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Relevant bibliographies by topics / Chibi fu (Su, Shi)

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Academic literature on the topic 'Chibi fu (Su, Shi)'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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Journal articles on the topic "Chibi fu (Su, Shi)"

1

Lin, Chang Yan, Su Cai Xia, and Shi Fu Ming. "One new species of the subgenus Xizicus (Zangxizicus) (Orthoptera: Tettigoniidae: Meconematinae) from China." Zootaxa 4171, no. 1 (2016): 183–86. https://doi.org/10.11646/zootaxa.4171.1.10.

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Lin, Chang Yan, Xia, Su Cai, Ming, Shi Fu (2016): One new species of the subgenus Xizicus (Zangxizicus) (Orthoptera: Tettigoniidae: Meconematinae) from China. Zootaxa 4171 (1): 183-186, DOI: 10.11646/zootaxa.4171.1.10

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2

Sturman, Peter C. "Inscriptional Practices of the Song Literati." Archives of Asian Art 72, no. 1 (2022): 75–95. http://dx.doi.org/10.1215/00666637-9577707.

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Abstract After decades of being hidden from public view, the recent emergence of Su Shi's (1037–1101) Old Tree, Rock, and Bamboo has led to a long overdue reexamination of this famous scroll that many scholars regard as the single credible extant painting by the artist. Questions concerning authenticity have been at the forefront, and this has led to a focus on the scroll's impressive documentation, which begins with two poetic inscriptions contemporary to Su Shi, including one by the famed calligrapher Mi Fu (1052–1107). Yet, while scrutiny of the painting and its documentation has made a str

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3

Su, Si, Mei Hong, Meng-Yu Cui, et al. "Microbial diversity of ticks and a novel typhus group Rickettsia species (Rickettsiales bacterium Ac37b) in Inner Mongolia, China." Parasite 30, no. 58 (2023): 1–13. https://doi.org/10.1051/parasite/2023057.

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Su, Si, Hong, Mei, Cui, Meng-Yu, Gui, Zheng, Ma, Shi-Fa, Wu, Lin, Xing, Li-Li, Mu, Lan, Yu, Jing-Feng, Fu, Shao-Yin, Gao, Rui-Juan, Qi, Dong-Dong (2023): Microbial diversity of ticks and a novel typhus group Rickettsia species (Rickettsiales bacterium Ac37b) in Inner Mongolia, China. Parasite (Paris, France) 30 (58): 1-13, DOI: 10.1051/parasite/2023057, URL: http://dx.doi.org/10.1051/parasite/2023057

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4

Andrijauskas, Antanas. "The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas." Dialogue and Universalism 30, no. 3 (2020): 245–61. http://dx.doi.org/10.5840/du202030345.

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This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intel

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5

송채은, 송채은. "A Study on Rhyme-Assigned Poetry Composition by Goryeo and Joseon Literati." Korea University Institute for Sinographic Literatures and Philology 20 (March 31, 2025): 322–76. https://doi.org/10.31666/jspklls.2025.3.20.322.

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The composition of rhyme-assigned poetry was a prevalent literary practice during both the Goryeo and Joseon periods in Korea. Although only about twenty examples from Goryeo literati have survived, they exhibit distinct characteristics: the coexistence of individual and collective composition, as well as the parallel use of isolated rhyme characters and entire poetic lines as rhyming elements. The active participation of Buddhist monks in this practice reflects the flourishing of Buddhism in the Goryeo era, while the frequent selection of Su Shi’s verses illustrates the widespread admiration

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6

Zhan, Zhi, and Rosjana Chandhasa. "Searching for Chinese Song Dynasty fans related to cultural dimensions." Journal of Ecohumanism 3, no. 3 (2024): 192–211. http://dx.doi.org/10.62754/joe.v3i3.3408.

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This study examines the formation of fan culture in China during the Song Dynasty, focusing on the cultural expressions inherent in fan making. With the aim of exploring the fan culture of the Song Dynasty, qualitative research methods and descriptive analysis were employed. The cultural dimensions under investigation include connotations, beliefs, lifestyles, aesthetics, materials, and craftsmanship. To conduct this investigation, the researcher visited the Guangdong Provincial Museum and the Guangdong Provincial Arts and Crafts Mall, where a variety of fans were studied and analyzed for thei

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7

Hiromichi, Yoshimura. "Interpretation of Du Fu’s Poetry by Medieval Japanese Zen Monks: On the “<i>Shōmono</i>” 抄物 of Du Fu’s Poetry<sup>1</sup>". Journal of Sinographic Philologies and Legacies 1, № 1 (2025): 71–90. https://doi.org/10.63563/jspl.2025.005.

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<i>Kaifūsō</i> 懷風藻 from the Nara period is the oldest surviving collection of Japanese <i>kanshi</i> 漢詩. Its poems were in a formative stage, imitating the poetry of the Six Dynasties and early Tang periods. However, after the middle and later Heian period, distinctly Japanese forms of <i>kanshi</i> such as the seven-character regulated verse and <i>kudaishi</i>句題詩 began to emerge amidst the popularity of Bai Juyi’s poetry. During the Kamakura period, the practitioners of <i>kanshi</i> starkly shifted from aristocrats to Zen monks, ma

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8

Zuo, Jiang. "A Study on Rhyme-Assigned Poetry Composition by Goryeo and Joseon Literati." Korea University Institute for Sinographic Literatures and Philology 20 (March 31, 2025): 287–321. https://doi.org/10.31666/jspklls.2025.3.20.287.

