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Please enable cookies in your browser to get the full Trove experience. Skip to content Skip to search. Published Chicago, Ill. Language English. Uniform Title De l'essence ou du nu. Subjects Art, Chinese. Naakten kunst Photographie de nus. Corps humain -- Dans l'art. Nude in art. Photography of the nude. Het Westen. Summary "The undraped human form is ubiquitous in Western art and even appears in the art of India and Japan. Only in China, argues Francois Jullien, is the nude completely absent. In this extended essay, he explores the different conceptions of the human body that underlie this disparity.
Contents Preface A history of being : for an ontology of the photographic nude The impossible nude.
The Impossible Nude
Notes Formerly CIP. Translated from the French. Includes bibliographical references p. Impossible nude.
ISBN 10: 0226415325
View online Borrow Buy Freely available Show 0 more links Set up My libraries How do I set up "My libraries"? Australian National University Library. Open to the public. Edith Cowan University Library. Monash University Library.
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Barr Smith Library. University Library. UNSW Library. Victoria University Library. Simon Frisch. THe aim of this short study is to show the affinities between China aesthetic principles and an important part of Western aesthetics, which from Plato reaches the Middle Age and beyond. With the help of Chinese sources, most of which With the help of Chinese sources, most of which belonging to painting theory, and ranging from Vth to XIth century, some meaningful convergences will be stressed.
The writer hopes in this way to contribute to the dismantling of some distortions of the Orientalism, like the still popular vulgatae about the peculiarity and the relativism of ancient Chinese thought. This paper examines the contending interpretations of Yeats's poem " Lapis Lazuli " in Western and Eastern scholarship.
While scholars in the West have looked in the poem for the poet's universal concept of tragic joy, scholars in the While scholars in the West have looked in the poem for the poet's universal concept of tragic joy, scholars in the East have regarded the poem as an expression of Yeats's enthusiasm for Chinese art and aesthetics.
These opposing views are most clearly demonstrated in the studies by Calvin Bedient and Zhou Dan, particularly, in their discussion of the role of the Chinese landscape in the poem. While Bedient regards the Chinese landscape as an object of Yeats's narcissistic self-expression, Zhou sees it as a source of imaginative inspiration for the poet.
In this paper, this interpretive disagreement is investigated as a clash of the two ekphrastic traditions triggered by the image of Chinese landscape in the poem. Building on James Heffernan's theory of ekphrasis as a contested negotiation between the visual and the literary, this paper shows that Yeats's own creative process of writing the poem reveals an intricate interplay of East and West in which ekphrasis unfolds as a transtextual and transcultural event.
Finally, in view of globalizing Yeatsian scholarship, the paper argues that a transtextual and transcultural approach to ekphrasis could facilitate our understanding of the contested issues of hermeneutic authority and context. Bild-Welten als schweigende Orte. Bilder sind der Ausdruck der spezifisch inneren Logik des Erkennens von Kulturen. Der Wandel der Formen zeichnet stetig neue Weltbilder. Die westliche Kunstgeschichte ist nicht die Geschichte des Sehens, sondern die der Bildinterpretation.
Discourses on ineffability of language, concealment of representation and formlessness of embodiment in early Daoist and Confucian thought. Berkeley , the topos of hiddenness and concealment is mostly played out in the arena of political Berkeley , the topos of hiddenness and concealment is mostly played out in the arena of political philosophy and historiographical argumentation in early Chinese transmitted literature. This article proposes that the aesthetic concept of yi is essential for understanding the creative process and the nature of creativity in calligraphy and in wider Chinese aesthetic discourse.
This article divides the yi in calligraphic This article divides the yi in calligraphic creation into two types—the voluntative yi that refers to the calligrapher's intention, and the cognitive yi that denotes the "idea" within the artist's mind. The voluntative yi is further divided into two aspects—youyi being intentional and wuyi not being intentional. The discussion of the cognitive aspect of yi engages Yu-Kung Kao's understanding of the term as the moldable substance of the mind.
Can we conceive of disorder in a positive sense? We organize our desks, we discipline our children, we govern our polities--all with the aim of reducing disorder, of temporarily reversing the entropy that inevitably asserts itself in our We organize our desks, we discipline our children, we govern our polities--all with the aim of reducing disorder, of temporarily reversing the entropy that inevitably asserts itself in our lives.
Going all the way back to Hesiod, we see chaos as a cosmogonic state of utter confusion inevitably reigned in by laws of regularity, in a transition from fearful unpredictability to calm stability. In contrast to a similar early Chinese notion of chaotic disorder luan , early Daoists posit a type of chaos that is to be cultivated rather than feared. This chaos is a primal disorder, akin to Hesiod's, but rather than threatening disruption, it is replete with creative potential and through spontaneous action yields orderly processes that proceed from the concretion of things to their dissolution and back, in a complex web of relations.
This processional activity, although taken in one sense as cosmogonic, in a more important sense is immanent at every moment of activity.
Nudity : Toronto Public Library
We see that the Daoist ideal is to return to a chaotic inchoateness by melding with the cosmos and there finding a repository of creative potential. This notion of chaos as the inchoate is used a springboard into understanding the origins of Daoist spontaneity. Il giardino del letterato in epoca Bei Song , in M. Abbiati, F. Greselin eds. This paper aims to give a short view of the sources about the gardens of the literati during Bei Song dynasty.
Celarsi nel Centro. Il Chan e l'arte del giardino del letterato. Through the analysis of the activity as a gardener of the poet Bai Juyi , and of his literary reflections on his gardens, the paper aims to show the influence of Chan thought on the formation of garden aesthetics in traditional Through the analysis of the activity as a gardener of the poet Bai Juyi , and of his literary reflections on his gardens, the paper aims to show the influence of Chan thought on the formation of garden aesthetics in traditional China.
Although artistic creation and creativity is a well-researched topic in Anglophone aesthetics and art histories, it has not received like attention in studies of Chinese art history and theory.