1,733,376 research outputs found
A Study of the Classical Landscape at the Wang River Villa of Wang Wei
Full text linkThe landscape of Wang Wei's Wang River Villa is examined by reviewing the essays and papers written about the poetical collaboration, the “Wang River Collection.” The purpose of this paper is to clarify the meaning of villa architecture in China. The author expects that this research will contribute to a mutual understanding between cultures. The villa was a Utopia for Wang. On the other hand, he was a pious Buddhist and Buddhistic concepts are reflected in the landscape. I consider the features of the classical landscape of Xie Lingyun and "Chu Ci," as written in “The Collection,” a reflection of the Buddhistic concept. When considering what the classics meant to Wang Wei, it is apparent that his villa is a representation of the classical landscape. It is not an imitation of the classical landscape, but a unique and original creation of art by Wang.departmental bulletin pape
La montaña vacía : poemas de Wang Wei
No full textWang Wei (701-761), pintor, músico y poeta de la dinastia Tang, es el poeta más representativo de la poesía budista en la historia literaria china
The Poetry of Wang Wei
No full textA central figure during the peak of Tang dynasty literary activity, the poet Wang Wei (701-761) combined a subtle, deceptively simple imagery with a profound philosophical interpretation of the world based on integration and harmony. Although his poetry has been translated in the West, Wang Wei has not received a great deal of critical attention because of the elusive quality of his work. Pauline Yu has translated and annotated 150 of his poems, the most representative selection of Wang Wei in English to date. She corrects previous translators' prejudices for the nature poetry of Wang Wei by including generous samplings of the poet's juvenilia, court poetry, and Buddhist verse. An extensive introductory chapter discusses Taoist and "metaphysical" traditions in Chinese literature as well as Western Symbolist, post-Symbolist, and phenomenological theories as they pertain to the poetry of Wang Wei. Pauline Yu's exegeses opening each chapter of poetry suggest some interpretive guidelines. The individual poems, however, are allowed to speak for themselves and are accompanied only by notes and commentary explaining historical and literary allusions. Punctuated Chinese texts for all translations and a character glossary of key terms and names appear in appendixes—both of these features are unique among translations of Wang Wei's work
The Poetry of Wang Wei
No full textA central figure during the peak of Tang dynasty literary activity, the poet Wang Wei (701-761) combined a subtle, deceptively simple imagery with a profound philosophical interpretation of the world based on integration and harmony. Although his poetry has been translated in the West, Wang Wei has not received a great deal of critical attention because of the elusive quality of his work. Pauline Yu has translated and annotated 150 of his poems, the most representative selection of Wang Wei in English to date. She corrects previous translators' prejudices for the nature poetry of Wang Wei by including generous samplings of the poet's juvenilia, court poetry, and Buddhist verse. An extensive introductory chapter discusses Taoist and "metaphysical" traditions in Chinese literature as well as Western Symbolist, post-Symbolist, and phenomenological theories as they pertain to the poetry of Wang Wei. Pauline Yu's exegeses opening each chapter of poetry suggest some interpretive guidelines. The individual poems, however, are allowed to speak for themselves and are accompanied only by notes and commentary explaining historical and literary allusions. Punctuated Chinese texts for all translations and a character glossary of key terms and names appear in appendixes—both of these features are unique among translations of Wang Wei's work
Wang Wei and Ch'ien Ch'i
Full text linkWang Wei was the most acclaimed poet in the Age of K'ai-yüan 開元 and T'ien-pao 天寶, while Ch'ien Ch'i was acknowledged as the most outstanding poet among the Ten Talented Writers in the age of Ta-li 大曆十才子. To a certain extent, the styles of both were characteristic of their own times. By analysing the inheritance and development between Wang Wei and Ch'ien Ch'i in terms of their styles and means of expression, this thesis attempts to trace and to illustrate how the poetry of Shêng-T'ang (High-T'ang) 盛唐 proceed to Chung-T'ang (Mid-T'ang) 中唐
