Li Hou-chu as an Artist and Emperor (Part III)
Resource
國立臺灣大學美術史研究集刊, 6, 71-130
Journal
國立臺灣大學美術史研究集刊
Journal Issue
6
Pages
71-130+242
Date Issued
1999-03
Date
1999-03
Author(s)
Abstract
This is the third in a series of papers on Li Hou-chu 李後主 (937-978), and focuses on six aspects of his artistic activities including calligraphy, painting, art collecting, designs for music and dance, and articles for the scholar's studio. As a calligrapher, Hou-chu mastered the "po-teng 撥燈 (lamp-stirring)" brush method and established his own calligraphic style, known as the "chin-is 'uo-tao 金錯刀 (metal-inlaid knife). A theorist, he also wrote an essay on calligraphy, entitled "Shu-shuil 書述 (A Statement on Calligraphy)," which conveys his comments on ancient masters' calligraphic styles. Famous painters like T'ang Hsi-ya 唐希雅 (act. 10th C.) and Chou Wen-chu 周文矩 (act. 10th C.) adopted Hou-chu's calligraphic "ch'an-pi 顫筆 (trembling brush) " techniques for their paintings in bird, flower, and figure genres, bird, flower, figure, landscape, and ink-bamboo paintings. He was one of the pioneers who tried to combine poetry, calligraphy, and painting into one work of art, referred to as the "Three Perfections (san-chtteh 三絕 )." A poet and essayist, Hou-chu also excelled in music, dance, and chess playing, and under his patronage, the manufacturing of ink, paper, and ink stone rose to its height. Although the fall ofthe Southern T'ang in 975 induced the destruction of most of Hou-chu's works of calligraphy and painting as well as of his art collection, his aesthetics have exerted a strong influence on Chinese scholars ever since the Northern Sung (960-1127) period.
Subjects
李後主
書述
金錯刀
顫筆
南唐
澄心堂
三絕
Li Hou-chu
Ahu-shu
Chin-tsuo-tao
Trembling brush
Southern Tang dynasty
Cheng-hsin tang
Li ting-kui
Type
journal article
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