Xiongbo Shi
Dados Biográficos
| ID | 3873288 |
|---|---|
| NOME | Xiongbo Shi |
| PRENOMES | Xiongbo |
| SOBRENOME | Shi |
| ASSINATURA | SHI X |
| AFILIAÇÕES | Lanzhou University |
| ORCID | 0000-0001-6991-6824 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 8 |
| TOTAL DE CITAÇÕES | 2 |
| TOTAL COMO AUTOR | 8 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2019 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 1 |
Heart-mind and Hand Acting in Harmony
This paper explores the roles of the heart-mind (xin) and the hand (shou) in Chinese calligraphy, proposing that calligraphic creation is a psychosomatic process in which the artist’s psychological states and bodily movements unify through the flow of qi. The dynamic interplay between xin and shou is examined through the lens of Chinese philosophical aesthetics, which rejects mind-body dualism in favor of a holistic approach to human experience. …
Whom to Follow
Interwoven Sights
An Aesthetics of Chinese Calligraphy
This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is…
Ways of seeing
Zhu Lin
In the past few decades, as a mixed-use area outside of the process of China’s urbanization, the “rural-urban fringe zone” has attracted the attention of many Chinese scholars, as well as a new gen
Being a Disciple of the Past
This article starts with a discussion of the role of tradition as it is related to creativity or originality in Western art theory and literary criticism before examining ideas of tradition and creativity in premodern Chinese calligraphy criticism. I elaborate that learning from the past has been regarded as the proper course to take in becoming a mature calligrapher, that in calligraphic practice, linmo (copying) and dutie (reading and contempla…
Landscaping Landscaping , Curated by Qingsong Wang, Guangzhou, Museum of Contemporary Art, March 22–June 23, 2019
An Aesthetics of Chinese Calligraphy
This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is…
Landscaping Landscaping , Curated by Qingsong Wang, Guangzhou, Museum of Contemporary Art, March 22–June 23, 2019
Being a Disciple of the Past
This article starts with a discussion of the role of tradition as it is related to creativity or originality in Western art theory and literary criticism before examining ideas of tradition and creativity in premodern Chinese calligraphy criticism. I elaborate that learning from the past has been regarded as the proper course to take in becoming a mature calligrapher, that in calligraphic practice, linmo (copying) and dutie (reading and contempla…
Zhu Lin
In the past few decades, as a mixed-use area outside of the process of China’s urbanization, the “rural-urban fringe zone” has attracted the attention of many Chinese scholars, as well as a new gen
Ways of seeing
An Aesthetics of Chinese Calligraphy
This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is…
Interwoven Sights
Heart-mind and Hand Acting in Harmony
This paper explores the roles of the heart-mind (xin) and the hand (shou) in Chinese calligraphy, proposing that calligraphic creation is a psychosomatic process in which the artist’s psychological states and bodily movements unify through the flow of qi. The dynamic interplay between xin and shou is examined through the lens of Chinese philosophical aesthetics, which rejects mind-body dualism in favor of a holistic approach to human experience. …
Whom to Follow
Art (5 obras) · Visual arts (5 obras) · Chinese history and philosophy (4 obras) · Aesthetics (3 obras) · Calligraphy (3 obras) · History (3 obras) · Computer Science (2 obras) · Digital Media and Visual Art (2 obras) · History (2 obras) · Painting (2 obras)