By Martin J. Powers, Katherine R. Tsiang
Exploring the heritage of paintings in China from its earliest incarnations to the current day, this accomplished quantity contains dozen newly-commissioned essays spanning the theories, genres, and media vital to chinese language artwork and conception all through its history.
- Provides a great number of essays selling a comparative realizing of China’s lengthy checklist of cultural production
- Brings jointly a global workforce of students from East and West, whose contributions variety from an outline of pre-modern conception, to these exploring calligraphy, high-quality portray, sculpture, add-ons, and more
- Articulates the path within which the sphere of chinese language artwork background is relocating, in addition to supplying a roadmap for historians attracted to comparative examine or theory
- Proposes new and revisionist interpretations of the literati culture, which has lengthy been an immense staple of chinese language paintings history
- Offers a wealthy perception into China’s social and political associations, spiritual and cultural practices, and highbrow traditions, along chinese language paintings background, idea, and criticism
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Additional info for A Companion to Chinese Art
Beijing: Zhonghua Publishing. Yang Nianqun (2005). Zuo ri zhi wo yu jin ri zhi wo. Beijing: Beijing Normal University Press. Part I Production and Distribution 1 Court Painting Patricia Ebrey Paintings made at court can be considered as a branch of the larger art of painting. This is the usual approach of art historians. In the Chinese art critical literature, especially from the Ming period on, literati artists were elevated above court artists, and this literature has had a pervasive influence on studies of Chinese painting.
In this sense such arguments are similar to influence narratives but, unlike the latter, they are not subject to refutation by means of historical evidence. They are immune to refutation, so long as one feels comfortable with tautological argument. More recent versions of this argument are common in certain strains of postcolonial scholarship, taking the form of word games derived from the premises of philosophical pluralism. The logic seems to go something like this: “art” (for instance) is an English word and, therefore, must be Western.
Gu, Ming Dong (2013). Sinologism: An Alternative to Orientalism and Postcolonialism. New York: Routledge. Hu Jing (1995). Hu shi shu hua kao san zhong in Xuxiu si ku quan shu, 1082. Shanghai: Shanghai guji Press. Israel, J. (2006). Enlightenment Contested: Philosophy, Modernity, and the Emancipation of Man 1670–1752. Oxford: Oxford University Press. Kracke, E. A. (1953). Civil Service in Early Sung China, 960–1067: With Particular Emphasis on the Development of Controlled Sponsorship to Foster Administrative Responsibility.
A Companion to Chinese Art by Martin J. Powers, Katherine R. Tsiang