![]() This article is organized according to the poetic genres listed above to provide a thorough overview of Yuan-dynasty poetry. ![]() For instance, the development of fu in the Yuan dynasty was linked to the changes in civil examination, and shi poetry was often used to forge literary communities. While it is important to acknowledge that sanqu was a new poetic genre that emerged during the end of the Jin dynasty and the beginning of the Yuan dynasty, it is equally important to recognize the significance of other genres of poetry. Since the early 20th century, due to an emphasis on the evolutionary nature of Chinese literature, a dynastic succession of literary genres has often been assumed, and the Yuan dynasty (1271–1368) was often associated with the poetry genre sanqu. Yet, if one defines poetry as an expression of feelings and ideas with the use of a distinctive style and rhythm, then other genres like ci 詞 (song lyrics), fu 賦 (poetic expositions), and sanqu 散曲 (colloquial songs) would all fall within the definition of poetry. “Poetry” may seem like a self-evident concept since it is often translated as shi 詩 (poetry or verse). Apart from the dating of the Yuan dynasty, the term “poetry” also deserves further rumination. Similarly, for the end of the dynasty, this article incorporates poets who were born before 1368, the year when the last Yuan emperor Toghon Temür (b. 1320–d. 1370) abandoned the Yuan capital Khanbaliq (modern Beijing). Thus, to provide a more comprehensive history of Yuan poetry, this article adopts a looser definition and incorporates literary works produced by poets who were active in the 1230s. c. 1158–d. 1127) had already been ruling over much of northern China. Yet, as early as 1234, the Mongol ruler Chinggis Khan (b. In Chinese historiography, the dynasty is often considered as a successor of the Song dynasty (960–1279) and is said to begin in the year 1271 since an edict was issued by Khubilai Khan (b. 1215–d. 1294) to proclaim the establishment of the Yuan. The dating of the Yuan dynasty can be a complex question. Therefore, the method of using color here differs significantly from that in "Portrait of Song Zhenzong's Empress", where the heavy colors reflect make-up and shapes painted on the face.Yuan poetry refers to the poetry composed during the Yuan dynasty, a period when China was under Mongol rule. The cinnabar base used for the pigment further transmits the tenderness and color of the skin. In addition, her red cheeks not only bring out the volume of the face through fine and even gradations of color but also suggest the ruddy complexion of her skin. The face in "Portrait of the Kublai Khan's Consort (Chabi)" appears rather white, perhaps reflecting her thick foundation of make-up however, the undulating features created by the fine washes of color are quite apparent. Though the colors reveal a unique manner of makeup, they do not clearly define the features of the face or qualities of the skin. Noticeable colors were also applied to the face in "Portrait of Song Zhenzong's Empress," a reflection of court make-up in the Song. However, the use of colors on the face does not appear only in Yuan imperial portraits. Employed to a large extant in Kublai's portrait, it is also found in the areas of his eyebrows and cheeks. This form of color usage to suggest facial features is not nearly as evident in Song imperial portraits. Kublai's portrait relies on subtle changes using extremely fine color washes to express the slight projection of the eyelid area. In "Portrait of Kublai Khan," the presence of the eyelids is also apparent, but not because they were done with lines. His face actually looks quite similar to that found in his portrait in "Album of Yuan Emperor Portraits," which therefore may have served as a model. When other paintings required the depiction of these rulers, the album leaves served as models so that the Yuan rulers did not need to spend time posing on each occasion for the painters.įor example, the rendering of Tegtemur as a donor figure at the base of the aforementioned Metropolitan thangka may have been done in this manner. "Albums of Yuan Imperial Portraits" were probably done to create standard renderings of the Yuan dynasty emperors and empresses. In fact, the Yuan portraits look somewhat like identification snapshots, depicting the bust of the figures from the shoulders up. Unlike hanging scroll portraits such as the full- and half-figure renditions of "Seated Portrait of the Empress of Sung Chen-tsung," the works in "Albums of Yuan Imperial Portraits, as suggested in the title, take the format of the album leaf. Possible Uses of Album Leaf-type Imperial Portraits "Kublai Khan Hunting," which shows him, his empress, and officials on horseback.
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