A Companion to Chinese Art (eBook)

Martin J. Powers, Katherine R. Tsiang (Herausgeber)

eBook Download: EPUB

2015
John Wiley & Sons (Verlag)
978-1-118-88520-8 (ISBN)

Infos

Exploring the history of art in China from its earliest incarnations to the present day, this comprehensive volume includes two dozen newly-commissioned essays spanning the theories, genres, and media central to Chinese art and theory throughout its history.

• Provides an exceptional collection of essays promoting a comparative understanding of China's long record of cultural production
• Brings together an international team of scholars from East and West, whose contributions range from an overview of pre-modern theory, to those exploring calligraphy, fine painting, sculpture, accessories, and more
• Articulates the direction in which the field of Chinese art history is moving, as well as providing a roadmap for historians interested in comparative study or theory
• Proposes new and revisionist interpretations of the literati tradition, which has long been an important staple of Chinese art history
• Offers a rich insight into China's social and political institutions, religious and cultural practices, and intellectual traditions, alongside Chinese art history, theory, and criticism

Martin J. Powers is Sally Michelson Davidson Professor of Chinese Arts and Cultures at the University of Michigan, USA, and former director of the Center for Chinese Studies. His publications Art and Political Expression in Early China (1991) and Pattern and Person: Ornament, Society, and Self in Classical China (2006) have both received the Levenson Prize for the best books in pre-twentieth century Chinese Studies.
Katherine R. Tsiang is Associate Director of the Center for the Art of East Asia in the Department of Art History, University of Chicago, USA, where she coordinates research materials and programs. Her research is concentrated in the fields of Chinese Buddhist art and Chinese medieval art and visual culture. Her work includes using new technology for digital imaging and reconstruction of Chinese Buddhist caves and she is curator and author of the catalog of the exhibition 'Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan' (2010).

Inhalt

List of Figures xi

Notes on Contributors xv

Introduction 1
Martin J. Powers and Katherine R. Tsiang

Part I Production and Distribution 27

1 Court Painting 29
Patricia Ebrey

2 The Culture of Art Collecting in Imperial China 47
Scarlett Jang

3 Art, Print, and Cultural Discourse in Early Modern China 73
J. P. Park

4 Art and Early Chinese Archaeological Materials 91
Xiaoneng Yang

Part II Representation and Reality 113

5 Figure Painting: Fragments of the Precious Mirror 115
Shane McCausland

6 The Language of Portraiture in China 136
Dora C. Y. Ching

7 Visualizing the Divine in Medieval China 158
Katherine R. Tsiang

8 Landscape 177
Peter C. Sturman

9 Concepts of Architectural Space in Historical Chinese Thought 195
Cary Y. Liu

10 Time in Early Chinese Art 212
Eugene Y. Wang

Part III Theories and Terms 233

11 The Art of "Ritual Artifacts" (Liqi): Discourse and Practice 235
Wu Hung

12 Classification, Canon, and Genre 254
Richard Vinograd

13 Conceptual and Qualitative Terms in Historical Perspective 277
Ronald Egan

14 Imitation and Originality, Theory and Practice 293
Ginger Cheng-chi Hs¨u

15 Calligraphy 312
Qianshen Bai

16 Emptiness-Substance: Xushi 329
Jason C. Kuo

Part IV Objects and Persons 349

17 Artistic Status and Social Agency 351
Martin J. Powers

18 Ornament in China 371
Jessica Rawson

19 Folding Fans and Early Modern Mirrors 392
Antonia Finnane

20 Garden Art 410
Xin Wu

21 Commercial Advertising Art in 1840-1940s "China" 431
Tani E. Barlow

Part V Word and Image 455

22 Words in Chinese Painting 457
Alfreda Murck

23 On the Origins of Literati Painting in the Song Dynasty 474
Jerome Silbergeld

24 Poetry and Pictorial Expression in Chinese Painting 499
Susan Bush

25 Popular Literature and Visual Culture in Early Modern China 517
Jianhua Chen

Index 535

Textauszug

Notes on Contributors

Qianshen Bai is Associate Professor of Zhejiang University, formerly at Boston University and author of Fu Shan's World: The Transformation of Chinese Calligraphy in the Seventeenth Century (2003) and is currently working on a book on Wu Dacheng, a government official, scholar, collector, and artist in the nineteenth century.

Tani E. Barlow is T. T. and W. F. Chao Professor at Rice University where she teaches in the History Department. Professor Barlow's research focus is Chinese women's history. Her study of early twentieth century Chinese vernacular sociology and commercial art, In the Event of Women, is forthcoming. She is founding senior editor of positions: asia critique.

