EACS-2016. Book of Abstracts

Section 3 21st Biennial Conference of the European Association for Chinese Studies 37 used in evaluating art during the middle period (9th-14th centuries). Modern scholarship has analyzed the distinctions between the two types of imitation contrasted in this discourse, i.e., imitations of form and imitations of inner spirit. However, the relationship of these discrepant modes of imitation to actual artistic practice has rarely been examined. This paper analyzes an intriguing visual phenomenon that escapes the dichotomous frame through which imitation has previously been understood. A series of paintings dating from the eleventh to the fourteenth centuries depict animals with humanlike facial expressions. While the paper touches upon the specific social and cultural conditions under which such images were desired and created, the discussion focuses primarily on analyzing the pictorial mode in which the animals’ appearances were appropriated and manipulated. Their anthropomorphic features, I argue, at once satisfied viewers’ expectations that the images would resemble the animals they depicted and simultaneously broke with those expectations by imitating what cannot be imitated—human emotion. By drawing attention to the ambivalence the images conjure, this paper challenges the canonized dualism between form- and spirit- likeness characteristic of middle-period texts and uncritically maintained in modern scholarship. Journeau ep. Alexandre Véronique (LANGARTS—CREOPS (Paris-Sorbonne University)) Relation between Text and Music in 詞 ci of 宋 Song Dynasty: the Case of “ 烏夜啼 Wu yeti” Key words: 詞 ci, sung poetry, Song dynasty, guqin, 烏夜啼 , Wu yeti The genre of sung poetry ( 詞 ci) “to the tune of…”, appeared under the late Tang and was particularly in vogue under Song dynasty (960–1279). At that time; the balance between text and music is nearly perfect in it. Although poems have been written and passed down from generation to generation through antholo- gies, the music of such tunes, missing in these books, has been lost, unless being passed down continuously from music master to disciple (oral transmission), and then often only as an instrumental play: number of poems are written to a given tune and, consequently, the choice of the one to be registered in music books is not easy for there is a time-lag between the creation and the written notation of a tune. Now, our aim is to bring closer two fields of studies: the textual analysis of poems on the one hand and the musical analysis of tunes on the other hand. Thanks to the edition of corpus of tablatures for 古琴 guqin, a first step consists in matching tunes in manuals, and sung poems in anthologies, on the title of the tune which is as well the title of the poem. A second step consists, for each selected tune, in checking the concordance between text and music from the metric angle and in studying variations in the course of time. The third step consists in the analysis of the relation between the music of a given tune and texts of poems composed to this tune, in order to understand how poets play differently while composing with the musical charateristics of a given tune. In our paper, we will study some typical cases, then focus on poems of 宋 Song dynasty to the tune of “ 烏夜啼 Wu yeti” (Evening call of the raven or Crows cry at night), tune which is said to have been writ- ten as 琴曲歌 qinqu ge in 441 by Liu Yiqing, mentionned at the end of 幽蘭 Youlan ( 隋代 , VIth century), registered as 琴曲 qinqu under 唐 Tang dynasty, scored in 神奇秘譜 Shenqi mipu (1425) then in more than thirty versions from 1425 to the beginning of the XXth century. Kraushaar Frank (University of Latvia) From Love and Slander to Discharged Emotion: Tang Chuanqi 傳奇 Creative Inputs on the Song Manci 慢詞 Tradition Key words: classical ci-poetry, chuanqi, Liu Yong, landscape-poetry, romance Romantic stories of the Tang chuanqi tradition like Yingying zhuan 鶯鶯傳 , Liu Shi zhuan 柳氏傳 , Li Wa zhuan 李娃傳 , Wu Shuang zhuan 無雙傳 or Huo Xiao Yu zhuan 霍小玉傳 are usually read as early literary documents of urban culture with their more or less complicated and conflicting emotional worlds at the center of creative interest and efforts. Historic views on Chinese literature stress the influence of the originally marginalized sub-genre (chuanqi) on later works of literary mass-culture originating under Yuan, Ming and Qing. The impact these stories must have had (directly or indirectly) on the rise of the so-called “long song lyric” (manci) has not yet been made the topic of investigation.