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Appropriating Antiquity for Modern Chinese Painting

Autor Chia-Ling Yang
en Limba Engleză Hardback – 9 feb 2023
The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China?In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield.
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Specificații

ISBN-13: 9781501358371
ISBN-10: 1501358375
Pagini: 328
Ilustrații: 32 color and 91 bw illus
Dimensiuni: 152 x 229 mm
Greutate: 0.86 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:New York, United States

Caracteristici

Presents twentieth- and twenty-first-century attitudes towards the traditional Chinese ink painting of this period and their impact on the historiography of Chinese art

Notă biografică

Chia-Ling Yang is Professor of History of Art and Personal Chair of Chinese Art at The University of Edinburgh, UK. She received her PhD in Chinese Art from SOAS, University of London, UK. She has worked with the V&A and the British Museum on a range of exhibition projects.

Cuprins

AcknowledgementsList of PlatesList of FiguresPart One: .Introduction: Jinshi in Modern ContextPart Two: From Evidential Learning to Antiquarian Art 2.1 Jinshixue and Cultural Landscape in the Lower Yangtze River2.2 Illustrated Records of Investigating Steles 2.3 The Stele School and Re-evaluation of Bafenshu 2.4 A Revival of Pre-Tang Scripts and its Impact on Art Part Three: Rubbing into Painting: Transmedia Appropriation of New Scholarly Painting 3.1 New Look of Collectors' Accumulated Antiquities 3.2 Dashou and Composite Rubbing 3.3 Intertextual and Transmedia Approaches 3.4 From Evidential Learning to Festive Offering 3.5 Prelude to Jinshi Art Part Four: From Deification to Quotidian: Jinshiqi and the Four Accomplishments 4.1 Dimension of Mobility in Wartime 4.2 Life of Jinshi Objects after the Taiping Rebellions 4.3 Antiquarian Approaches to Seal Carving 4.4 New Brush Mode Derived from Northern Wei Calligraphy 4.5 Jinshi Characteristics in Painting 4.6 Archaeological Elements in Commercial Art and Popular CulturePart Five: Nature as Culture: Historicizing of Antiquity and Translated Modernity5.1 Evidential Learning and the Culture of Investigating Nature: From Bogu to Bowu5.2 Tradition of Miscellaneous Painting5.3 Illustrations of Local Resources5.4 Natural History Paintings Made in China5.5 Historification of Translated Modernity5.6 Translating Bowu into National EssencePart Six: Cultural Orthodoxy in the New Nation: A Political Use of Jinshi6.1 Another Role of Jinshi Society: Shanghai Tijinguan Epigraphy, Calligraphy and Painting Society (1911-26)6.2 Defining Literati Painting Through Jinshi: Society of the Virtuous (1912-42)6.3 Reclaiming Cultural Identity: Society of Cang Jie Study (1916-c. 1941)6.4 Jinshi Society as Museum or Art Market?6.5 Political Use of Jinshi: Re-writing History with Archaic ModelsConclusion: Multiplicity and ModernityNotesSelect Bibliography Index

Recenzii

Appropriating Antiquity for Modern Chinese Art is full of new information and important discussions that should have been properly investigated a long time ago. The author takes the readers on a journey into the rich world of jinshi painting which is set within a complicated international network as well as an intricate historical context. It is a must-read for those of us who study the art and history of China at the turn of the 20th century.
Appropriating Antiquity examines a wealth of new materials, showing how the fervent study of inscriptions on bronze and stone led to a re-evaluation of the history of Chinese calligraphy that also impacted on 19th and early 20th-century Chinese painting.
Appropriating Antiquity for Modern Chinese Painting is an outstanding achievement in elucidating the transmediality and transcultural aspects of antiquarianism. Chia-Ling Yang, with her solid research and penetrating analysis of primary sources, brings to life key figures whose high-minded goals carried them through periods of turmoil.
By exploring the phenomenon of epigraphic studies at the end of the Qing dynasty and its impact on the visual arts, Yang Chia-ling offers a transdisciplinary cultural history that refocuses our vision of Chinese modernity on the relationship of the Chinese elites to the written sign and to its origins.
A formidable effort of research, Appropriating Antiquity is an essential contribution for the understanding of Chinese art and culture, as it clearly exposes the mechanisms through which Evidential Learning influenced scholarly artistic practice and production in the 19th century. By examining many primary sources, it offers a clear picture of the cultural context of scholarly circles and reveals the inner feelings of the intellectuals.