By Martin J. Powers, Katherine R. Tsiang
Exploring the historical past of paintings in China from its earliest incarnations to the current day, this entire quantity contains dozen newly-commissioned essays spanning the theories, genres, and media valuable to chinese language paintings and conception all through its history.
- Provides a good number of essays selling a comparative figuring out of China’s lengthy checklist of cultural production
- Brings jointly a global staff of students from East and West, whose contributions diversity from an outline of pre-modern idea, to these exploring calligraphy, positive portray, sculpture, components, and more
- Articulates the course during which the sector of chinese language artwork background is relocating, in addition to delivering a roadmap for historians attracted to comparative examine or theory
- Proposes new and revisionist interpretations of the literati culture, which has lengthy been an enormous staple of chinese language artwork history
- Offers a wealthy perception into China’s social and political associations, non secular and cultural practices, and highbrow traditions, along chinese language paintings background, concept, and criticism
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Extra resources for A Companion to Chinese Art
Other emperors, too, were closely involved with the production of art, practicing calligraphy or painting, and composing poetry. These institutional foundations of the court painting academy continued or were revived in varying forms through the later imperial era. While the collecting of art by the court was a major source of sponsorship for art production, especially in early imperial times, over time many ordinary Chinese built private art collections and supported the work of accomplished individual artists.
It should be obvious that people growing up in different cultural traditions can borrow, share, or adapt intellectual and technological resources that had been absent at earlier moments in their local histories, while already present in the histories of others. Let me conclude with some reflections that might help to restore clarity to these debates. Years ago in Critical Inquiry Walter Benn Michaels addressed the ins and outs of the pluralist argument, interrogating its most fundamental premises: Why does it matter who we are?
In the eighteenth century Hu Jing (1769–1845) did just that, describing Guiseppe Castiglione’s painting using Chinese critical terms, including shengdong, lifelikeness, and fa for style. He even compared Castiglione’s work to Chinese masters such as Li Gonglin (1049–1106), applying Chinese analytical terms and ignoring European period terms, a method not so different from what European and American scholars do in the other direction (Hu 1995: 41). But philosophical pluralism remains an influential counter-argument to the comparatist method.
A Companion to Chinese Art by Martin J. Powers, Katherine R. Tsiang