Kaikodo Journal. The Power of Form. Volume VII (Volume 7) Spring 1998

James Cahill, Arnold Chang, Jay Levenson, Elizabeth Childs-Johnson, Howard Rogers

ISBN 10: 9627956120 / ISBN 13: 9789627956129

Published by Kaikodo, Hong Kong, 1998

About this Item

Japanese and Chinese painting exhibition and sale catalogue. 72 items shown: paintings, ceramics, ancient earthenware and bronzes. titles are English and Chinese, otherwise all English. 281 pages. Extra postage needed for international shipping. We have several volumes of Kaikodo Journal; and we will sell them as a group. We can also discount 2 or more volumes purchased at once. Most are in fine or near fine condition. Please contact us about pricing.

Seller Inventory # 104360

Bibliographic Details

• Title: Kaikodo Journal. The Power of Form. Volume VII (Volume 7) Spring 1998
• Publisher: Kaikodo, Hong Kong
• Publication Date: 1998
• Language: English
• ISBN 10: 9627956120
• ISBN 13: 9789627956129
• Binding: Soft cover
• Condition: Fine
• Dust Jacket Condition: No Jacket
• Weight: 3 pounds

About this title

Synopsis

Corresponding to the exhibition held between February 5 and March 28, 1998. 35 early Chinese and Japanese paintings; 37 early Chinese and Vietnamese objects (72 color plates). Preface by Howard Rogers. 283 pages. Includes the essays: James Cahill: “Where did the Nymph Hang?” (Ching Yuan Chai so-shih I) Arnold Chang: “Returning to Brushwork: A Personal Exploration” Jay A. Levenson: “Reflections in a Western Eye” Elizabeth Childs-Johnson: “Metamorphic Imagery in Early Chinese Art: Long-Dragons, Feng-Phoenixes, Gui-Spirit Masks, and the Spirit Journey” Howard Rogers: “Notes on the Meaning and Function of Ming-ch’i“ The problem of multiple recensions of a single painting composition, subject of an essay in Kaikodo Journal V, receives additional attention in the present volume in an essay by James Cahill on how such paintings were used and what they signified in contemporaneous society. Writing at the top of his form, Professor Cahill focuses on artists and types of paintings usually ignored by art-historians to illumine significant aspects of early Qing dynasty painting. Further installments of his Ching Yuan Chai So-shih, “Jottings from the Hall of Gazing into the Abstruse,” are eagerly anticipated. Howard Rogers’ entries on Shen Tsung-chi’en) and K’un-tsan, both subjects of multiple recensions, receive further attention.