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Les calendriers chinois : l’image du temps, le temps dans les images

Abstract : This article attempts to understand the relationship existing between the annual Chinese calendar and images, from its origins in the 3rd century BC to the early 20th century. Over this very long stretch of time, we find different material supports for Chinese writing (first wood and then paper), a shift from manuscript to printed form and different formats, such as the scroll, the booklet, the (woodblock) print and finally the mechanically reproduced poster. If the calendar could be said to belong to an intermediary genre, between image and text (unlike anything we can observe in Europe during the medieval period) the illustration only finds its place at the margins (like the foreword/introduction or on the cover) when it comes to the ‘book’ format. On the other hand, visual images provide the calendar with a privileged position on the isolated sheet of paper, serving specific functions. It presents a coherent and indispensable element in New Year Prints, and functions as a marketing tool on commercial posters, while at the same time, taking up a decorative role.
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Alain Arrault. Les calendriers chinois : l’image du temps, le temps dans les images. Arts Asiatiques, École française d'Extrême-Orient, 2011, 66 (1), pp.11-32. ⟨10.3406/arasi.2011.1750⟩. ⟨halshs-02508876⟩



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