Calpentaconvexus eyrei Li, Wang & Wei 2007
No full textCalpentaconvexus eyrei Li, Wang & Wei, 2007 Calpentaconvexus eyrei Li, Wang & Wei, 2007: 54–57. Host. Castanopsis eyrei (Fagaceae). Relation to host. Vagrant. Distribution. China (Guangxi).Published as part of XUE, XIAO-FENG, WANG, ZHEN, SONG, ZI-WEI & HONG, XIAO-YUE, 2009, Eriophyoid mites on Fagaceae with descriptions of seven new genera and eleven new species (Acari: Eriophyoidea), pp. 1-95 in Zootaxa 2253 (1) on page 37, DOI: 10.11646/zootaxa.2253.1.1, http://zenodo.org/record/549621
Diptilomiopus lithocarpi Wang, Wei & Yang 2009
No full textDiptilomiopus lithocarpi Wang, Wei & Yang, 2009 Diptilomiopus lithocarpi Wang, Wei & Yang, 2009: 60–61. Host. Lithocarpus glaber (Fagaceae). Relation to host. Vagrant. Distribution. China (Zhejiang).Published as part of XUE, XIAO-FENG, WANG, ZHEN, SONG, ZI-WEI & HONG, XIAO-YUE, 2009, Eriophyoid mites on Fagaceae with descriptions of seven new genera and eleven new species (Acari: Eriophyoidea), pp. 1-95 in Zootaxa 2253 (1) on page 68, DOI: 10.11646/zootaxa.2253.1.1, http://zenodo.org/record/549621
Wang Wei e o Mistério do Musgo Verde Azulado
Full text linkThe poem Lu Zhai (??; “Deer Park”) by the famous Chinese poet Wang Wei (??; 699-759) is one of his best known and most translated works in Western world. This article discusses and presents a new interpretation of the final verse of the referred poem.O poema Lu Zhai (??; “Parque dos Cervos”) do famoso poeta chinês Wang Wei (??; 699-759) é uma de suas obras mais conhecidas e traduzidas no Ocidente. O presente artigo discute e apresenta uma nova interpretação para o verso final do referido poema
Wang Wei e o Mistério do Musgo Verde Azulado
No full textThe poem Lu Zhai (鹿柴; “Deer Park”) by the famous Chinese poet Wang Wei (王維; 699-759) is one of his best known and most translated works in Western world. This article discusses and presents a new interpretation of the final verse of the referred poem.O poema Lu Zhai (鹿柴; “Parque dos Cervos”) do famoso poeta chinês Wang Wei (王維; 699-759) é uma de suas obras mais conhecidas e traduzidas no Ocidente. O presente artigo discute e apresenta uma nova interpretação para o verso final do referido poema
Wang Wei in His Middle Age
No full textIn considering Wang Wei 王維 in his middle age, we deal with the period from the 28th year of K'ai Yüan 開元 (740 A.D.) to the 14th year of T'ien Pao 天寶 (755 A.D.), using as material all his poetical writings except those which belong or are supposed to belong to his earlier and later periods. During this time, Wang Wei was not treated with much respect, though as an official he was promoted to a higher rank. But among the more important poets of his age, he alone participated in the life of the court, all the others being oppressed because of their political opinions. Thus, the tradition of court-poets which had continued since the Six Dynasties Period came to an end with Wang Wei. However, he also was the first poet to be an officical and thereby started a tendency which was to become universal after the Sung dynasty. The decline of the aristocracy and the growth of the landed gentry into an influential and powerful class during his lifetime is one of the main reasons for the above change. In his middle age, Wang Wei in his poetry is mainly concerned with nature, though we can also find some hints as to his political opinions, which can be summarized as : 1. not to use power against the people and interfere with their lives ; 2. not to make war, and 3. to appoint able politicians and administrators. These three principles, of course, had been the basis of his political creed since his young days. Though the poet's life during this period was somewhat secluded, he was against a complete escape from politics, and insisted that the relief of society and that of the soul must be striven after simultaneously. The former should be accomplished through politics, the latter through the pursuit of inward truth. The reason for this is that he accepted Buddhism as the inward spiritual truth and Confucianism as the external material one. In order to realize his ideal, he built the "Wang-ch'uan Mansion" as a place for meditation and spiritual life in the southern suburbs of Ch'ang-an. There he spent his leisure time, often inviting a few intimate friends to the pursuit of art and Buddhism. The twenty masterly poems in his "Collected Papers of Wangch'uan" 輞川集 are fine examples of his nature-poetry, and they show a visionary rather than a realistic touch
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