
- 328 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Appropriating Antiquity for Modern Chinese Painting
About this book
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.
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Information
Table of contents
- Cover
- Half-Title Page
- Dedication
- Title Page
- Contents
- List of Illustrations
- Acknowledgements
- 1 Introduction: Jinshi in Modern Context
- 2 From Evidential Learning to Antiquarian Art
- 3 Rubbing into Painting: Transmedia Appropriation of New Scholarly Painting
- 4 From Deification to Quotidian: Jinshiqi and the Four Accomplishments
- 5 Nature as Culture: Historicizing of Antiquity and Translated Modernity
- 6 Cultural Orthodoxy in the New Nation: A Political Use of Jinshi
- 7 Conclusion: Multiplicity and Modernity
- Notes
- Select Bibliography
- Index and Glossary
- Plates
- Copyright