Thesis (M.A.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 161-171).

Wang, Wenjia. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (p. 163-173). / In English with some Chinese; abstract also in Chinese. / Abstract of Calligraphy in the Context of Woodblock-printed Books: --- p.1 / Table of Contents: --- p.5 / List of illustration: --- p.7 / Acknowledgement: --- p.17 / Introduction --- p.18 / Chapter 1. --- Song Dynasty --- p.20 / Chapter 1.1 --- The Universal Acceptance of Yan Zhenqing´ةs Style 顔真卿 and Song-edition Books --- p.20 / Chapter 1.2 --- Liu Gongquan 柳公權 and Fujian Edition --- p.28 / Chapter 1.3 --- Ouyang Xun 歐陽詢 and Jiangzhe Edition --- p.33 / Chapter 1.4 --- Song Xieke Editions 宋寫刻本 --- p.37 / Chapter 1.5 --- The Collection of Eulogies on Kunshan 崑山雜詠 and Huang Tingjian 黃庭堅 --- p.37 / Chapter 1.6 --- Su Shi 蘇軾 and the Literary Anthology of Tao Yuanming 陶淵明集 --- p.39 / Chapter 2. --- Zhao Mengfu 趙孟頫 and Yuan Book Production --- p.42 / Chapter 3. --- Ming Dynasty --- p.51 / Chapter 3.1 --- Palace Edition Books and Zhao Mengfu's Lingering Influence in the Early Ming --- p.51 / Chapter 3.2 --- Wu School Calligraphy and Popular Typeface in the Mid-Ming --- p.52 / Chapter 3.3 --- Shen Zhou´ةs Calligraphy in his Manuscript and the Later Edition of Shen's Anthology --- p.52 / Chapter 3.4 --- "Wu Kuan's Calligraphy, Handwritten Book and His Published Anthology" --- p.56 / Chapter 3.5 --- The Rise of the so-called Song-style Printing Script 宋體字 and Xieke Editions 寫刻 in the Late Ming --- p.62 / Chapter 3.6 --- Liu Rushi´ةs (1618 -1664) Wuyin cao 戊寅草 and the Standard Song-style Printing Script --- p.62 / Chapter 3.7 --- Liu Rushi´ةs Letters 尺牘（1639-40)，“Carved as Written´ح Preface and Mid- and Late Ming's Frenzy for Su Shi's Style --- p.64 / Chapter 3.8 --- Liu Rushi´ةs Hus hang cao 湖上草（1639) and Mid-Ming's Revival of Zhong Yao´ةs 鍾縣 Style --- p.65 / Chapter 3.9 --- Wang Ranming 汪然明 and Liu Rushi´ةs Publication --- p.69 / Chapter 4. --- Qing Dynasty --- p.73 / Chapter 4.1 --- Quange Ti 館閣體 and Siku Quanshu 四庫全書 --- p.73 / Chapter 4.2 --- Zheng Xie's 6 1/2 Script 六分半書 and His Self-designed Books --- p.75 / Chapter 4.3 --- "The Rise of Evidential and Epigraphical Studies and its Impact on Calligraphy and Printing, Wu Dacheng & the Analects in Seal Script" --- p.83 / Chapter 5. --- Conclusion --- p.86 / Chapter 6. --- Illustrations --- p.88 / Chapter 7. --- Bibliography --- p.163

Thesis (Ph. D.)--Friedrich Wilhelms-Universität, 1905.

No description available.

No description available.

Why was woodblock printing continuously utilized by Tibetan Buddhist monasteries for several centuries, despite the emergence of other printing technologies? How did the societal perception of the printed knowledge as both valuable and sacred in the specific cultural and political context influence the duration of its use? Drawing from sources spanning digital facsimiles of xylographs, museum collections of carved blocks and printing tools, Chinese-language museum publications and Tibetan-language monastic histories and mechanical treatises, this dissertation, “Wood Carvers and Deep Forests: The Expansion of Tibetan-language Woodblock Printing Houses (1642-1900)” historicizes the temporal and spatial development of 177 Tibetan-language printing houses from the twelfth to the nineteenth centuries across Tibet and Inner Asia. In my work, I offer a cultural and material history of woodblock printing technology that considers the Buddhist worldview and the artisanal understanding of wood’s materiality. For artisans working with wood, maintaining its healthiness is one of their foremost priorities. The concern for posterity and permanence significantly influences their material practices. I argue that the idea of wood lasting for hundreds of years was particularly appealing to monastic printing houses as the leaders saw themselves as the upholders of an unbroken and an undamaged lineage of authentic Buddhist teachings no longer available elsewhere in the world. Wood as a material that could stand the test of time and woodblocks, as a permanent source from which to print the texts, was highly appealing to the Tibetans. The continued use of woodblock printing in Tibet is not simply a matter of technological stagnation but a complex interplay of cultural, religious, and practical considerations. The Buddhist worldview and artisanal traditions, combined with the adaptability and economic practicality of woodblock printing, have sustained its use through multiple centuries despite the introduction of other technologies.

