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| Author | : Michael Sullivan |
| Publisher | : Univ of California Press |
| Total Pages | : 372 |
| Release | : 1962 |
| Genre | : Landscape painting, Chinese |
| ISBN | : |
| Author | : Michael Sullivan |
| Publisher | : Univ of California Press |
| Total Pages | : 330 |
| Release | : 1962-01-01 |
| Genre | : Art |
| ISBN | : 9780520035584 |
Vol. 2 has title: Chinese landscape painting.
| Author | : Richard M. Barnhart |
| Publisher | : Yale University Press |
| Total Pages | : 422 |
| Release | : 1997-01-01 |
| Genre | : Art |
| ISBN | : 0300094477 |
Written by a team of eminent international scholars, this book is the first to recount the history of Chinese painting over a span of some 3000 years.
| Author | : Kim Karlsson |
| Publisher | : Hatje Cantz Verlag |
| Total Pages | : 256 |
| Release | : 2020 |
| Genre | : Art, Chinese |
| ISBN | : 9783775746700 |
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.
| Author | : Juliane Noth |
| Publisher | : BRILL |
| Total Pages | : 388 |
| Release | : 2023-11-20 |
| Genre | : Art |
| ISBN | : 1684176603 |
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.
| Author | : James Elkins |
| Publisher | : Hong Kong University Press |
| Total Pages | : 208 |
| Release | : 2010-06-01 |
| Genre | : Art |
| ISBN | : 9622090001 |
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 | : Maxwell K. Hearn |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 185 |
| Release | : 2008 |
| Genre | : Art |
| ISBN | : 1588392813 |
"Together the text and illustrations gradually reveal many of the major themes and characteristics of Chinese painting. To "read" these works is to enter a dialogue with the past. Slowly perusing a scroll or album, one shares an intimate experience that has been repeated over the centuries. And it is through such readings that meaning is gradually revealed."--BOOK JACKET.
| Author | : Lian Duan |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 304 |
| Release | : 2018-12-02 |
| Genre | : Architecture |
| ISBN | : 1527522784 |
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.
| Author | : Michael Sullivan |
| Publisher | : Univ of California Press |
| Total Pages | : 372 |
| Release | : 1962 |
| Genre | : Landscape painting, Chinese |
| ISBN | : |
| Author | : Yi Gu |
| Publisher | : BRILL |
| Total Pages | : 336 |
| Release | : 2021-02-01 |
| Genre | : Art |
| ISBN | : 1684176131 |
"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."
