1-3 of 3 Results  for:

  • East Asian Art x
  • Sculpture and Carving x
  • Grove Art Online x
Clear all


Sō Shii  

Norihisa Mizuta

[Bussai; Dokusō; Gakusen; Hanbutsu koji; Kyūsui Gyojin; Mandarakyo]

(b Kyoto, 1738; d Osaka, 1797).

Japanese seal-carver, poet and editor. Afflicted by poverty in Kyoto, he moved to Osaka, where he studied Confucianism and Chinese literature with Katayama Hokkai (1723–90) and Hosoai Hansai (1727–1803) and joined the society of Chinese poetry, the Kontonshisha. He learnt seal-carving from Kō Fuyō and was so successful in absorbing the characteristics of the Archaic school that he was known as ‘Fuyō’s shadow’. Together with Maegawa Kyoshū and Katsu Shikin, he was an important advocate of the Archaic school in the Naniwa (now Osaka) area (see Japan §XVII 20.).

Albums of seals he carved include the Rekiken sanbō inpu, Dokusōan in’in and the Gakusen in’in. Shii also researched the background to seal scholarship and wrote the works Insekikō (‘Thoughts on borrowed seals’) and Ingosan (‘Outline of seal terms’). The Insekikō, published posthumously in 1802, is a catalogue raisonné of Japanese and Chinese seal albums introduced to Japan at that time. It also assesses the state and level of seal scholarship. No such catalogue had hitherto been compiled, even in China, and it was highly praised. The ...


Yang Yuyu  

Su-hsing Lin

[Yang Ying-feng]

(b Yi lang County, Taiwan, 1926; d Xin Zhu City, Taiwan, 1997).

Chinese sculptor, illustrator, environmental designer, and architect. Yang additionally made a great number of cartoons, illustrations, and cover designs between 1945 and 1961 while in charge of artistic design for the Fengnian zazhi (“Harvest Rural Periodical”). Yang’s early styles display great influence from not only artistic developments in China and Tokyo in the 1940s, such as Art Deco and the New Woodcut Movement, but also the political situation as well as artistic trends in Taiwan during the 1950s. Many graphic artworks by Yang collected in the Harvest Rural Periodical were devoted chiefly to secular themes. They could be regarded as important genre paintings of 1950s Taiwan.

From 1964 to 1966 Yang received an opportunity from Fu Jen Catholic University in Taiwan to study art in Italy. Three years of sojourn in Rome gave Yang a great understanding of Western art history and aesthetics, and an appreciation for the differences between the East and the West, historically, culturally, and artistically. Upon returning to Taiwan, Yang made the ancient Chinese concept of ...


Hu Zhengyan  

Suzanne Elaine Wright

[Hu cheng-yen; zi Yuecong; hao Cigong, Moan laoren, Shizhuzhai zhuren]

(b Wenchangfang, Anhui Province, 1584/1585; d 1673/1674).

Chinese calligrapher, painter, seal-carver, printer, and publisher. He moved from Anhui province to Nanjing, the southern capital of the Ming, by 1619 and established a publishing concern there named Shizhuzhai (“Ten Bamboo Studio”). He produced ink, seals, and printed stationery paper, as well as books on subjects including medical practice, etymology, phonetics, poetry, and the works for which he is best known today: Shizhuzhai shuhuapu (“Ten Bamboo Studio handbook of calligraphy and painting”) and Shizhuzhai jianpu (“Ten Bamboo Studio handbook of letter papers”). After the death of the Chongzhen emperor (reg 1627–1644) and the fall of Beijing to the Manchus, a rump court was established in Nanjing in 1644. Because of Hu’s reputation as a practitioner of seal script and seal-carver, he was commissioned to create a state seal for the Hongguang emperor (reg 1645). Hu was offered a position as zhongshu sheren (“Drafter in the Secretariat”), but turned it down. After the Manchus occupied Nanjing in ...