Diss. : Théologie : München : 1986. / Originally presented as the author's thesis (doctoral)--Ludwig-Maximilians-Universität München, Wintersemester 1985/86. Includes indexes. Bibliogr.: p. 229-238.

In 1493 Johann Trechsel published in Lyons a Latin edition of Terence's six comedies, generally known today as the "Lyons Terence." The volume is illustrated with 160 woodcuts. The first woodcut, on the title page, shows the author in his library; the second, a full-page frontispiece titled Theatrum, pictures a building with a stage and audience; the remaining woodcuts, half-page illustrations distributed throughout the text, depict figures on stages, a different stage for each of the six comedies. Chapter 1 introduces the woodcuts both as book illustrations and theatre documents. As book illustrations, the woodcuts are striking partly because of their size, their quantity, and their artistic merit and partly because they comprise the earliest series and narrative illustrations to accompany a printed Latin text. Commissioned for this particular edition to Terence's comedies, the woodcuts suggest a pedagogical concern with illustrations that provide a running commentary on the text. As theatre documents, the woodcuts are significant because they represent the first instance in which an editor has illustrated a dramatic text by depicting characters on stages. Chapter 2 analyzes the composition and distribution of the woodcuts by comparing each illustration with the text it introduces. Marking each traditional scene division, the woodcuts depict the characters who participate in the dialogue to follow. By manipulating the characters' placement on the stage, their use of curtains, and the number of times they are depicted in a single picture, the artist establishes conventions to identify (1) the major character group comprising a scene, (2) characters who speak apart before joining in conversation with those already on-stage, (3) characters who remain apart throughout a scene and speak only asides, and (4) characters whose voices are heard but who never appear on the stage. The artist does not portray nonverbal stage business. Chapter 3 investigates the possible influence of narrative art on the conventions identified in Chapter 2. First, I argue that the woodcuts were directly influenced by the miniatures in the Terence manuscripts; this influence accounts for errors and idiosyncracies in representing characters and the priority of character depiction over stage action. Second, I show that the woodcuts adopted conventions for representing narrative action, especially transitional links, from narrative art in general. Chapter 4 distinguishes between staging and the stage. Although the woodcuts do not represent characters so as to suggest the staging of Terence's plays, they do depict those characters upon stages. The Andria stage, moreover, appears to be indebted to the contemporary booth stage. The compartment labels I take to be a literary rather than a staging feature. Chapter 5 summarizes the findings of the dissertation. It concludes that the woodcuts, innovative illustrations which supplement a classical text, function primarily as a pedagogical aid to help the reader follow the Latin dialogue of the comedies.

This project involved a series of linoleum, woodcut, and intaglio prints whose subject matter was derived from my imagination. The inspiration for this work is the ocean and the myriad life forms found there. I perused books on the ocean and created characters from these images. These prints also have a psychological edge and emotional aspect reflecting the state of mind I was in when 1 created them. Putting these ideas together in the intaglio prints as well as using different techniques was the challenge in making this work. My goal was also to explore linoleum and woodcut prints where I used multiple blocks and/or rolled more than one color on a block to achieve a multitude of hues for one image. I found this complex way of making images exciting and feel that the works created have been successfully resolved. / Department of Art

The creative project, which focused in painting and print making was the conclusion of my graduate program in studio art. I executed eleven oil paintings and eleven woodblock prints which demonstrated my development as a twodimensional artist.Although oil painting is the primary medium that I worked in for this project, I expanded my visual vocabulary to include woodblock printing. These paintings and prints were exhibited at the University Theater Gallery on Ball State University's campus in April of 1992.Painting is a vehicle to express my ideas to others. It is also a vehicle for my personal discovery' Being Japanese (Eastern) living in America (Western) has created a cultural duality in my life, which is the main focus of this creative project. The emotional content of each piece is expressed through visual metaphors.This project involves the exploration of the female figure as a self-portrait, rendered in an environment that visually represents my emotional state of mind. It is a visual diary which started out with the creation of small black and white woodblock prints. I created the images of the four seasons with a female figure surrounded by decorative patterns. This idea expanded as I worked on the oil paintings, which are larger in format (human scale). My intention was to provide a stimulus for emotional response while gaining a greater understanding of how colors, shapes, and other elements operate expressively. For example, in most of the images I intentionally positioned the figure so that the face is turned away from the viewer and not portrayed. This allowed the viewers to project their own feelings onto the work.Along with the creation of the paintings and the prints, I researched past and contemporary artists who shared my ideas and concerns. These artists include the post impressionists--Van Gogh and Paul Gauguin; the Nabis--Pierre Bonnard and Edouard Vuillard; the Fauves--primarily Matisse; German Expressionists; and a contemporary English artist, Howard Hodgkin. / Department of Art