Titlebook: Jizi and His Art in Contemporary China; Unification David Adam Brubaker,Chunchen Wang Book 2015 Springer-Verlag Berlin Heidelberg 2015 Aest

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Conflicts and Confrontations: The Journey of China’s Contemporary Chinese Ink Paintingsm. If there were no actual, meaningful Chinese ink painting practices, and if we were to rely solely on theoretical models to guide descriptions and demonstrations, then this would be inadequate for fully explaining the issues involved. Only on the basis of current practices of Chinese ink painters

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Who is Jizi?ims about the guidance he receives from Chinese aesthetics. He uses the language of Chinese aesthetics to articulate what he regards as his guiding principle: the use of painting to show the unification of self with nature, others, and a larger universe. These two topics—the circumstances of Jizi’s

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Paths of Contemporary Chinese Ink Arts at work today: Jia Youfu (b. 1941), Liu Guosong (b. 1932), and Xu Bing (b. 1955). With the aid of art historian Jason Kuo who offers a vocabulary of useful artistic attitudes and categories, we have a manageable framework to guide our analysis. The comparison reveals that Jizi combines a wide rang

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Philosophy of Chinese Ink Artr any principles that might be interpreted in a way that strengthens contemporary Chinese aesthetics. The text expresses six principles: vital energy, resonance, thought, scene, brush, and ink. It is the first two principles—vitality or spirit (. 氣) and rhythm or resonance (. 韻)—that are of immediat

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Spiritual as Mountains and Cosmosvidual person’s own union with nature stems from applying a . interpretation for a traditional principle of rhythmic vitality (.) developed during the Five Dynasties period (907–960). The philosophies expressed by Jizi’s artworks are not merely reiterations of strands of neo-Confucianism that emerge