Category: Vol.3, No.2 Apr.-Jun.2025
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Aesthetic Resonance and Its Contemporary Significance: A Study of the Preface to the Hua Shan Painting Atlas
The statement “My heart takes my inner self as its master, my inner self guides my eyes, and my eyes learn from Mount Hua thus guiding the depiction of the landscape in my painting,” from The Prefaces of the Painting Atlas of Mount Hua, is often considered a maxim for imitating nature. This summary of painting theory…
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Between Ink and Illumination: Lixiang Zhang’s Chengxiang in a Global Horizon
This essay examines Lixiang Zhang’s (張立翔) Chengxiang (澄象, Purified Image) series as a pivotal case for understanding how contemporary Chinese ink painting redefines abstraction within global modernism. Through comparative dialogue with Mark Rothko and Isamu Noguchi, it argues that Zhang’s art transcends binary distinctions between East and West, tradition and modernity, materiality and transcendence. Drawing on Zong Bing’s (宗炳)…
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Reflections on Paolo Santangelo’s Research into Chinese Emotional Culture
In Sentimental Education in Chinese History: An Interdisciplinary Textual Research on Ming and Qing Sources, Paolo Santangelo seeks to reinterpret emotional cultures within Chinese history through a taxonomic study of affective vocabulary in classical texts from the mid-Ming to mid-Qing periods, along with comparative analysis with corresponding Western terminology. Combining textual analysis with methodologies from…