Chapter 22
Words in Chinese Painting
Alfreda Murck,
Alfreda Murck
Search for more papers by this authorAlfreda Murck,
Alfreda Murck
Search for more papers by this authorBook Editor(s):Martin J. Powers,
Katherine R. Tsiang,
Martin J. Powers
Search for more papers by this authorKatherine R. Tsiang
Search for more papers by this authorSummary
This chapter examines one of the most obvious features of Chinese painting: the words written on them. The calligraphy enhances the image while the words extend the meaning. Although the focus of this chapter is on brush-written inscriptions on two-dimensional surfaces, it is important to remember the role of writing in early antiquity. The function of inscriptions in China evolved along with the perception that the written language was pictographic and magical. In the hierarchy of the arts, poetry traditionally was considered superior to painting. The eleventh century painting titles began to change from identifications to evocations of a mood or suggestion of a scene. To the extent that seals (popularly called chops) insert words onto paintings, they must be considered in the word-image complex. Many of the vernacular paintings made for women reveal a range of topics not dealt with in literati painting.
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