Issue 3 – By; Davide Carnicella

An interwiev with Professor Maurizio Paolillo, who teaches Chinese language and philology at the department of Asian, Africa and Mediterranean studies in ‘‘L’Orientale’’ University of Naples.

Issue 2 – By; Zhu Wanzhang 朱万章

Translated by; Giacomo Bruni and Claudio D. Lucchi

By; CHEN Ye (Ph.D. candidate at Graduate School of Chinese National Academy of Arts; assistant research fellow at Guangzhou Academy of Fine Arts)

Issue 2 – By; An Haifeng 安海峰

Prof. An Haifeng 安海峰 was born in Binzhou city, Shanxi Province, China. Enrolled by affiliated middle school of Xi’an Academy of Fine Arts in1997. Enrolled by School of Print of Xi’an Academy of Fine Arts in 2002. Sought for his post degree in School of Sketch of Guangxi Arts Institute in 2006. Professor at School of Fine Arts of Guangxi Arts Institute as the director in the third studio since 2009, currently is a doctoral candidate at the Xi’an Academy of Fine Arts 西安美术学院. His specialty is Chinese mountain and water painting.

Issue 1 – Author: Giacomo Bruni

Wenrenhua, (Chinese: “literati painting”) refers to an ideal form of the Chinese scholar-painter who was more interested in personal cultivation and expression than in literal representation or an immediately attractive surface beauty. First formulated in the Northern Song period (960–1127)—at which time it was called shidafuhua 士大夫画  by the poet-calligrapher Su Dongpo 苏东坡 – the ideal of wenrenhua was finally and enduringly codified by the great Ming dynasty critic and painter Dong Qichang 董其昌 .

According to the principle of wenrenhua, the completely literate, cultured artist—learned in all the humane arts—who revealed the privacy of his vision in his painting was preferred over the “professional,” whose paintings were more obviously pleasing to the eye. The contrast is overly categorical, but it is useful still in understanding the major interests and intentions of Chinese painters through the ages.

Issue 1 – Author: Claudio D. Lucchi

A brief study of its continuity and significance in Mountain and water painting (Part I)

Chinese ink-wash painting (shuimo hua 水墨畫) was already practiced during the Tang dynasty. Since then, this particular art form has never ceased to develop. Carefully handed down from one generation of painters to the next, treated like a rare and precious flower by Chinese painters and literati alike, Chinese ink-wash painting has always been (and still is today) a topic of discussion.

Issue 1 – Author: Giacomo Bruni

Paolo D’Angelo is a professor of Aesthetics at the University of Roma Tre. A graduate of the University of Roma Uno, “La Sapienza”, he received his PhD (Dottorato) from the University of Bologna. He was also the Head of the Department of Philosophy, Communication, Media and Performing Arts of Roma Tre University from January 2013 to December 2018. 

He was formerly a professor at Messina University (1999-2000). He has taught Aesthetics at Roma Tre since September 2004.

Chief areas of interest: Aesthetics of the visual arts; environmental Aesthetics; analytic Aesthetics; History of Aesthetics; German philosophy; contemporary Italian philosophy.