Sung Loyalist Calligraphy in the Early Years of the Yuan Dynasty__臺灣人文及社會科學引文索引資料庫

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題名：	Sung Loyalist Calligraphy in the Early Years of the Yuan Dynasty
書刊名：	故宮學術季刊
作者：	Sturman,Peter C.
出版日期：	2002
卷期：	19:4
頁次：	頁59-102
主題關鍵詞：	Chinese loyalists；I min；Calligraphy；Chinese；Sung-Yuan dynasties；宋；元；遺民；書法
原始連結：	連回原系統網址
相關次數：	被引用次數:期刊(0) 博士論文(0) 專書(1) 專書論文(0) 排除自我引用:0 共同引用:0 點閱:147

　　　　　While the paintings of I min (loyalist) figure active in the early years of the Yuan dynasty is a fairly well understood phenomenon, the calligraphy of these individuals has yet to be studied with the same goal of determining whether or not the art of writing was used to express affirmations of one's political and social position. It is difficult to find extant writings by known loyalist figures, and it is even more difficult to find writings by a single loyalist from both before and after the dynastic transition, thus making it exceedingly difficult to ascertain changes that may have taken place in calligraphy because of the Mongol conquest. In this article a methodology is adopted in which inscriptions to well-known paintings whose contents are unequivocally loyalist in tone are used as the primary source. Specifically, inscriptions by the loyalist painters Ch'ien Husan (circa 1235-before 1307) and Kung K'ai (1222-1307) are examined and ultimately contrasted. A third grouop of writings is comprised of inscriptions written by Chou Mi (1232-1298) and Ch'iu Yuan (1247-1327) for a painting by the late Southern Sung painter Chao Meng-chien (1199-1264) - inscriptions whose contents clearly transform Chao's painting from an innocent document of the recent past into a memorial for a fallen dynasty. Much emphasis is placed on determining the precise nature of these various inscriptions, with their allusions and hidden meanings, for it becomes apparent that the loyalist camp was not, as is generally believed, unified in its attitudes and expression towards the fallen dynasty. Chou Mi's and Ch'iu Yuan's inscriptions for Chao Meng-chien's painting reveal a close association with one of the paramount expressions of loyalist sentiment, the Yueh fu pu t'I collection of tz'u songs composed in 1279, and this, in turn, proves to be related to Ch'ien Hsuan's paintings and inscriptions. While the calligraphy of these three figures is shown to have a common basis in practice related to the late Southern Sung, that of Kung K'ai, whose inscriptions suggest a less sympathetic attitude towards the fallen dynasty, represents a very different form of visual expression.

以文找文

期刊論文
1.	Chang, Kang-i Sun(198612)。Symbolic and Allegorical Meanings in the Yüeh-fu pu-t'i Poem Series。Harvard Journal of Asiatic Studies，46(2)，353-385。
2.	Robert, E.、Harrist, J. R.(1987)。Ch'ien Hsüan's Pear Blossoms: The Tradition of Flower Painting and Poetry from Sung to Yüan。Metropolitan Museum Journal，22，23-79。
3.	Li, Chu-tsing(1968)。The Freer Sheep and Goat and Chao Meng-fu’s Horse Paintings。Artibus Asiae，30(4)，279-346。
4.	山東省博物館(1972)。F achüeh Ming Chu T’an mu chi shih。文物，1972(5)，25-37。
5.	Yü, Chi。T’i Wu Ch’uan p’eng shu ping Li T’ang shan shui pa。Tao yüan hsüeh ku lu。
6.	Fong, Mary H.(1977)。A Probable Second ‘Zhong Kui’ by Emperor Shunzhi of the Qing。Oriental Art，23(4)，427-428。

學位論文
1.	Lee Hui-shu(1994)。The Domain of Empress Yang (1162-1233): Art, Gender and Politics at the Southern Song Court(博士論文)。Yale U.。

圖書
1.	McNair, Amy(1998)。The Upright Brush: Yan Zhenqing's Calligraphy and Song Literati Politics。Honolulu, HI：University of Hawaii Press。
2.	Sturman, Peter(1997)。Mi Fu: Style and the Art of Calligraphy in Northern Song China。New Haven：London：Yale University Press。
3.	Lawton, Thomas(1973)。Chinese Figure Painting。Washington, D. C.。
4.	Cahill, Suzanne Elizabeth(1993)。Transcendence and Divine Passion: The Queen Mother of the West in Medieval China。Stanford。
5.	Cahill, James(1976)。Hills Beyond a River: Chinese Painting of the YuanDynasty, 1279-1369。New York。
6.	中文大辭典編纂委員會(1973)。中文大辭典。臺北：中文大辭典編纂委員會。延伸查詢
7.	卞永譽。式古堂書畫彙考。正中書局。延伸查詢
8.	Davis, Richard L.(1996)。Wind Against the Mountain: The Crisis of Politics and Culture in Thirteenth-Century China。Council on East Asian Studies, Harvard University Press。
9.	Fong, Wen C.(1992)。Beyond Representation: Chinese Painting and Calligraphy, 8th-14th Century。Metropolitan Museum of Art：Yale University Press。
10.	Barnhart, Richard M.(1984)。Along the Border of Heaven: Sung and Yuan Paintings from the C. C. Wang Family Collection。Along the Border of Heaven: Sung and Yuan Paintings from the C. C. Wang Family Collection。New York。
11.	Liu, Cheng-ch’eng(1989)。Chung-kuo shu fa chien shang tat tz’u tien。Chung-kuo shu fa chien shang tat tz’u tien。Peking。
12.	Ssu, K’u-chüan(1987)。Wen shan chi。Wen shan chi。Shanghai。
13.	Barnhart, Richard M.(1984)。Peach Blossom Spring。Peach Blossom Spring。New York。
14.	Graham, Angus Charles.(1965)。Poems of the Late T'ang。New York.：New York Review。
15.	Huang, Chao-hsian(1975)。Yüeh fu pu t’i Yen chiu chi chian chu。Yüeh fu pu t’i Yen chiu chi chian chu。Hong Kong。
16.	(1988)。K’ui hsin tsa shih。K’ui hsin tsa shih。Peking。
17.	(1961)。T’ang Sung tz’u jen nien p’u。T’ang Sung tz’u jen nien p’u。Shanghai。
18.	(1989)。中國美術全集：繪畫編（第5冊）。中國美術全集：繪畫編（第5冊）。北京。延伸查詢
19.	Kuo ch’eng sou chi。Kuo ch’eng sou chi。
20.	Hsü, Tao-hsün、Chao, K’e-yao(1990)。T‘ang Ming huang yü Yang Kui-fei。T‘ang Ming huang yü Yang Kui-fei。Peking。
21.	Liu, Chung-ch’eng、Su, Li-P’ing(1989)。Chang Hüan yü Kuo kuo fu jen you ch’un t’u。I yüan tuo ying。Shanghai。

其他
1.	Ch’iu, Chao-ao(1979)。Tu shih hsüan chu，Peking。
2.	（元）夏文彥(1982)。圖繪寶鑑，上海。延伸查詢
3.	Chou, Mi(1982)。Yün yen kuo yen lu，Shanghai。

圖書論文
1.	Mok, Harold(1999)。Seal and Clerical Scripts of the Sung Dynasty。Character and Context in Chinese Calligraphy。Princeton：Art Museum, Princeton University。

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