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Word: confucians (lookup in dictionary) (lookup stats)
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...Communist, lives in Peking and is president of its Communist-run university. Wife Elizabeth MacLeod lives in Vermont with their son Rennie and her father-in-law. Old Mr. MacLeod, who was once adviser to the Boy Emperor (1909-12) and took a Chinese woman to wife, has gone Confucian in the saddest way. Mrs. MacLeod calls him "Baba" ("It is easier to say than Father") and he is also thoroughly gaga...

Author: /time Magazine | Title: Books: Mom v. Mao | 7/15/1957 | See Source »

...depict the bloody events of history was an affront to Confucian principles of restraint and propriety. When Painter...

Author: /time Magazine | Title: Art: MASTERPIECES OF CHINESE ART | 5/6/1957 | See Source »

...from his palace in Peking (which Marco Polo described with its "walls covered with gold and silver") or his pleasure-domed summer palace, with its 16-square-mile enclosed park at Shangtu (the Xanadu of Coleridge's famed verses). But because the Mongol Khans decreed that the elite Confucian scholars -who, under the Sung Dynasty, had ranked just below royalty-should be reduced to a category one degree above beggars, few Chinese scholars showed up in Peking to answer Kubla Khan's invitation to join his court...

Author: /time Magazine | Title: Art: MASTERPIECES OF CHINESE ART | 5/6/1957 | See Source »

...what amounts to a major shift in Japanese national taste, an almost forgotten Confucian scholar named Tomioka Tessai, who died in 1924 at the age of 88, is emerging as Japan's most popular painter since the Ukiyo-e masters of the 17th and 18th centuries. What makes his sudden rise to fame so surprising is that Tessai's work boldly departs from the polish and finish of Japan's professional, court-painting tradition. Instead, he used a rough, impulsive brushwork that often seems closer to the West than to the Orient...

Author: /time Magazine | Title: Art: Japanese Master | 4/15/1957 | See Source »

...Patriarchs of Religions Boating Together was done in Tessai's last year. The six figures, representing key personages in Buddhist, Taoist and Confucian religious history, are symbolic of Tessai's belief in the underlying unity of Oriental religions. By his controlled use of sumi-ink splash and brush strokes, Tessai turned his white paper into a water-lily-strewn waterway and sky; at the same time his forceful brushwork created a protomodern example for much that in Western painting passes for abstract expressionism. Looking at these last works, one Japanese critic mused: "They are like flowers that bloom...

Author: /time Magazine | Title: Art: Japanese Master | 4/15/1957 | See Source »

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