Moxi yu xiaoyao: Zhongguo wenrenhua meixue chuantong. 10.2307/j.ctt1dnn9rx Search in Google Scholar Poetry and painting in song China: The subtle art of dissent. Rhythm, order, change, and nature in Guo Xi’s Early Spring. Shanghai: Shanghai Renmin Meishu Chubanshe. Visual pragmatic effects of distance representation in bilingual museum catalogue entries of Chinese landscape paintings. Venuti (ed.), The translation studies reader, 113–118. Bloomington & Indianapolis: Indiana University Press. New York: The Metropolitan Museum of Art. Silent poetry: Chinese paintings in the Douglas Dillon galleries. David Hinton (trans.) Washington: Counterpoint. Chichung Huang (trans.) New York & Oxford: Oxford University Press. Empty and full: The language of Chinese language. Three alternative histories of Chinese painting. The compelling image: Nature and style in seventeenth-century Chinese painting. Hills beyond a river: Chinese painting of the Yüan dynasty, 1279–1368. Search in Google Scholarīush, Susan & Hsio-yen Shih. The way of the brush: Painting techniques of China and Japan. Search in Google Scholarīriessen, Fritz Van. Berkeley: University of California Press. Art and visual perception: A psychology of the creative eye. The findings of the study will not only contribute to a better aesthetic contextualization of the traditional Chinese visual arts but also, in a practical vein, to the construction of a more informed museum discursive environment conducive to a spiritual journey, or a mental transcendence, that keeps the mundane world at a “meditative distance.”Īrnheim, Rudolf. extratextual, intersemiotic, and intertextual) to enable the modern viewer to better appreciate the aesthetic aspiration nursed by the meaning of the pictorially depicted distance(s) in an ancient landscape painting. In so doing, the study takes museum discourse as a holistic multimodal interactive process of different sign systems at three levels of communication (i.e. level, deep, and high “distance.” It observes how an artwork’s “meaning” can be perceived through the bilingual presentation of the “distances” to bring about the realization of a “meditative distance,” or the artist’s aesthetic aspiration for a spiritual “freedom.” Informed by the theory of three meta-functions in Systemic Functional Linguistics and Arnheim’s discussion about distance cues, the study has closely examined a classical landscape painting in conjunction with its Chinese and English bilingual museum captions, with a view to tracing out their discursive meta-functions based on the visual-verbal coherence of distance representation. This paper studies cross-modal distance representation in traditional Chinese landscape painting in a contemporary museum context with special reference to the classic three axes of distance, i.e.
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