Chiang yee chinese calligraphy history

  • Chiang Yee (1903–1977) was Professor Emeritus of Chinese at Columbia University.
  • The history of Chinese calligraphy is believed to be as long as that of China herself.
  • Chiang Yee (1903–1977) was Professor Emeritus of Chinese at Columbia University.

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    Bevan, Paul, Anne Witchard, and Da Zheng, eds. Chiang Yee and His Circle: Chinese Artistic and Intellectual Life in Britain, 1930-1950 (Hong Kong: Hong Kong University Press, 2022).

    Chiang, Yee. The Chinese Eye: An Interpretation of Chinese Painting (London: Methuen, 1936).

    Chiang, Yee. The Silent Traveller in Edinburgh (London: Methuen, 1948).

    Chiang, Yee. Chinese Calligraphy: An Introduction to its Aesthetic and Technique (Cambridge, Mass.: Harvard University Press, 1954).

    Huang, Michelle Ying-Ling. “Laurence Binyon: A Pioneering and Authoritative Curator of Chinese Painting in Early Twentieth-Century Britain.” Museum History Journal 8, issue 1 (January 2015): 41-58. 

    Wu, Anna. “The Silent Traveller: Chiang Yee in Britain 1933-55.” V&A Online Journal 4 (Summer 2012), http://www.vam.ac.uk/content/journals/research-journal/issue-no.-4-summer-2012/the-silent-traveller-chiang-yee-in-britain-1933-55/.

    Zheng, Da. Chiang Yee: The Silent Traveller from the East—A Cultural Biography (New Brunswick, NJ : Rutgers University Press, 2010).

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    Chinese Calligraphy

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  • chiang yee chinese calligraphy history

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    Chinese Calligraphy: An Introduction to Its Aesthetic and Technique

    June 9, 2024
    Rich yet succinct take on the history, styles, techniques, and ideas that make China’s chief art form.

    The writing style is excellent, which means that the book is read easily, and you get to retain a lot of the information. And, what helps are the plentiful illustrations and examples.

    One of the main messages here is that the Chinese elevate their writing system beyond simply a means of communication. Through a focus on strokes, rhythm, and structure, we get to appreciate the abstract beauty of the line. This resonates with me because although I do not speak Chinese (and will probably never learn it), I can spend a lot of time contemplating just how a character looks in terms of patterns and the movements of the elements in it. Now I am reassured that there is nothing strange about that. A character does not have to express any particular thoughts to be beautiful. In this way, it is somewhat surprising that the author did not draw a parallel between calligraphy and instrumental music, though he did so with dancing.

    And, I particularly enjoyed the part about the distinctions between the different kinds of beauty. Also, the idea that the empty spaces of characters are essential to their appeal