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“The meeting of Eastern and Western art from the sixteenth century to the present day” (Publication, 1973)

Year

1973

Text

Sullivan, Michael. The meeting of Eastern and Western art from the sixteenth century to the present day. (London : Thames and Hudson, 1973). [Rev. and expanded ed. (Berkeley, Calif. : University of California Press, 1989)].
https://archive.org/details/bub_gb_PMFwC1gP0BkC.
[Enthält] :
Some important dates in Far Eastern history since 1500.
Japan: the first phase, c.1550-1850.
China and European art, 1600-1800.
Europe and Chinese art, 1600-1800.
Japan: from the Meiji restoration of 1869 to the present day.
The revolution in Chinese art.
Europe and America: from 1850 to the present day.
Some reflections on the East-West dialogue. (Sul6)

Type

Publication

Contributors (1)

Sullivan, Michael  (Toronto 1916-2013) : Fellow St. Catherine's College Oxford, Professor of Oriental Art Stanford University, Slade Professor of Fine Art University of Oxford, Christensen Professor of Oriental Art Stanford University

Subjects

Sinology and Asian Studies : Europe : Great Britain / Sinology and Asian Studies : United States of America

Chronology Entries (22)

# Year Text Linked Data
1 1596-1598 Einige chinesische Porträts kommen in Holland an.
2 1600-1602 Die Niederländer kapern 1600 und 1602 zwei portugesiesche Segelschiffe mit chinesischer Keramik und verkaufen sie in Amsterdam.
3 1676 Wu Li schreibt über die Malerei China-Westen :
"One of the names of Macao is Haojing. Reaching Macao and not having traveled far, there is the wind of Great West [Portugal] and Little West [Goa]. The ritual, culture, custom and trend, when being compared with my home [culture], are like walking backwards or being back to back. For example, when meeting with a visitor, we must tidy our clothes and hat to the best form while people of this land remove their hats. If we talk about writing and painting, it is the same. Our characters are formed by the gathering of dots and strokes, then the sounds come afterwards. Theirs begin with phonetics, then words, which are hooks like and are arranged in horizontal rows. Our paintings do not seek formal likeness or depend on fixed patterns, which are called divinely untrammeled. Their paintings demonstrate great effort in portraying light and shade, front and back, physical likeness and fixed patterns. Shifting to signatures, we inscribe ours at the top while they sign theirs at the bottom. Their use of the brush is also different. Such differences are too many to be listed in full."
4 1696 Temple, William. Upon heroick virtue. [Of heroic virtue] [ID D26756].
Er schreibt : "Among us, the beauty of building and planting is placed chiefly in some certain proportions, symmetries, or uniformities; our walks and our trees ranged so as to answer one another, and at exact distances. The Chinese scorn this way of planting, and say, a boy that can tell a hundred, may plant walks of trees in straight lines, and over against one another, and to what length and extent he pleases. But their greatest reach of imagination is employed in contriving figures, where the beauty shall be great, and strike the eye, but without any order or disposition of parts that shall be commonly or easily observed: and though we have hardly any notion of this sort of beauty, yet they have a particular word to express it, and, where they find it hit the eye at first sight, they say the sharadge is fine and admirable, or any such expression ot esteem. And whoever observes the work upon the best Indian gowns, or the painting upon their best screens or porcelains, will find their beauty is all of this kind (that is) without order."
Yang Chi-ming : It is through his continued critique of Western modernity's copies that Temple in Of heroic virtue raises China to a 'native excellency of temper or gnius, transcending the common race of mankind in wisdom, goodness, and fortitude. Temple chooses to proceed by the 'effects and examples' of overlooked empire located in the 'remote regions of the worrld', with Confucius / China as the primary example, the furthest eastern extreme.
  • Document: Yang, Chi-ming [Yang, Jiming]. Virtue's vogues : Eastern authenticity and the commodification of Chinese-ness on the 18th-century stage. In : Comparative literature studies ; vol. 39, no 4 (2002). (YangC1, Publication)
  • Person: Temple, William
5 1700 Giovanni Gherardini kommt in Beijing an und malt die Fresken der neuen jesuitischen Kathedrale.
  • Person: Gherardini, Giovanni Battista
