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Book Description: In the history of Chinese calligraphy, few are more famous than the eighth-century statesman Yan . In The Upright Brush, Amy McNair argues for the political rather than purely aesthetic basis for Yan Zhenqing's artistic reputation.

Book Description: In the history of Chinese calligraphy, few are more famous than the eighth-century statesman Yan Zhenqing (709-785). His style is still taught today as a standard, and Chinese bookstores the world over stock inexpensive reproductions of his works for sale as copybooks. She shows how his prominent position was made for him in the eleventh century by a handful of influential men who sought to advance their own position by associating themselves with Yan's reputation for uprightness.

Similar books and articles. From "Regarding Essay as Poem" to "Regarding Poem as Painting": A Study on the Arising of Literati Painting in the North Song Dynasty. The Beauty of Literati Strokes. David Brubaker - 2008 - Proceedings of the Xxii World Congress of Philosophy 1:6-13. Traces of the Brush: Studies in Chinese Calligraphy. Steve Goldberg & Shen C. Y. Fu - 1980 - Journal of the American Oriental Society 100 (1):98. The Good Man and the Upright Citizen in Aristotle's Ethics and Politics.

Arguing for the political rather than purely aesthetic basis for Yan Zhenqing's (709-785) reputation in Chinese calligraphy, the text posits that it was due to a handful of influential and well-educated men in the 11th century, who sought advancement by associating themselves with Yans' reputation.

In The Upright Brush, Amy McNair argues for the political rather than purely aesthetic basis for Yan Zhenqing's artistic reputation.

In the history of Chinese calligraphy, few are more famous than the eighth-century statesman Yan Zhenqing (709-785).

This book can be added to the small group of modern monographs on Chinese calligraphy that engage the art of calligraphy .

This book can be added to the small group of modern monographs on Chinese calligraphy that engage the art of calligraphy with the discipline of art history. It is a small book, only 142 pages of main text, but in many ways a model for writing on this difficult subject. McNair establishes the traditional Chinese belief in characterology- reading the personality of a writer in his works-as a central basis for her own approach to understanding the calligraphy of Yan Zhenqing. In broad historical terms, the author has used the art of Yan Zhenqing to document the role calligraphy played in establishing the identity and power of the class of Confucian scholars in the eleventh century.

Keywords: Richard, Barnhart, Song Literati, Zhenqing's Calligraphy, Upright Brush, Amy Mcnair, Yan Zhenqing's, Literati Politics.

With his political sensitivity, Yan Zhenqing immediately started preparing for war by fortifying the city wall and stocking up provisions. The Upright Brush: Yan Zhenqing's Calligraphy and Song Literati Politics. Honolulu: University of Hawaii Press. He also sent emergency memorial to Emperor Xuanzong, but was ignored. In December 755, An Lushan and Shi Siming rebelled under the name of removing Yang Guozhong.

Yan Zhenqing and his family were known for having an honest and forthright character; they would rather die than go against their principles. Honolulu, HI: University of Hawaii Press, 1998. This quality was eulogized throughout Chinese history. Yan Zhenqing’s brother, Yan Aiqing, and nephew, Yan Jiming, were captured by An Lushan during the Anshi Rebellion. Yan Aiqing scathingly denounced An Lushan. An Lushan broke his bones, but he refused to retract his words. Yao Jinming, and Cao Zhu Boxiong (e. Zhong Guo Shu Hua Ming Jia Jing Pin Da Dian.