Moments of Rising Mist: A Collection of Sung Landscape Poetry

1975 ◽  
Vol 95 (3) ◽  
pp. 518
Author(s):  
Stephen Owen ◽  
Amitendranath Tagore
Keyword(s):  
Landscape Poetry

Writing Landscapes into Civilization: Ming Loyalist Ambitions on the Mekong Delta

T oung Pao ◽  
2018 ◽  
Vol 104 (5-6) ◽  
pp. 626-671
Author(s):  
Claudine Ang
Keyword(s):  
Eighteenth Century ◽  
Natural Environment ◽  
Ming Dynasty ◽  
Mekong Delta ◽  
Chinese Mainland ◽  
Original Poems ◽  
The Chinese Mainland ◽  
Close Study ◽  
Trading Network ◽  
Landscape Poetry

AbstractAfter the collapse of the Ming dynasty, a group of Ming loyalists settled in Hà Tiên (located on the Vietnamese side of the modern border between Cambodia and Vietnam) on the Mekong delta. On those frontier lands, they built a settlement around a port that maintained close connections with Guangdong and Fujian. This article examines an eighteenth-century literary project that took as its focus ten scenic sites in Hà Tiên. The poems were distributed via the coastal trading network to poets in Vietnam and the Chinese mainland, who composed matching poems and returned them with the next sailing season. These poetic compositions functioned as a medium through which the originator of the project rendered his domain civilized by giving pattern (wen 文) to Hà Tiên’s natural environment. Moreover, he encoded in them messages that urged dispersed Ming loyalists to make Hà Tiên their new capital. Close study of the ten original poems uncovers the motivations of a second-generation Ming loyalist, who composed landscape poetry to create a new home outside the Chinese mainland.

Landscape Poetry in China and Europe

1967 ◽  
Vol 19 (3) ◽  
pp. 193 ◽  
Author(s):  
J. D. Frodsham
Keyword(s):  
Landscape Poetry

scholarly journals Perception and Cognition in Translating Chinese Landscape Poetry : A Case Study of Liu Zongyuan’s poem River Snow

2007 ◽  
Vol 12 (1) ◽  
pp. 167-189 ◽  
Author(s):  
Chunshen Zhu
Keyword(s):  
Visual Art ◽  
Source Text ◽  
Classical Chinese ◽  
Way Of Thinking ◽  
The Mind ◽  
Landscape Poetry ◽  
The Way

Abstract Perception and Cognition in Translating Chinese Landscape Poetry : A Case Study of Liu Zongyuan's Poem River Snow — The article, based on the Heideggerian dichotomy of calculative versus meditative thinking and with reference to Arnheim's psychology of visual art, argues that a poem thinks in the way it makes the reader think, and it is the poetic (meditative) way of thinking that a poem inspires that determines the poem's being a poem. Through an intensive case study of a classical Chinese poem, it tries to illustrate how a poem's textual formulation can set a reader thinking. It follows that to translate a poem as a poem, the translator must approach the source text with the mind open and released to the meditative thinking it inspires as gift — by stepping back from calculative thinking which strives to represent objects in their material accuracy, so as to produce a target text that will set the target reader thinking in a similar, meditative way.

The Landscape Buddhism of the Fifth-Century Poet Hsieh Ling-yün

1958 ◽  
Vol 18 (1) ◽  
pp. 67-79 ◽  
Author(s):  
Richard Mather
Keyword(s):  
Fifth Century ◽  
Landscape Painting ◽  
The West ◽  
Wang Wei ◽  
Landscape Poetry

Though relatively less known in the West than his contemporary, T'ao Yüan-ming, Hsieh Ling-yüna (385–433) was in his own generation and for some centuries thereafter the most popular poet of the age. Thirty-two of his shorter poems were included in the Wen-hsüan (compiled about 530), while T'ao is represented there by only eight pieces and Yen Yen-chihb, another contemporary whose name is often coupled with Hsieh's, by nineteen. His fame seems to have rested largely on his ability to depict the natural beauties of the Chekiang mountains which he loved, and to evoke in his readers the moods which they inspired in him. In fact he is counted by some to be the originator of the type of “landscape poetry” which was later so successfully exemplified by poets like Wang Wei (699–759) and Liu Tsung-yüan (773–819). There can be no doubt also that the art of landscape painting, which likewise reached its first flowering with Wang Wei, had its roots in the same soil that produced the landscape poetry of Hsieh Ling-yün.

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