Interpreting Yi through Yun: Multiple Dimensions of Huang Tingjian's Poetics of Yun
Abstract
feel in the brushstrokes. Su Shi interpreted Yun as the deep understanding of art that "values subtlety more than boldness, " while Huang
Tingjian saw it through nature and believed real art comes from something beyond just skill. In doing so, he made Yun a key idea in Song dynasty calligraphic theory. This paper is about How Huang Tingjian used the idea of Yun to guide Song calligraphy toward a style that's subtle,
deep, and elegantly refined. This style showed that the Song literati valued spirit over form, and it brought poetry, calligraphy, and painting
closer as art forms.
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[1] Huang Tingjian, Postscript to the Northern Qi Illustration of Scholars Collating Books (Ti Beiqi Jiaoshu Tu Hou), in Shangu Bieji (Supplementary Collection of Shangu), juan 10, "Colophons and Postscripts, " fol. 18. Reprinted in Wenyuan Ge Siku Quanshu (Complete
Library of the Four Treasuries, Wenyuan Pavilion Edition), vol. 1113, p. 636b.
[2] Huang Tingjian, Postscript to the Northern Qi Illustration of Scholars Collating Books, in Shangu Bieji, juan 10, fol. 18. Reprinted in
Wenyuan Ge Siku Quanshu, vol. 1113, p. 636b.
[3] Huang Tingjian, Colophon on the Bound Model Calligraphy Album (Ti Fengben Fatie), in Shangu Ji (Collected Works of Shangu), juan
28, "Colophons and Postscripts, " fol. 10. Reprinted in Wenyuan Ge Siku Quanshu, vol. 1113, p. 294a.
[4] Huang Tingjian, Discourses of Huang Wenjie Gong (Huang Wenjie Gong Lunshu), preserved in Bian Yongyu, Shigutang Shuhua Huikao
(Collected Studies of Calligraphy and Painting from the Hall of Antiquity), juan 3, "Principles of Calligraphy, " fol. 48. Reprinted in
Wenyuan Ge Siku Quanshu, vol. 827, p. 94a.
[5] Huang Tingjian, Inscription on a Copy of the Painting of Guo Shangfu (Ti Moyan Guo Shangfu Tu), in Shangu Ji, juan 27, "Colophons
and Postscripts, " fols. 4–5. Reprinted in Wenyuan Ge Siku Quanshu, vol. 1113, pp. 284a–b.
[6] Li Gonglin (1049–1106), courtesy name Boshi, sobriquets Longmian Jushi ("Resident of Dragon-Sleeping Mountain") and Longmian
Shanren ("Man of Dragon-Sleeping Mountain"), was a native of Shuzhou in the Northern Song dynasty (present-day Tongcheng, Anhui,
though some sources identify Shucheng, Anhui). The original Copy of the Painting of Guo Shangfu is no longer extant. The principal
figure of the painting was Guo Ziyi, the celebrated Tang dynasty general. In 779, after Emperor Dezong ascended the throne, Guo was
honored with the title Shangfu ("Imperial Preceptor"). The character yan (燕) in the title is understood as a variant of yan (宴, banquet),
suggesting that the painting depicted either a banquet hosted by Guo Ziyi or a scene commemorating his military achievements.
[7] Huang Tingjian, Inscription on Li Gonglin's Handscroll of Five Horses (Longmian Jushi Li Bozhi Wuma Tu Juan), preserved in Bian
Yongyu, Shigutang Shuhua Huikao, juan 42, "Paintings, Song Dynasty: Li Gonglin, " fol. 39. Reprinted in Wenyuan Ge Siku Quanshu,
vol. 828, p. 752b.
[8] Huang Tingjian, Postscript to Zhou Zifa's Calligraphy (Ba Zhou Zifa Tie), in Shangu Ji, juan 29, "Colophons and Postscripts, " fol. 17.
Reprinted in Wenyuan Ge Siku Quanshu, vol. 1113, p. 309b.
[9] Huang Tingjian, Afterword to the Silk Scroll (Shu Zengjuan Hou), in Shangu Ji, juan 29, "Colophons and Postscripts, " fol. 8. Reprinted
in Wenyuan Ge Siku Quanshu, vol. 1113, p. 305a.
[10] Huang Tingjian, Afterword to the Silk Scroll, in Shangu Ji, juan 29, fol. 9. Reprinted in Wenyuan Ge Siku Quanshu, vol. 1113, p. 305b.
DOI: http://dx.doi.org/10.70711/rcha.v4i8.10181
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