![]() The resulting aesthetic experience is less a dialogical encounter between. This book is a must for scholars, curators and other specialists in Chinese painting and calligraphy, especially those focusing on Yuan dynasty and literati painting. Focusing on a case study of Zhao Mengfu’s Autumn Colors on the Qiao and Hua Mountains of 1295, this essay argues that colophons, the texts inscribed onto Chinese paintings by historical beholders, operate as focalizers offerings points of entry to the implicit beholder. The concern here is for his development, in the context of Mongol rule, as a Chinese scholar-artist. The historical background of dynastic change and Mongol rule is treated in a revisionist manner that aims to contextualize the traditional Chinese hostility towards Zhao Mengfu as a Yuan scholar-official. The book challenges stereotypes portraying Zhao Mengfu as a traitor or careerist. These readings are meant to stimulate visual analysis of the oeuvre as well as debate about the use of Tang (618–907) and other period modes as models for the ‘Yuan renaissance’. Shane McCausland’s study features detailed interpretation of pictorial forms in light of historical changes, and close readings of critical colophons, many appended to artworks, but neglected as visual sources. This work presents a new, synthetic portrait of the artist’s development from the 1280s to his death in 1322, and evaluates his pivotal role in the social-political context in Yuan China as well as the development of the artist’s self-consciousness. In eleven richly illustrated chapters, Chiang explores the aesthetics and the technique of this art in which rhythm, line, and structure are perfectly embodied. Zhao Mengfu has enormous significance for Chinese art history. Chiang Yee’s Chinese Calligraphy: An Introduction to Its Aesthetic and Technique remains the classic introduction to Chinese calligraphy.
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