Susan Bush is an Associate-in-Research at the Fairbank Center for Chinese Studies at Harvard University. Her publications include: The Chinese Literati on Painting: Su Shih (1037–1101) to Tung Ch'i-ch'ang (1555–1636) (2012), Early Chinese Texts on Painting compiled with Hsio-yen Shih (1985), and Theories of the Arts in China, co-edited with Christian Murck (1983).

Jianhua Chen received his PhD in Literature from Fudan University and Harvard University. He is currently Ziyuan Professor at the School of Humanities, Shanghai Jiao Tong University. His recent publications include books and articles on revolution and literary modernity, popular literature, print culture, and cinema in modern and contemporary China.

Dora C. Y. Ching is Associate Director of the P. Y. and Kinmay W. Tang Center for East Asian Art at Princeton University. She has co-edited numerous volumes on East Asian art and has published several articles on Chinese imperial portraiture. She is currently writing a book on the history of portraiture in China.

Patricia Ebrey is Professor of History at the University of Washington. A specialist on the Song period, she was awarded the 2010 Shimada Prize in East Asian art history for Accumulating Culture: The Collections of Emperor Huizong (2008). Earlier books include The Inner Quarters: Marriage and the Lives of Women in the Sung Period (1993) and The Cambridge Illustrated History of China (1996, 2010). She recently published Emperor Huizong (2014), bringing to completion a project that absorbed many years.

Ronald Egan is Professor of Chinese Poetry at Stanford University. He is the author of The Problem of Beauty: Aesthetic Thought and Pursuits in Northern Song Dynasty China (2006) and translator of Limited Views: Essays on Ideas and Letter by Qian Zhongshu (1998). His most recent project is The Burden of Female Talent: The Poet Li Qingzhao and Her History in China (forthcoming).

Antonia Finnane is Professor of History at the University of Melbourne, Australia. Her publications include Speaking of Yangzhou, A Chinese City, 1550–1850 (2004), winner of the 2006 Levenson Book Award for a work on pre-1900 China, and Changing Clothes in China: Fashion, History, Nation (2007).

Ginger Cheng-chi Hsü is Professor Emerita at the University of California, Riverside and the author of A Bushel of Pearls: Painting for Sale in Eighteenth-Century Yangchow (2001). She received her PhD from the University of California, Berkeley, with recent work focusing on art and travel in the Qing dynasty.

Scarlett Jang is Professor of Art History at Williams College. Her research and publications include topics such as high-level official patronage of painting in imperial China, the Ming imperial court's publishing enterprise, illustrated, woodblock-printed popular books of the Ming dynasty, and art, politics and palace eunuchs in Ming China.

Jason C. Kuo is Professor of Art History and Archaeology, University of Maryland, College Park where he is also a member of the Graduate Field Committee on Film Studies. He has published monographs on Wang Yuanqi, Hongren, Huang Binhong Chen Qikuan, and Gao Xingjian. His most recent books include Contemporary Chinese Art and Film: Theory Applied and Resisted (editor, 2013) and The Inner Landscape: The Paintings of Gao Xingjian (2013).

Cary Y. Liu is Curator of Asian Art, Princeton University Art Museum. A specialist in Chinese architectural history and art history, he has MArch and PhD degrees from Princeton University, and is a licensed architect. Exhibitions for which he has been curator include: Outside In: Chinese × American × Contemporary Art (2009), Recarving China's Past: Art, Archaeology, and Architecture of the “Wu Family Shrines” (2005), and The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection (1999). Among his publications are contributions to Art of the Sung and Yüan: Ritual, Ethnicity, and Style in Painting (1999), and the journals Hong Kong University Museum Journal, Oriental Art, Orientations, and T'oung Pao. He has also published the essay “Chinese Architectural Aesthetics: Patterns of Living and Being between Past and Present,” in Ronald G. Knapp and Kai-yin Lo (eds.), House, Home, Family: Living and Being Chinese (2005); and most recently “Archive of Power: The Qing Dynasty Imperial Garden-Palace at Rehe” in the Taida Journal (March 2010).

Shane McCausland is Percival David Professor of the History of Art at SOAS, University of London. He has published books, edited volumes and articles, and organized exhibitions on many aspects of Chinese and Japanese art, including most recently The Mongol Century: Visual Cultures of Yuan China, 1271–1368 (2014).

