Chinese Art and Its Encounter with the World

Chinese Art and Its Encounter with the World

David Clarke
Copyright Date: 2011
Pages: 272
https://www.jstor.org/stable/j.ctt1xwbdj
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  • Book Info
    Chinese Art and Its Encounter with the World
    Book Description:

    This book examines Chinese art from the mid-eighteenth century to the present, beginning with discussion of a Chinese portrait modeler from Canton who traveled to London in 1769, and ending with an analysis of art and visual culture in post-colonial Hong Kong. By means of a series of six closely-focused case studies, often deliberately introducing non-canonical or previously marginalized aspects of Chinese visual culture, it analyzes Chinese art’s encounter with the broader world, and in particular with the West. Offering more than a simple charting of influences, it uncovers a pattern of richly mutual interchange between Chinese art and its others. Arguing that we cannot fully understand modern Chinese art without taking this expanded global context into account, it attempts to break down barriers between areas of art history which have hitherto largely been treated within separate and often nationally-conceived frames. Aware that issues of cultural difference need to be addressed by art historians as much as by artists, it represents a pioneering attempt to produce an art historical writing which is truly global in approach. It hopes to appeal both to those with a special interest in modern Chinese art and those who are only now becoming aware of this fascinating but previously under-explored field.

    eISBN: 978-988-8053-84-1
    Subjects: Art & Art History

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Acknowledgements
    (pp. ix-x)
  4. Introduction
    (pp. 1-12)

    In recent years Chinese contemporary art has received extensive exposure in the international art arena. The rise of China on the world stage, following the economic liberalization and opening-up of the Deng Xiaoping era, has been one obvious major factor behind this transformation. As the People’s Republic becomes increasingly integrated within the global capitalist economy it is natural that individually-made, high-end cultural products from that country should enter the international marketplace alongside the many mass-produced commodities which originate there. Without giving in to an economistic reductionism we can allow that cultural power tends to follow shifts in economic and political...

  5. Part I Trajectories:: Chinese artists and the West
    • 1 Chitqua: A Chinese artist in eighteenth-century London
      (pp. 15-84)

      Until recently, accounts of Chinese art have tended to give an undue prominence to the artistic taste of the scholar-gentleman elite, which valorized amateur production and private circulation, and emphasized qualities of rhythmic vitality and expressivity in brushwork. An internalization of literati values by art historians meant that less attention was paid to art produced by professional image-makers in contexts where the market was the intermediary, where accuracy of description may have been a criterion in play, and where working directly from a model may have been a practice. A certain cultural essentialism has also been a consequence of allowing...

    • 2 Cross-cultural dialogue and artistic innovation: Teng Baiye and Mark Tobey
      (pp. 85-112)

      When American painter Mark Tobey (1890–1976) discussed his artistic development, he emphasized the importance of his study of Chinese brushwork, undertaken in Seattle with a Chinese friend, in liberating him from bondage to the Renaissance heritage and permitting him to discover the dynamic linearity which became the hallmark of his style. Despite the willingness of this prominent American artist to acknowledge an artistic debt, that Chinese artist has remained little more than a name in the English-language art historical record. Indeed, because it was romanized in a variety of ways during his time in America, even that artist’s name...

  6. Part II Imported genres
    • 3 Iconicity and indexicality: The body in Chinese art
      (pp. 115-132)

      In this chapter I consider the place of the body in Chinese art.¹ I begin by identifying in a somewhat schematic way various defining characteristics of literati painting and calligraphy, the art of the social elite in pre-modern China.² I then consider, with greater historical focus, the moment when a distinctly modern visual culture, drawing self-consciously on Western sources, appears in China. I see this latter art as modern in a way that is specific to the Chinese cultural context — it directly counters certain key qualities of the dominant inherited tradition, particularly through its emphasis on the represented female body,...

    • 4 Abstraction and modern Chinese art
      (pp. 133-164)

      Linear stories of modern art’s development have characteristically been formalistic ones, and although such narratives have not always treated abstraction as essential to artistic progress, they have generally given art that is abstract a central role to play. In particular, abstract art proved crucial to narratives that construct postwar American modernism as the inheritor of earlier twentieth-century European modernism, that serve to ratify American artistic hegemony. Such formalistic understandings are widely questioned today, and more meaning-centred and contextual approaches to art have allowed both a new appreciation of non-abstract art of the modern era and readings of ‘abstract’ works of...

  7. Part III Returning home:: Cites between China and the world
    • 5 Illuminating facades: Looking at postcolonial Macau
      (pp. 167-188)

      First settled by the Portuguese in 1557, Macau’s position at the mouth of China’s Pearl River enabled it to play a significant role in the early development of trading and other links between East Asia and Europe. Its pivotal role was already threatened by the eighteenth century, however, following the Japanese prohibition on foreign trade, and after the establishment of the British colony of Hong Kong in the mid-nineteenth century it was to become of even less significance in global terms. In the last line of his poem ‘Macao’ of December 1938 W. H. Auden was only echoing received opinion...

    • 6 The haunted city: Hong Kong and its urban others in the postcolonial era
      (pp. 189-212)

      When we travel to other cities as the result of personal desire — for example, in our identity as tourists — we are driven to a significant extent by the place that city has in our imaginative life. Towards the beginning of Proust’s monumental work In Search of Lost Time the narrator’s young self looks forward in anticipation to a family visit to a town called Balbec on the French Atlantic coast (actually a fictionalization of the actual location Cabourg), and like that fictional character our notion of a place and its attractiveness can be fuelled by textual and visual images of...

  8. Notes
    (pp. 213-252)
  9. Index
    (pp. 253-260)