Su Shi (continued)

“Postscript to Huang Zisi’s Poetic Anthology”, 232–233

Qian Chibi fu, 280

shi zhong you hua, 198, 259, 273, 314

shirenhua, 164, 254

shen, 254

spiritual likeness of the painterly subject, xvi

Taoist iconology, 250

Taoist influence, 249

theory about painterly trueness and open-ended signification, 152

theme of return to nature, 240–243

theory of changli and changxing, 132

xiongyou chengzhu, 247, 310

yi wen wei shi, 244, 291

Sullivan, Michael, 331

Tao Yuanming, 11, 141, 296, 298–299, 319

Peach Blossom Spring, 44

“Reading the Classic of Mountains and Seas”, 11

Taohuayuan ji, 242

tihuashi

a byproduct of art criticism, 86

a form of discourse on painting, 124

a form of scholarly hospitality and socialization, 108

a fully established genre, 85

a vital component of Song poetry, 137

an expression and a regimen of genteel leisure, 108

tihuashi (continued)

as shihua in a poetic form, 122

as thematic and pictorial components of Yuan painting, 146

calligraphic inscriptions, xiv, 166

closer bond with literati painting, 139

commercial role, 192

comparability with ekphrastic poetry, xvi

complement to formal Chinese art criticism and art history, xiii

cross-cultural and interartistic significance, xiv

derived from yongwushi, 10

documentary role, xiii

enhanced imagistic lyricism (in Yuan tihuashi), 154

established as a formal genre, 28

exemplifying verbal-visual interactivity and intertextuality, 192

exploring the Tao of painting, 306–307, 309–311

female poets ofGuan DaoshengHuang YouzaoJin Shun, 81–82, 188, 153, 189, 325, 188, 189

focus on landscape painting, 72

form of art criticism, xiii

formal and thematic models, 157–158

gained popularity and sophistication, 33

inclusion in Yuan poetic anthologies, 147

interartistic dimension, xiv

intertextual poetics of Song tihuashi, 128