Transmedial Landscapes And Modern Chinese Painting
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Transmedial Landscapes and Modern Chinese Painting by Juliane Noth Pdf
Juliane Noth shows how art and discussions about the future of ink painting were linked to the reshaping of the country, leading to the creation of a uniquely modern Chinese landscape imagery. Noth offers a new understanding of these experiments by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting by Juliane Noth Pdf
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world. Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
Chinese Ways of Seeing and Open-Air Painting by Yi Gu Pdf
"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there."
Transforming Traditions in Modern Chinese Painting by Jason C. Kuo Pdf
Modern Chinese painting embodies the constant renewal and reinvigorations of Chinese civilization amidst rebellions, reforms, and revolutions, even if the process may appear confusing and bewildering. It also demonstrates the persistence of tradition and limits of continuities and changes in modern Chinese cluture. Most significantly, it compels us to ask several important questions in the study of modern Chinese culture: How extensively can cultural tradition be re-interpreted before it is subverted? At what point is creative re-invention an act of betrayal of tradition? How has selective borrowing from Chinese tradition and foreign cultrue enabled modern Chinese artists to sustain themselves in the modern world? By focusing on the art of Huang Pin-hung (1865-1955), particularly his late work, this book attempts to provide some answers to these questions.
Author : James Elkins Publisher : Hong Kong University Press Page : 208 pages File Size : 45,7 Mb Release : 2010-06-01 Category : Art ISBN : 9789622090002
Chinese Landscape Painting as Western Art History by James Elkins Pdf
This is a provocative essay of reflections on traditional mainstream scholarship on Chinese art as done by towering figures in the field such as James Cahill and Wen Fong. James Elkins offers an engaging and accessible survey of his personal journey encountering and interpreting Chinese art through Western scholars' writings. He argues that the search for optimal comparisons is itself a modern, Western interest, and that art history as a discipline is inherently Western in several identifiable senses. Although he concentrates on art history in this book, and on Chinese painting in particular, these issues bear implications for Sinology in general, and for wider questions about humanistic inquiry and historical writing. Jennifer Purtle's Foreword provides a useful counterpoint from the perspective of a Chinese art specialist, anticipating and responding to other specialists’ likely reactions to Elkins's hypotheses.
Author : Josh Yiu,Seattle Asian Art Museum Publisher : University of Washington Press Page : 148 pages File Size : 51,5 Mb Release : 2009 Category : Art ISBN : UOM:39015080889077
Writing Modern Chinese Art by Josh Yiu,Seattle Asian Art Museum Pdf
The complexity and confusion of styles and intentions are true characteristics of modern Chinese art. Just as the definition of "modernity" was subjected to reinterpretations at various points in China's recent history, current notions of the canon are likewise subjected to change. This book -- consisting of ten articles by art historians, artist, historian, and curator -- explores the developments of Chinese art in the 20th century, applying critical theories to question and reinterpret concepts that are normally taken for granted. Their writings also reveal the thought processes in which the authors filtered what they considered to be important information, especially regarding people, events, dates, and artworks. As such, the topic of each article is, in itself, a result of judicious selection. This volume demonstrates how modern Chinese art history has been -- and can be -- written.
Longing for Nature: Reading Landscapes in Chinese Art by Kim Karlsson,Alfreda Murck,Ching-Ling Wang Pdf
The secret language of Chinese landscape painting A genre dating back more than 1,000 years, China's landscape painting tradition reflects all of its cultural and intellectual history, and its representational language famously follows its own rules. What at first glance seem to be idyllic ink-wash pictures actually depict far more than romantic landscapes. Through subtle allusions and references, Chinese landscape painters were able to convey a whole range of messages, from social positions to political opposition, all the way to philosophical observations and very personal feelings. This splendid illustrated volume unlocks these codes and juxtaposes important historical works with landscape paintings by internationally renowned modern and contemporary artists. The dialogue between past and present reveals surprising links, but also ruptures and conflicts.
Reading art from a semiotic perspective, this book offers a new interpretation of the development of Chinese landscape painting and outlines a new framework for contemporary semiotics and critical theory. It will appeal to those interested in visual art, Chinese studies, critical theory, semiotics, and other relevant fields, and will allow the reader to learn how to put theory into the practice of studying art, how to give new life to an important theory, and how to acquire a new point of view in appreciating and enjoying art with a certain critical theory.
Chinese Landscape Painting Techniques for Watercolor by Lian Quan Zhen Pdf
Minimum stroke - maximum effect Learn how to make each brushstroke count when painting classically beautiful landscapes using a combination of traditional and modern watercolor techniques. Master artist and teacher Lian Quan Zhen shows how to blend Eastern and Western art theories, materials and techniques to create landscapes with graceful simplicity. Chinese Landscape Painting Techniques for Watercolor includes 27 start-to-finish demonstrations, which show how to capture the spirit and mood of the landscape in all types of weather and in all four seasons. It also features a wide variety of landscape subjects from America and around the world.
Author : Li Huayi,Michael Knight Publisher : Asian Art Museum of San Francisco Page : 140 pages File Size : 42,8 Mb Release : 2004 Category : Art ISBN : UOM:39015062569101
Monumental Landscapes of Li Huayi by Li Huayi,Michael Knight Pdf
"'The work of twentieth-century Chinese women artists is now coming into focus,'" writes Asian Art Museum director Emily Sano in her preface to this book, "'illuminating many remarkable stories of talent, resiliance, and will.'" One of those stories is that of Fang Zhaoling. This catalogue of an exhibition of her paintings at the Asian Art Museum of San Francisco from October 1 to November 13, 2005, sheds needed light on her long career, during which she has consistently produced innovative work of charm and distinction. Fang Zhaoling was educated in the techniques of traditonal chinese painting. It is is a testament to her determination and her family's foresight that this was so, for such an eduction was uncommon for women of her generation. She continued throughout her life to form important associations and collaborations with leading Chinese painters, and she has played an integral role in the history of modern Chinese painting."
Appropriating Antiquity for Modern Chinese Painting by Chia-Ling Yang Pdf
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.
