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Abstract
Examining “accident,” broadly conceived, in Chinese theories of artistic inspiration and generation, this essay probes the cosmological and philosophical presuppositions that inform the imputed relationship between art and chance, and documents a major shift of critical emphasis from one that links creativity with nature to one that links it with culture. Although not intended as an extended comparative analysis, the discussion is heuristically framed by remarks on the place of chance in modernist discourse, specifically as applied to Jackson Pollock's work and methods.
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Charles Lachman
Charles Lachman, who received a Ph.D. in East Asian Studies from the University of Toronto, has taught at York University and Dartmouth College. His publications include Evaluations of Sung Dynasty Painters of Renown (Leiden, 1989), and articles on various aspects of Chinese art history which have appeared in Artibus Asiae, Oriental Art, Biography, Clues, and elsewhere [School of Architecture and Allied Arts, University of Oregon, Eugene, Ore. 97403–1206].