A Companion to Chinese Art by Martin J. Powers, Katherine R. Tsiang

By Martin J. Powers, Katherine R. Tsiang

Exploring the heritage of artwork in China from its earliest incarnations to the current day, this complete quantity contains dozen newly-commissioned essays spanning the theories, genres, and media significant to chinese language paintings and idea all through its history.

  • Provides a great choice of essays selling a comparative realizing of China’s lengthy list of cultural production
  • Brings jointly a world staff of students from East and West, whose contributions variety from an summary of pre-modern conception, to these exploring calligraphy, high-quality portray, sculpture, add-ons, and more
  • Articulates the course during which the sector of chinese language paintings heritage is relocating, in addition to offering a roadmap for historians drawn to comparative learn or theory
  • Proposes new and revisionist interpretations of the literati culture, which has lengthy been an enormous staple of chinese language paintings history
  • Offers a wealthy perception into China’s social and political associations, spiritual and cultural practices, and highbrow traditions, along chinese language paintings historical past, thought, and criticism

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Tsiang The chapters in this volume have been arranged topically rather than chronologically, grouped into five sections by general themes. The introduction by sections below INTRODUCTION 13 explains the range of material discussed, summarizes the perspectives of authors, and highlights some of the interrelations between the chapters. At the same time many chapters relate to studies in other sections and should also be explored in order to make full use of the material offered in this volume. Cross-references between chapters in the volume are indicated at the end of each chapter.

Culture and Postwar American Historiography of China. Positions, 1(2): 486–525. Feuerwerker, A. (1985). Review of Discovering History in China: American Historical Writing on the Recent Chinese Past by Paul A. Cohen. The Journal of Asian Studies, 44(3): 579–580. Frank, A. G. (1998). ReOrient: Global Economy in the Asian Age. Berkeley: University of California Press. Frederickson, G. (1997). The Comparative Imagination: On the History of Racism, Nationalism, and Social Movements. Berkeley: University of California Press.

Furthermore, works of art surviving from the Song and Yuan periods suggest that expressive approaches coexisted with traditional life-like representation using fine and detailed brushwork, and that they were produced by some of the same artists. From the early second millennium onward poems accompanied many Chinese paintings, either written on them or written on pieces of paper and silk that were mounted together with the paintings. ” She INTRODUCTION 23 elaborates on the literary quality of Chinese painting, showing that paintings classified as xieyi “idea-writing” were viewed as resonant with poetic ideas and valued for their literary associations and implied meanings more than for descriptive accuracy.

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