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/lp/university-of-illinois-press/being-a-disciple-of-the-past-the-tradition-and-creativity-in-chinese-5n7YDYww4V
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- Publisher
- University of Illinois Press
- Copyright
- Copyright © Board of Trustees of the University of Illinois.
- ISSN
- 1543-7809
Abstract
<p>Abstract:</p><p>This article starts with a discussion of the role of tradition as it is related to creativity or originality in Western art theory and literary criticism before examining ideas of tradition and creativity in premodern Chinese calligraphy criticism. I elaborate that learning from the past has been regarded as the proper course to take in becoming a mature calligrapher, that in calligraphic practice, <i>linmo</i> (copying) and <i>dutie</i> (reading and contemplating the master's original work) are the two main approaches to past models. I propose that gu, as tradition, is an ever-changing and accumulative repertoire in Chinese calligraphy history. The last section studies the calligraphic theory of <i>tong-bian</i> (continuity-mutation), illustrating that Chinese calligraphic practice, or visual art practice at large, emphasizes the study of the past, an inheritance of tradition, but that creativity or originality is still a value embedded in Chinese aesthetics.</p>
Journal
The Journal of Aesthetic Education – University of Illinois Press
Published: Oct 22, 2020