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In Pursuit of a Lost Southern Song Stele and Its Maker

Brotherton, Elizabeth

Journal of Song-Yuan studies, 2020, Vol.49 (1), p.295-343 [Periódico revisado por pares]

Hsinchu: The Society for Song, Yuan, and Conquest Dynasty Studies

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  • Título:
    In Pursuit of a Lost Southern Song Stele and Its Maker
  • Autor: Brotherton, Elizabeth
  • Assuntos: 13th century ; Attribution ; Calligraphy ; Courts ; Engraving ; Historians ; Material culture ; Poets ; Visual representation
  • É parte de: Journal of Song-Yuan studies, 2020, Vol.49 (1), p.295-343
  • Descrição: See PDF ] in North American scholarship must be partially inspired by the breadth of human activity they encompass, for, as Patricia Ebrey puts it, stelae as a topic has the advantage that although the stones were inscribed with words and therefore definitely convey verbal messages, they are at the same time material objects that have a visual presence and that were placed in specific locations.2 These words suggest the attractions but also the difficulties of stelae as objects of study: in prompting considerations of their physical placement as well as attribution and function, stelae spur the examination of a wider range of human activity than is common with other types of pre-modern artifacts. Highly valued as traces of a material culture that has largely disappeared, rubbings of stelae (and of other ancient artifacts), especially since the middle Qing period (beginning around the mid-eighteenth century), have taken on a heightened cultural aura that ushers them into a partially aestheticized realm, placing them in ever higher demand by historians and collectors.3 Coveted as collector's items, stele rubbings present issues of authenticity and connoisseurship that compare generally with those occurring in the study of paintings and calligraphy, or any type of commodified entity that has inspired heavy demand and a flourishing market. [...]Li Bai, wearing a court gown and seated on an embellished stool in three-quarter view facing right, offers his left foreleg and booted foot to an unnaturally small standing figure who represents the court official and eunuch Gao Lishi 高力士 (683–762). In her study of popular Li Bai images across different historical mediums, Kathlyn Liscomb has found this rubbing's picture to be the earliest extant visual representation of Li Bai's boot-removal episode.11 The stele's other rubbing shows Huang Tingjian kneeling in three-quarter view on the prow of a small boat being steered across the rubbing's lower composition toward its left edge.
  • Editor: Hsinchu: The Society for Song, Yuan, and Conquest Dynasty Studies
  • Idioma: Inglês;Chinês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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