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“The reception of Chinese art across cultures” (Publication, 2014)

Year

2014

Text

The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014).
[Enthält] :
Part I: Blending Chinese and Foreign Cultures
Chapter One ................................................................................................. 2
Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura
Aaron M. Rio
Chapter Two .............................................................................................. 23
Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting
Maria Kar-wing Mok
Chapter Three ............................................................................................ 44
"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945
Clare Taylor
Chapter Four .............................................................................................. 65
"Chinese" Paintings by Zdenek Sklenar
Lucie Olivova
Part II: Envisioning Chinese Landscape Art
Chapter Five .............................................................................................. 88
Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting
Michelle Ying-ling Huang
Chapter Six .............................................................................................. 115
In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art
Minna Törmä
Chapter Seven .......................................................................................... 130
The Return of the Silent Traveller
Mark Haywood
Part III: Conceptualising Chinese Art through Display
Chapter Eight ........................................................................................... 154
Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture
Lenore Metrick-Chen
Chapter Nine ........................................................................................... 179
Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador
Michaela Pejcochova
Chapter Ten ............................................................................................. 200
The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America
Noelle Giuffrida
Part IV: Positioning Contemporary
Chinese Artists in the Globe
Chapter Eleven ........................................................................................ 228
Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities
Diana Yeh
Chapter Twelve ....................................................................................... 255
The Reception of Xing Danwen’s Lens-based Art Across Cultures
Silvia Fok
Chapter Thirteen ...................................................................................... 278
Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions
Elizabeth Kim (Huang1)

Type

Publication

Contributors (1)

Huang, Michelle Ying-ling  (um 2014) : Assistant Professor, Department of Visual Studies, Lingnan University, Hong Kong.

Subjects

Art : General / References / Sources

Chronology Entries (24)

# Year Text Linked Data
1 1823 Waln, Robert. Painters of Canton.
"Chinese painters offend against every rule of perspective, which, with the effects produced by the proper disposition of light and shade, they affect to consider unnatural. Always taking a horizontal view of their subject, they place themselves alternately in front of the objects, whatever may be their position or extent ; thus, in their paintings, houses are placed one on top of another, and the method which they have imagined to express objects at a distance, is to represent clouds intersecting tress, buildings and men. They absurdly contend that it is proper to represent the objects in the back, of the same size as those in the fore ground, because they are so in nature."
2 1840-1870 Studio of Tingqua : Studio in Guangzhou of one of the most celebrated Chinese export artists.
3 1855 Semedo, Alvaro ; Martini, Martino. Bellum tartaricum. [ID D17593].
Semedo schreibt : "In painting the Chinese have more curiosities, than perfection. They know not how to make use of either oyles [oils], or shadowing in this art, and do therefore paint the figures of men without any grace at all."
4 1859 Chinese artists : from a sketch by our special artist in China. In : The illustrated London news ; 30 April 1859.
Showing a Studio in Hong Kong where artists were making copies and enlargements of Western portraits from daguerreotypes.
5 1903 Laurence Binyon beginnt chinesische Malerei zu studieren.
6 1910 Queen Anne bedroom in Beaudesert, Staffordshire, decorated by Captain Harry Lindsay, using eighteenth-century Chinese wallpapers showing scenes of daily life.
7 1929 Liu Haisu reist nach Paris und trifft Fu Lei und andere chinesische Künstler. Er ist Mitbegründer der Society of Chinese Artists in France = Zhong hua liu Fa yi shu xie hui.
8 1934 Ausstellung mit Liu Haisu, Henri Matisse und Pablo Picasso in Paris. Vi Kyuin Wellington Koo nimmt daran teil.
9 1935 Osvald Sirén reist das letzte Mal in China und sammelt Werke über chinesische Malerei.
10 1935 Exhibition of contemporary Chinese painting durch das Oriental Institute in Prag, Tschechoslowakei. Eröffnung durch Liang Lone.
11 1946 Exhibition of modern Chinese watercolours, British Council, London mit Xu Beihong, Zhang Daqian und Huang Junbi.
12 1948 Sirén, Osvald. Chinese influences of European gardens of the 18th century. Drei Vorträge im Courtauld Institute on Art in London.
13 1954 Ernst Aschwin zur Lippe-Biesterfeld reist nach Taiwan um Bilder für die Ausstellung Chinese art treasures in Washington D.C. auszuwählen.
  • Person: Lippe-Biesterfeld, Aschwin
14 1955 Ausstellung Ten years of socialist construction in Czechoslovakia in Beijing. Zdenek Sklenar reist an die Ausstellung und trifft Ai Qing, Li Keran und Guo Moruo.
The journey gave him a taste of Chinese art and lifestyle. His "Chinese" paintings represent over one-third of all his oil paintings : Chinese landscape, theatre, ornaments etc. He kept a diary with notes and sketched visual impressions.
15 1956-1961 Zdenek Sklenar malt "chinesische" Bilder und chinesische Zeichen und illustriert Übersetzungen von Bo Juyi, Guo Moruo, Feng Menglong, Wu Cheng’en ins Tschechische.
16 1957 Max Loehr reist nach Taiwan um über Song Malerei zu forschen.
17 1959 Exhibition "China in the works of the Czechoslovak artists" in Prag.
18 1961 Chinese art treasures : exhibition National Gallery of Art, Washington D.C. Exhibition of works from National Palace Museum Taiwan.
19 1967 Zdenek Sklenar illustriert die Übersetzung von Cantos of old China.
20 1994 Xing Danwen's schwarz-weiss Photos aus Tibet und Datong erscheinen in Photo news ; Febr. (1994).
21 1994 Ausstellung der Photographien von Xing Danwen in der Grauwert Gallerie Hamburg.
22 1995 Photographien von Xing Danwen erscheinen im Geo international magazine ; July (1995).
23 1998-2001 Xing Danwen studiert an der School of Visual Arts New York, N.Y.
24 2004-2005 Exhibition Between past and future : new photography and video from China im Victoria and Albert Museum, London.

Sources (2)

# Year Bibliographical Data Type / Abbreviation Linked Data
1 1913 Binyon, Laurence. Ideas of design in East and West. In : Atlantic monthly ; Nov. (1913). Publication / Biny5
2 1916 Binyon, Laurence. Ma Yüan’s landscape roll. (New York, N.Y. DeVinne Press, 1916). Publication / Biny6

Cited by (1)

# Year Bibliographical Data Type / Abbreviation Linked Data
1 2007- Worldcat/OCLC Web / WC