en-gum-train-GUM_textbook_artwork

Universal Dependencies - English - GUM

LanguageEnglish
ProjectGUM
Corpus Parttrain
AnnotationPeng, Siyao;Zeldes, Amir
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A relevant question to our concern might be, would this artistic excellence in the Chinese tradition be the same as beauty? Arguably, beauty is regarded as the keyword in Western art tradition since antiquity. If we browse Chinese classical writings on art criticism, a striking difference manifests — there the category of mei or beauty does not have a dominant presence. For instance, among the 24 aesthetic categories of poetry listed by Sikong Tu 司空图 (837–908) in his celebrated treatise (Sikong n.d.), only three or four categories can be regarded as related to the Western notion of beauty. Moreover, according to Xu Hong’s (c. 1580–1660) Xishan Qinkuang 谿山琴况 (c. 1640), the most influential treatise on the aesthetics of guqin (Chinese zither) music, the category of li (pretty, beautiful) is merely the 10th of the 24 aesthetic categories, and the top six were harmony, tranquillity, clarity, profundity, antiquity, subtlety. [38] In Chinese paintings, prominence was given to the categories such as shen (spiritual) and miao (subtle) before mei.

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