Alfreda Murck (Jiang Feide) is an authority on Chinese painting. She authored a book on how eleventh-century scholar-officials used poetry with painting to express dissent. She is collaborating with the Museum Rietberg, Zurich, on a 1968 turning point in the Cultural Revolution when Mao Zedong presented mangoes to workers.

J. P. Park teaches Asian Art History at the University of California, Riverside. He is the author of Art by the Book: Painting Manuals and Leisure Life in Late Ming China (2012) and Keeping It Real! Korean Artists in the Age of Multi-Media Representation (2012). He is currently working on the impact of early modern Chinese print media to Chosn Korea and Edo Japan.

Martin J. Powers is Sally Michelson Davidson Professor of Chinese Arts and Cultures at the University of Michigan, and former director of the Center for Chinese Studies. In 1993 his Art and Political Expression in Early China (1991), received the Levenson Prize for the best book in pre-twentieth century Chinese studies. His Pattern and Person: Ornament, Society, and Self in Classical China, was published by Harvard University Press East Asian Series in 2006 and was awarded the Levenson Prize for 2008. In 2009 he was resident at the Institute for Advanced Study in Princeton. He is currently writing a book on the role of “China” in the cultural politics of the English Enlightenment.

Jessica Rawson is Professor of Chinese Art and Archaeology at the University of Oxford. Her principal areas of research are the bronzes and jades of ancient China and ornament of all periods. Her current project focuses on China's relations with inner Asia as witnessed in material culture.

Jerome Silbergeld is the P. Y. and Kinmay W. Tang Professor of Chinese Art History at Princeton University and director of Princeton's Tang Center for East Asian Art. He has published more than seventy books, catalogs, articles, and book chapters on topics in traditional and contemporary Chinese painting, traditional architecture and gardens, cinema and photography.

Peter C. Sturman is Professor of Chinese Art History at the University of California, Santa Barbara. He is the author of Mi Fu: Style and the Art of Calligraphy in Northern Song China (1997) and primary editor of The Artful Recluse: Painting, Poetry, and Politics in Seventeenth-Century China (2012). He is currently writing a book on literati painting in the Song dynasty.

Katherine R. Tsiang is Associate Director of the Center for the Art of East Asia in the Department of Art History, University of Chicago. Her research has concentrated on art and visual culture of medieval China. She guest curated the exhibition Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan (2010).

Richard Vinograd is the Christensen Fund Professor in Asian Art in the Department of Art and Art History at Stanford University. He is the author of Boundaries of the Self: Chinese Portraits, 1600–1900 (1992) and co-author of Chinese Art & Culture (2001).

Eugene Y. Wang is Abby Aldrich Rockefeller Professor at Harvard. His research ranges from early to modern Chinese art. A Guggenheim Fellow (2005), his book Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China (2005) received the Sawamoto Nichijin Prize from Japan. His current research explores processes involving art and visualization.

Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor in Chinese Art History at the University of Chicago. He is the author and editors of more than 20 books and anthologies on traditional and contemporary Chinese art, including Monumentality...

Produkt-Details

• Erscheint lt. Verlag: 14.10.2015
• Reihe/Serie: Blackwell Companions to Art History
• Reihe/Serie: Blackwell Companions to Art History
• Reihe/Serie: Blackwell Companions to Art History
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Kunstgeschichte / Kunststile
• Themenwelt: Kunst / Musik / Theater ► Malerei / Plastik
• Themenwelt: Geisteswissenschaften ► Geschichte ► Allgemeine Geschichte
• Themenwelt: Sozialwissenschaften ► Soziologie
• Schlagworte: Anthropologie • Anthropologie / Asien, Pazifischer Raum • Anthropology • Art & Applied Arts • Art History & Criticism • Asian & Australasian History • Asian & Pacific Anthropology • Asien /Kultur, Künste • calligraphy, fine painting, sculpture, ceramics, landscape art, art theory, modern Chinese art, print culture, Buddhism, transculturation, brushwork, Chinese studies, folk art, lacquer, garden arts, calligraphic theory, visuality, visualization of the divine, early period commercial advertising, artistic agency, emptiness and substance, ritual art, ornament, art collecting, China’s social institutions, Chinese political institutions, religious practices, Chinese intellectual traditions, Tombs, ancestor wors • China • China /Kultur, Künste • China /Kultur, Künste • Geschichte • Geschichte / Asien u. Australasien • History • Kunstgeschichte • Kunstgeschichte u. -kritik • Kunst u. Angewandte Kunst
• ISBN-10: 1-118-88520-1 / 1118885201
• ISBN-13: 978-1-118-88520-8 / 9781118885208