In this special issue, contributors challenge the long entrenched separation of emotion from pictorial visuality in Chinese cultural studies. They seek to rediscover the role of emotion in traditional Chinese painting and to assess the impact of non-textual visuality — graphic prints, photography, and objects — on emotive affect in literary and cultural production. Situated in historical and cultural contexts from the Song dynasty to Republican China, the essays delve into multi-dimensional interactions between visuality and textuality, as well as the role and ramifications of emotive expressions in works of art and social practices. They also trace the interconnections and interactions between emotion and visuality and reevaluate the influence of visuality on the affective meaning of literary and cultural production.
Contributors: Anne Burkus-Chasson, Zong-qi Cai, Xiaorong Li, Jeffrey Moser, Peter C. Sturman, Shengqing Wu, Hu Ying, Yingzhi Zhao