Embodied Image

Chinese painting, sculpture, ceramics, and other art have gradually become familiar to many Western viewers, but calligraphy, the art most valued in China, remains little known. The Embodied Image accompanies an exhibition of one of the most outstanding and comprehensive collections of Chinese calligraphy ever assembled outside Asia, the John B. Elliott Collection at The Art Museum, Princeton University. Encompassing works of calligraphy from the fourth through the twentieth centuries, the collection illustrates the extraordinary variety of formats and styles that makes calligraphy one of the most visually exciting of all artistic traditions.
Reflecting the latest trends in art history, The Embodied Image carries the study of Chinese calligraphy beyond issues of style and connoisseurship to interpret this art as an integral part of Chinese culture. Nine scholarly essays written by a team of distinguished American and Chinese scholars examine the complex relationship between calligraphy and religion, politics, and literature.

Robert E. Harrist, Jr. is associate professor of Chinese art in the Department of Art History and Archaeology, Columbia University.

Foreword
Foreword
Acknowledgments
Chronology
Calligraphy Script Styles
Preface
Introductory Essays: Reading Chinese Calligraphy	p. 2
Chinese Calligraphy: Theory and History	p. 28
Catalogue
Early Calligraphy: Ritual and Art	p. 87
The Imperial Court and Calligraphy of the T'ang Dynasty	p. 95
Calligraphy of the Sung Dynasty	p. 105
The Yuan Dynasty: Chinese Calligraphy under Mongol Rule	p. 121
Calligraphy of the Ming Dynasty	p. 143
Calligraphy of the Ch'ing Dynasty: Model-Books and Stelae	p. 185
Letters from the Ming and Ch'ing Dynasties	p. 205
Essays
Texts of Taoism and Buddhism and the Power of Calligraphic Style	p. 224
A Letter from Wang Hsi-chih and the Culture of Chinese Calligraphy	p. 240
Opposite Paths to Originality: Huang T'ing-chien and Mi Fu	p. 260
The Two Perfections: Reading Poetry and Calligraphy	p. 280
A Quest for the Imperishable: Chao Meng-fu's Calligraphy for Stele Inscriptions	p. 302
Ming Dynasty Soochow and the Golden Age of Literati Culture	p. 320
The Aesthetics of the Unusual and the Strange in Seventeenth-Century Calligraphy	p. 342
Calligraphic Couplets as Manifestations of Deities and Markers of Buildings	p. 360
Chinese Letters: Private Words Made Public	p. 380
Bibliography	p. 401
The John B. Elliott Collection of Chinese Calligraphy and Painting, The Art Museum, Princeton University	p. 413
Glossary-Index	p. 425
Photography Credits	p. 451
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