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The composition of rhyme-assigned poetry was a prevalent literary practice during both the Goryeo and Joseon periods in Korea. Although only about twenty examples from Goryeo literati have survived, they exhibit distinct characteristics: the coexistence of individual and collective composition, as well as the parallel use of isolated rhyme characters and entire poetic lines as rhyming elements. The active participation of Buddhist monks in this practice reflects the flourishing of Buddhism in the Goryeo era, while the frequent selection of Su Shi’s verses illustrates the widespread admiration

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9

Xue, Shuping. "The Interaction between Su Shi and Local Food Culture in the Song Dynasty and Its Literary Representation." Literature History and Philosophy 文史哲论丛, March 11, 2025, 11. https://doi.org/10.63313/lhp.8002.

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This paper discusses the interaction between Song Dynasty writer Su Shi and local food culture and its reflection in literary creation. Su Shi not only has outstanding achievements in the field of literature and art, but also is a gourmet and a culinary practitioner. The thought of "living method" in his diet Fu was rare in the Song Dynasty and even the whole ancient Chinese literati, which had a profound influence on the later generations. This article first summarizes Su Shi's life and his working experience in different regions, as well as the characteristics of social background and food c

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10

Diemantaitė, Ieva. "Laozi ir Zhuangzi idėjų transformacija wenrenhua - menininkų intelektualų estetikoje." Acta Orientalia Vilnensia 3 (December 1, 2002). http://dx.doi.org/10.15388/aov.2002.18301.

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Šiame straipsnyje tyrinėjama klasikinio daoizmo pagrindėjų - Laozi ir Zhuangzi - idėjų transformacija įtakingoje Kinijos menininkų intelektualų (wenrenhua) estetikoje. Darbas pagrįstas autentiškais šaltiniais (klasikinio daoizmo tekstais - “Laozi”, “Zhuangzi” bei tapybos teorijos ir estetikos veikalais - Gu Kaizhi “Lun hua”(“Apie tapybą”), “Hua Yuntaishan ji” (“Užrašai apie tai, kaip tapyti Debesų terasos kalną”), Zong Bingo “Hua shanshui xu” (“Įvadas į peizažinę tapybą”), Wang Wei (415-145) “Xu hua” (“Įvadas į tapybą”), Xie He “Guhua pinlu” (“Senosios tapybos principai”), Wang Wei (701-769) “

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Books on the topic "Chibi fu (Su, Shi)"

1

Baowen, Sun, ed. Su Shi shu han shi tie Chibi fu. Shanghai ci shu chu ban she, 2011.

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2

1037-1101, Su Shi, Su Shi 1037-1101, and Chen, Zhenlian, 1956- writer of added text, eds. Su Shi Huangzhou han shi shi tie, Chibi fu. Shanghai shu hua chu ban she, 2017.

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3

Peixiang, Zheng, ed. Su Shi shu Chibi fu: Fu Dongting chun se fu, Yu zhen guan song, Zhongshan song lao fu deng. Da zhong shu ju, 1997.

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4

Shi, Su. Lanxi Zheng shi cang Su Dongpo shu qian hou Chibi fu ta ben. [Fa xing Zheng Zhao], 1994.

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5

Jun, Hua, ed. Fu nü feng su shi hua. Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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6

Kecheng, Dong, ed. Fu shi min su xue: Costume folklore. Zhongguo fang zhi chu ban she, 2004.

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7

Chunming, Gao, ed. Zhongguo gu dai fu shi feng su. 2nd ed. Shanxi ren min chu ban she, 2002.

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8

qing, Yang cheng. Yong you jiu shi xing fu. Bei fang fu nü er tong chu ban she, 2015.

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9

Beijing shi gao deng jiao yu zi xue kao shi wei yuan hui, ed. "Min shi su song" fu dao jiang zuo. Beijing da xue chu ban she, 1985.

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10

tao, Shen xiu. Jing dian shuo fu da shi. Hua wen chu ban she, 2002.

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Book chapters on the topic "Chibi fu (Su, Shi)"

1

"Art Collecting and Its Discontents in the Lives of Su Shi, Wang Shen, and Mi Fu." In The Problem of Beauty. BRILL, 2006. http://dx.doi.org/10.1163/9781684174393_006.

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2

Wang, Qiaochu. "La traducción poética del chino clásico al español. Compensaciones lingüísticas, simbólicas y literarias en el poema “Rememorando tiempos remotos en el Acantilado Rojo” (Niannu jiao-Chibi huaigu 念奴娇·赤壁怀古) de Su Shi." In La traducción literaria en el contexto de las lenguas ibéricas. Warsaw University Press, 2020. http://dx.doi.org/10.31338/uw.9788323542766.pp.268-287.

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Conference papers on the topic "Chibi fu (Su, Shi)"

1

Ma, Cheng, and Huajie Wang. "The influence of Chinese calligraphy on cultural and creative product design: A perspective of emotional preferences." In Human Interaction and Emerging Technologies (IHIET 2025). AHFE International, 2025. https://doi.org/10.54941/ahfe1006708.

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Chinese calligraphy, inscribed in the UNESCO Intangible Cultural Heritage list, is one of China’s most significant contributions to world civilization. It is possible to uncover the emotional expressions embedded in the creator’s writing process by capturing the visual perception of calligraphy. This provides a valuable approach for understanding consumer preferences in the design of cultural and creative products. Based on these insights, designing products can not only enhance their cultural attributes but also position them as new mediums for promoting Chinese calligraphy.This research, gro

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