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Yuen Tsung Sze (Chinese: 施蕴珍; December 2, 1909 – July 16, 1992), known professionally as Mai-mai Sze (施美美), was a Chinese-American painter and writer. The Bollingen Foundation first published her translation of the Jieziyuan Huazhuan or The Mustard Seed Garden Manual of Painting with her commentary in 1956.
- July 16, 1992 (aged 82), New York City, US
- Yuen Tsung Sze, December 2, 1909, Tianjin, China
Mai-Mai Sze. Apariencia. ocultar. Yuen Tsung Sze (2 de diciembre de 1909-16 de julio de 1992), conocida profesionalmente como Mai-mai Sze, fue una escritora y pintora sinoestadounidense. La Bollingen Foundation publicó por primera vez su traducción del Jieziyuan Huazhuan o The Mustard Seed Garden Manual of Painting con sus comentarios en 1956.
- Yuen Tsung Sze
16 de may. de 2016 · Irene Sharaff lived for only eleven months after Mai-mai Sze died in 1992, but in that time she saw to the deposit of her partner’s books at the Society Library. The gift can be read as Sze’s final presentation of her public self, and Sharaff’s part in it beautifully illustrates how she supported Sze’s vision of it.
27 de oct. de 2021 · Irene Sharaff Papers. Open Gallery. Nominated cumulatively for nine Academy Awards, Sharaff won five for her costume designs. Her partner, Mai-Mai Sze, was a Chinese American painter, translator, and political activist.
Yuen Tsung Sze , conocida profesionalmente como Mai-mai Sze, fue una escritora y pintora sinoestadounidense. La Bollingen Foundation publicó por primera vez su traducción del Jieziyuan Huazhuan o The Mustard Seed Garden Manual of Painting con sus comentarios en 1956.
Originally published as Volume 2 of The Tao of Painting, this is the first English translation of the famous Chinese handbook, the “Chieh Tzu Yüan Hua Chuan” (original, 1679-1701). Mai-mai Sze has translated and annotated the texts of instructions, discussions of the fundamentals of painting, notes on the preparation of colors, and chief ...
15 de jun. de 2015 · What motivated her to read so intensely? After all, she published only one work of scholarship in 1956 at the age of 47. After that she was neither writing nor teaching, but she was littering the margins of her books on eastern and western philosophy, religion, art, and history with notes in both English and Chinese. Why?
