The Upright Brush pdf epub mobi txt 电子书 下载 2025
- 颜真卿
- 书法
- 宋
- history
- 艺术·书画
- 海外中国研究
- 唐宋
- 唐史
- 绘画
- 书法
- 传统艺术
- 文化传承
- 手工艺
- 笔墨
- 东方美学
- 创作技巧
- 独立思考
- 自我表达
具体描述
In the history of Chinese calligraphy, few are more famous than the eighth-century statesman Yan Zhenqing (709-785). His style is still taught today as a standard, and Chinese bookstores the world over stock inexpensive reproductions of his works for sale as copybooks.
Yet Yan's style cannot be called conventionally attractive. "Correct," "severe," "serious," "forceful" are terms habitually applied to describe his writing--rarely has his calligraphy been called graceful or beautiful. How, then, did Yan earn such an eminent place in the history of art?
In The Upright Brush, Amy McNair argues for the political rather than purely aesthetic basis for Yan Zhenqing's artistic reputation. She shows how his prominent position was made for him in the eleventh century by a handful of influential men who sought to advance their own position by associating themselves with Yan's reputation for uprightness. Equating style with personality, they adopted Yan's calligraphic style as a way to clothe themselves in his persona.
Sophisticated, informed, and intelligent, The Upright Brush illuminates an episode (one of many) in the history of Chinese culture where the creative reinterpretation of the past was used for contemporary political means. It will be eagerly welcomed by all scholars of Chinese culture and history, as well as by those interested in the making and reading of art.
作者简介
Amy McNair is professor of Chinese Art at the University of Kansas. Her previous publications include Donors of Longmen: Faith, Politics, and Patronage in Medieval Chinese Buddhist Sculpture.
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看了美国汉学家倪雅梅的《中正之笔》，确实不出之前的判断。书里有很多洞见，但是最大的问题，就是作者并不真懂书法——尽管她说她上过傅申的课，她大学就对书法产生迷恋。她缺乏欣赏作为纯粹的、独立个体的书法之美的能力，而只能把书法和作者的生平捆绑在一起去理解。也就是...
评分听书听完的，中正就是颜真卿的书法风格，小朋友书法入门的时候要写颜体，目的就是通过练字修炼正直的品格，因为字如其人，不过德艺双馨的提法实际上也是宣传的功劳。 王羲之所在的东晋是士族阶层主导的国家，不论是文体还是字体都讲究繁复优美，悠然自得的上流社会美感，文人雅...
评分看了美国汉学家倪雅梅的《中正之笔》，确实不出之前的判断。书里有很多洞见，但是最大的问题，就是作者并不真懂书法——尽管她说她上过傅申的课，她大学就对书法产生迷恋。她缺乏欣赏作为纯粹的、独立个体的书法之美的能力，而只能把书法和作者的生平捆绑在一起去理解。也就是...
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