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"Chinese ink painting is one of the oldest continually practiced art forms in the world. It first appeared in China in the fifth century, and soon traveled to Korea and then to Japan. As old and deeply rooted in East Asian aesthetics and meditation as it is, ink painting is credited with influencing the development of Western modern art. Its minimalist approach to painting continues to have enormous appeal. Artist and teacher Sungsook Setton, who learned the techniques with Chinese and Korean masters in her native South Korea, brings new excitement to this age-old art. While teaching the traditional disciplines for holding and using the brush, she shows students how to turn the techniques and inner meditation toward interpreting their own world: city views, music, and the essence of contemporary life"--
In the past hundred years, haiku has gone far beyond its Japanese origins to become a worldwide phenomenon—with the classic poetic form growing and evolving as it has adapted to the needs of the whole range of languages and cultures that have embraced it. This proliferation of the joy of haiku is cause for celebration—but it can also compel us to go back to the beginning: to look at haiku’s development during the centuries before it was known outside Japan. This in-depth study of haiku history begins with the great early masters of the form—like Basho, Buson, and Issa—and goes all the way to twentieth-century greats, like Santoka. It also focuses on an important aspect of traditional haiku that is less known in the West: haiku art. All the great haiku masters created paintings (called haiga) or calligraphy in connection with their poems, and the words and images were intended to be enjoyed together, enhancing each other, and each adding its own dimension to the reader’s and viewer’s understanding. Here one of the leading haiku scholars of the West takes us on a tour of haiku poetry’s evolution, providing along the way a wealth of examples of the poetry and the art inspired by it.
Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.
This handbook of Classical Chinese literature from 1000 bce through 900 ce aims to provide a solid introduction to the field, inspire scholars in Chinese Studies to explore innovative conceptual frameworks and pedagogical approaches in the studying and teaching of classical Chinese literature, and facilitate a comparative dialogue with scholars of premodern East Asia and other classical and medieval literary traditions around the world. The handbook integrates issue-oriented, thematic, topical, and cross-cultural approaches to the classical Chinese literary heritage with historical perspectives. It introduces both literature and institutions of literary culture, in particular court culture and manuscript culture, which shaped early and medieval Chinese literary production.
An analysis of Chinese art attempts to explain why their artists wrote inscriptions and poems on their paintings and what the relationship was between the three arts.
Stumbling through life, gazing at the stars, we can miss the greatest treasure beneath our feet. For the ordinary faculties of our soul--how we think, how we feel, how we act--are the rough and fallen forms of our highest spiritual capacities. This book shows how six of these common abilities--thinking, feeling, doing, loving, opening, thanking--can be intensified infinitely. We already think; we can learn to think more deeply, more livingly. We already feel; we can learn to train our feeling life away from ourselves so that we feel the world in its richness. We already thank; we can learn a depth of gratitude that makes life and love intensely real. These exercises are simple, but demanding. By strengthening our capacity to pay attention, they allow us to say the right word and have the fresh thought just when we need to. They gradually lead us out of the mire of distraction and confusion, and allow us to practice what we need most: continual presence of mind.