Chinese literati

aesthetic lineage of painting, 152

aesthetics, 69, 123, 131, 166, 250, 277

art, xiii, 101

artists, xiv, 66, 243, 277, 305, 326

criterion for judging literati painting, 164

female literati artists, 187

final phase of poeticization and institutionalization of literati painting, 164

haipai, 219, 332

“ink play”, 100

interartistic aesthetics, 273

landscape painting, 243

multiartistic versatility (of the Yuan literati), 146

multiartistic virtuosos, 86, 332

of the Song dynasty, 100

orthodox and nonorthodox literati traditions, 174

painting, 292

rise of Yuan literatiism, 145

taste for paining, 107

viewed as nonacademic and antiacademic, 101

Wang Wei as spiritual forefather and role model for Song literati, 109

wenhuitu, 108

Xiling Yinshe, 332

Xiyuan Yaji, 108, 277

Chinese painting

brainchild of tea or wine drinkers, 107

calligraphization of, 154, 166, 326

chuanshen, 200

Chinese painting (continued)

commercialization of (in the Ming dynasty), 163

elevated role in the Tang dynasty, 45, 75

elevated status, 23, 48, 99

elevated to a poetic art, 76

form of spiritual self-regalement, 37

formal verisimilitude, 161, 248

hierarchical gap between poetry and painting, 6, 9

landscape, 9

means of self-entertainment and self-expression, 37

means of self-expression or self-amusement, 107

poetic functionality of, 126

pursuit of leisure and pleasure, 103

rising status, 21

shen of the painterly subject, xvi

Six Dynasties theories of, xvi, 21

spiritual trueness, 161

Taoist influence on, 312

Taoist art, 94

token of interartistic congeniality and appreciation, 22

trendy subject or subject matter (in poetry), 103

utilitarian view of painting, 6, 20

zhen of the painterly subject, xvi, 31

Chou, Eva Shan, 209

classicism and archaism (in the Ming dynasty), 157–158, 160, 163, 175

colophons, 163–164, 265

conformism and conservatism (in the Ming dynasty), 157

Chu ci, 2–3, 20, 197, 292

Wang Yi (editor), 3