tihuashi (continued)

painterly role, 305

painterly genre, 305

physical entry into painting, 156, 163

pioneering role in advancing the painting theories of the Six Dynasties, 28

poetic paintability, 132

poetic inscription326–327, 140, 146, 146

poetics, xiv

prototypical examples, 2

rising popularity, 62

spatial illusion, 36

synergetic triple role, 305

trompe l’oeil effect, 36, 83

turning point, 146

under the rubric of fengyushi, 54

yi zhen xie hua, 31

tishihua, xiv, 326–327, 332

trompe l’oeil, 204, 219–220, 268

ut pictura poesis, xv, 261–262

ut poesis pictura, 145, 262

Vimalakirti, 109, 215, 320

Waley, Arthur, 63

Wang Anshi, 113–117, 131

Lao Du shi houji, 113

Wang Bomin, 47, 323

Wang Shizhen, 147, 154, 164–165, 169, 179–182, 295

shenyun, 148, 177, 180

shenyunshi, 154

Wang Sishi, 205, 208, 209–211, 218, 229

Du yi, 205

Wang Wei (415–453), 8, 10, 145

aestheticizing painting, 8

elevating painting to a liberal art, 8, 27

Xu hua, 155

Wang Wei (701-761), 21, 33–34, 49–53, 72, 80, 98, 109–111, 127, 133, 141, 149, 164, 180, 236, 246, 256–258, 299

aesthetic and spiritual predilections, 52

“Deer Enclosure, ”, 199, 236–237, 255, 263

devotion to monochrome landscape painting, 49

identification with Vimalakirti, 109

influence on Song poets, 109–112

Misty Rain on Mt. Lantian, 256

Mojie, 109

monochrome style, 52

reclusive sentiments, 49

shenyunshi, 154

Southern School of painting, 164

Wangchuan, 53

Watson, Burton, 38, 63

Wei Qingzhi, 134

huayi, 134

ruhua, 134

Shiren yuxie, 134

Wen Yuke (Wen Tong, Wen Huzhou), 102, 316

Weng Fanggang, 147, 177, 278

woyou, 38

Wu Changshuo, 167, 326, 332

Foulu shi biecun, 332

Wu Daozi (Wu Daoxuan), 20, 33, 72, 91, 257

wuhua, 92, 151, 249, 251, 255, 307, 310