensions of originality essays on seventeenth-century Chinese art theory and criticism / [electronic resource] : Katharine P. Burnett. - Baltimore, Maryland : Project Muse, 2013. Hong Kong [China] : Chinese University Press, [2013] - 1 online resource (1 PDF (xxx, 414 pages) :) illustrations (some color).
Issued as part of UPCC book collections on Project MUSE.
Includes bibliographical references (pages 385-402) and index.
Part I -- 1. some problems of expectation or speculations on why originality can't be a "traditional Chinese" value (when it is) -- Some problems of interpretation or discerning the flavors of a fine kettle of fish -- Part II. Ideas and words -- How ideas spread across China and among the classes -- The importance of a word : a discussion of critical terms -- Part III. What the theorists and critics had to say -- What the texts say : originality in pre-seventeenth-century art theory and criticism -- What the texts say : originality in seventeenth-century painting theory and criticism -- What the texts say : originality in seventeenth-century calligraphy theory and criticism -- Part IV. Images -- The other Dong Qichang -- What originality looks like : Wu Bin's On the way to Shanyin -- Part V. The legacy of a concept -- 10. The End of originality as the seventeenth century knew it -- Epilogue. A new canon : qi becomes the new zheng -- Appendix. Instances of the ise of qi, yi, and guai in sobriquet dictionaries -- Notes -- Bibliography -- Index.
Dimensions of Originality investigates the issue of conceptual originality in seventeenth-century art criticism, a period in which China dynamically reinvented itself. The term which was called upon to indicate conceptual originality more than any other was qi, literally, "different"; but secondarily, "odd," like a number and, by extension, "the novel" and "extraordinary." Burnett speculates on why many have dismissed originality as a "traditional Chinese" value, and the ramifications this has had on understanding. She further demonstrates that a study of key terms can reveal social and cultural values, and provides a linear history of the increase in use of qi as "originality" through the seventeenth centuries.
9789629969141
Art, Chinese--Ming-Qing dynasties, 1368-1912.
Art criticism--History--China--17th century.
Electronic books.
Electronic books.
N7343.5 / .B874 2013