6 1708-1716 Antoine Watteau bemalt das Kabinett des französichen Königs mit Chinoiserien im Château de la Muette.
  • Document: Internet (Wichtige Adressen werden separat aufgeführt) (Int, Web)
  • Person: Watteau, Antoine
7 1740 Zou, Yigui. Xiao shan hua pu.
Er schreibt : "The Westerners are skilled in geometry, and consequently there is not the slightest mistake in their way of rendering light and shade and distance. In their paintings all the figures, buildings, and trees cast shadows, and their brush and colours are entirely different from those of Chinese painters. Their views (scenery) stretch out from broad (in the foreground) to narrow (in the background) and are defined (mathematically measured). When they paint houses on a wall people are tempted to walk into them. Students of painting may well take over one or two points from them to make their own paintings more attractive to the eye. But these painters have no brush-manner whatsoever ; although they possesss skill, they are simply artisans and cannot consequently be classified as painters."
  • Document: Internet (Wichtige Adressen werden separat aufgeführt) (Int, Web)
  • Person: Zou, Yigui
8 1906 Eröffnung des ersten Departements für westliche Kunst in der Jiangsu Jiangxi Normal School in Nanjing.
9 1909 Ausstellung Japan und Ostasien in der Kunst = Japan and East Asia in Art in München.
10 1911 Eröffnung des ersten Departements für westliche Kunst in der Beijing Universität.
11 1912 Liu Haisu, Wu Shiguang und Zhang Yunguang gründen die Shanghai Academy of Chinese Painting in der konventionelle Malerei im westlichen Stil um 1920-1930 gelehrt wird.
12 1917-1923 Paul Klee is reading Chinese poetry. En 1917 he is writing to his wife : J'ai le temps de lire beaucoup, et je deviens de plus en plus chinois'.
At this time he painted a series of marvellous landscapes in which the trees and mountains seem, like thouse in a Chinese painting, to stand for some archetypal forms.
13 1923 Mark Tobey trifft den chinesischen Maler Deng Kui, der ihn in die Technik der chinesischen Kalligraphie einführt.
14 1925 [Bushell, Stephen W.]. Zhongguo mei shu [ID D38533].
Dai Yue schreibt : "Artists should turn to Western art because the native tradition had three major defects : it only used generalized type-forms, its imagery bore no relation to today's world and its techniques were irrational and unscientific."
15 1928 Pang Xunqing gründet nach seiner Heimkehr von Paris mit Freunden die Société des deux mondes.
16 1933 Zhou Ling gründet die Association des artistes chinois en France in Paris.
17 1934 Mark Tobey reist nach China und trifft sich mit chinesischen Maler Deng Kui in Shanghai. Anschliessend verbringt er einen Monat in einem Zen-Kloster in Japan um Kalligrapie zu üben.
18 1948 Zao Wou-ki kommt in Paris an.
Henri Michaux a rencontré Zao Wou-ki peu après son arrivé à Paris. Pendant des années, ils se voient presque tous les jours.
His first loves had been Paul Cézanne and Henri Matisse and for a while his workis was strongly influence by Paul Klee. Then he was moving towards abstraction.
  • Document: Liu, Yang. Henri Michaux et la Chine. (Paris : Ed. Le manuscrit, 2006). (Diss.) S. 62. (MichH1, Publication)
  • Person: Michaux, Henri
  • Person: Zao, Wou-ki
19 1953 Ausstellung der Werke von Zhang Daqian im Musée nationale d’art moderne Paris. Er trifft Pablo Picasso und die beiden tauschen Bilder.
20 1957 Mark Tobey experimented briefly with pure calligraphic ink gestures.
Er schreibt [Datum unbekannt] :
"Some critics have criticized me for being what they called an Orientalist and for using Oriental models for my work. But they were wrong. Because when I was struggling in Japan and China with Sumi-ink and the brush, trying to understand the calligraphy of the Far-East, I became aware that I would never be anything other than the Westerner that I am. But what did develop there was what I call the calligraphic impulse that has opened out new horizons for my work. Now I could paint the turmoil and tumult of the great cities, the intertwining of the lights and the streams of people caught up in the mesh of their net."
21 1979 Die Zeitschrift Mei shu publiziert zwei Hefte über Auguste Rodin.
22 1983 Ausstellung der National Art Gallery in Beijing. Zum ersten Mal werden in China Original-Werke von Pablo Picasso ausgestellt.

Sources (1)

# Year Bibliographical Data Type / Abbreviation Linked Data
1 1962-1963 Loehr, George. Missionary artists at the Manchu court. In : Transactions of the Oriental Ceramic Society ; vol. 34 (1962-1963). Publication / Loehr1