Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting: from yi (‘meaning’) to yi (‘freedom’)

References

Arnheim, Rudolf. 1974. Art and visual perception: A psychology of the creative eye. Berkeley: University of California Press.10.1525/9780520351271Search in Google Scholar

Barnet, Sylvan. 2008. A short guide to writing about art. New York: Pearson.Search in Google Scholar

Briessen, Fritz Van. 1998. The way of the brush: Painting techniques of China and Japan. Boston: Tuttle.Search in Google Scholar

Bush, Susan & Hsio-yen Shih. 1985. Early Chinese texts on painting. Cambridge: Harvard University Press.Search in Google Scholar

Cahill, James. 1976. Hills beyond a river: Chinese painting of the Yüan dynasty, 1279–1368. New York: Weatherhill.Search in Google Scholar

Cahill, James. 1977. Chinese painting. London: Macmillan.Search in Google Scholar

Cahill, James. 1982. The compelling image: Nature and style in seventeenth-century Chinese painting. Cambridge. MA: Harvard University Press.Search in Google Scholar

Cahill, James. 1988. Three alternative histories of Chinese painting. Lawrence, KS: Spencer Museum of Art.Search in Google Scholar

Cheng, François. 1994. Empty and full: The language of Chinese language. Boston: Random House.Search in Google Scholar

Confucius. 1997. The analects of Confucius. Chichung Huang (trans.) New York & Oxford: Oxford University Press.Search in Google Scholar

Confucius. 1998. The analects. David Hinton (trans.) Washington: Counterpoint.Search in Google Scholar

Dean, David. 1994. Museum exhibition: Theory and practice. London & New York: Routledge.10.4324/9780203320242Search in Google Scholar

Fong, Wen & K. Hearn Maxwell. 1982. Silent poetry: Chinese paintings in the Douglas Dillon galleries. New York: The Metropolitan Museum of Art.10.2307/3258912Search in Google Scholar

Gandelman, Claude. 1991. Reading pictures viewing texts. Bloomington & Indianapolis: Indiana University Press.Search in Google Scholar

Hagen, Margaret. A. 1980. The perception of pictures. New York: Academic Press.Search in Google Scholar

Jakobson, R. 2000. On linguistic aspects of translation. In L. Venuti (ed.), The translation studies reader, 113–118. New York & London: Routledge.Search in Google Scholar

Jiang, Chengzhi. 2012. Visual pragmatic effects of distance representation in bilingual museum catalogue entries of Chinese landscape paintings. Journal of Pragmatics 44. 1639–1660.10.1016/j.pragma.2012.07.002Search in Google Scholar

Kandinsky, Wassily. 1994. Kandinsky: Complete writing on art. New York: Da Capo Press.Search in Google Scholar

Lee, Sherman. 1962. Chinese landscape painting. Cleveland: Cleveland Museum of Art.Search in Google Scholar

Lin, Mu. 1987. Lun wenrenhua [On literati paintings]. Shanghai: Shanghai Renmin Meishu Chubanshe.Search in Google Scholar

Loeher, Max. 1980. The great painters of China. Oxford: Phaidon Press.Search in Google Scholar

Murashige, Stanley. 1995. Rhythm, order, change, and nature in Guo Xi’s Early Spring. Monumenta Serica 43. 337–364.10.1080/02549948.1995.11731276Search in Google Scholar

Murck, Alfreda. 2000. Poetry and painting in song China: The subtle art of dissent. Cambridge: Harvard University Press.10.2307/j.ctt1dnn9rxSearch in Google Scholar

Neubert, Albrecht & Gregory M. Shreve. 1992. Translation as text. Kent, OH: Kent State University Press.Search in Google Scholar

O’Toole, Michael. 1994. The language of displayed art. London: Leicester University Press.Search in Google Scholar

Peng, Xiuyin. 1995. Moxi yu xiaoyao: Zhongguo wenrenhua meixue chuantong [Ink play and leisure: The aesthetic tradition of Chinese literati painting]. Taibei: Wenjin Chubanshe Youxian Gongsi.Search in Google Scholar

Sickman, Laurence & Alexander Soper. 1968. The art and architecture of China. New Haven: Yale University Press.Search in Google Scholar

Sirén, Osvald. 1949. Shih-T’oa, painter, poet, and theoretician. Stockholm: Ostasiatiska museet.Search in Google Scholar

Strassberg, Richard E. 1994. Inscribed landscapes: Travel writing from imperial China. Berkeley: University of California Press.10.1525/9780520914865Search in Google Scholar

Struman, Peter. Charles. 1989. Mi Youren and the inherited literati tradition: Dimensions of ink-play. New Haven: Yale University dissertation.Search in Google Scholar

Tuan, Yi-Fu. 1974. Topophilia: A study of environmental perception, attitudes, and values. New York: Columbia University Press.Search in Google Scholar

Turner, M. 2009. Classical Chinese landscape painting and the aesthetic appreciation of nature. Journal of Aesthetic Education 43. 106–121.10.1353/jae.0.0033Search in Google Scholar

Waley, Arthur (trans.). 1996. The book of songs. New York: Grove Press.Search in Google Scholar

Wang, Wei. 2004. A visit to Xiangji temple. In Chunshen Zhu (ed. & trans.), Ancient voices: A renewed sound – A Chinese-English bilingual collection of classical Chinese poems for appreciation, 74. Wuhan: Hubei Jiaoyu Chunbanshe.Search in Google Scholar

Wittgenstein, Ludwig. 2007. Remarks on color. Berkeley: University of California Press.Search in Google Scholar

Xu, Fuguan. 2010. Zhongguo yinshu de jingshen [The spirit of Chinese arts]. Guilin: Guangxi Shifan Daxue Chubanshe.Search in Google Scholar

Xu, Jian. 1982. Qinshi chubian [An introduction to the history of Chinese zither]. Beijing: Renmin Yinyue Chubanshe.Search in Google Scholar

Zhongguo meixueshi ziliao xuanbian II [History of Chinese Aesthetics, Selected Data II]. 1981. Compiled by the Aesthetics Programme of the Department of Philosophy of Peking University. Beijing: Zhonghua Shuju.Search in Google Scholar

Zhu, Chunhsen. 1999. Perception and cognition in translating Chinese landscape poetry: A case study of Liu Zongyuan’s poem. River Snow. TTR 12. 167–183.10.7202/037358arSearch in Google Scholar