Chinese ways of seeing and open-air painting:
How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape pai...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge (Massachusetts) ; London
Harvard University Asia Center
2020
|
| Schriftenreihe: | Harvard East Asian monographs
430 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there. |
| Beschreibung: | Includes bibliographical references (pages 275-303) and index |
| Beschreibung: | xv, 317 Seiten Illustrationen 26 cm |
| ISBN: | 9780674244450 9780674244443 |
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| 520 | 3 | |a How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there. | |
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Datensatz im Suchindex
| _version_ | 1804181662669471744 |
|---|---|
| adam_text | CONTENTS
LIST
OF
ILLUSTRATIONS
IX
ACKNOWLEDGMENTS
XIII
INTRODUCTION
1
OPTICAL
VISION
AND
THE OCULAR
TURN
4
RETHINKING
MODERN
CHINESE
ART
8
MATERIALS,
METHODOLOGY,
AND
CHAPTER
SUMMARY
11
1
OPEN-AIR
PAINTING
AND
THE
MODERN
CHINESE
PAINTER
16
SKETCHING
FROM
LIFE
AND
WESTERN-STYLE PAINTING
17
SCIENTIZING
VISION
IN
CHINA
21
THE RISE
OF
OPEN-AIR
PAINTING
28
SKETCHING
THE HOMELAND
35
2
OPTICAL
VISION
AND
NEW
MODES
OF
DEPICTION
41
QUJING:
VIEW
-
TAKING
43
GOUTU:
COMPOSITION
47
TOUSHI:
PERSPECTIVE
53
SHIDIAN
(VIEWPOINT)
AND
DIPINGXIAN
(HORIZON)
57
GUOHUA
THROUGH
THE
OPTICAL
EYE
60
SEEING
MONUMENTAL
LANDSCAPE
AT
MOUNT
HUANG
65
WESTERN-STYLE PAINTING
AND
WEST LAKE
71
3
INVENTING
TRADITION
THROUGH
OPEN-AIR
PAINTING
80
HU
PEIHENG
AND
OPEN-AIR
PAINTING
IN THE
TRADITIONA
L
WAY
82
YU
JIANHUA
AND
OPE
N-AIR
PAINTING
IN
THE
GUOHUA
WAY
85
LINEAR
PERSPECTIVE
AND
SIGHT
IN
GUOHUA
PAINTING
89
CUN
MODELS AND
THE PRIORITIZATION
OF
PERCEPTION 99
CONTENTS
4
OPEN
-A
IR
PAINTING
DURING
THE
WAR
115
GUAN SHANYUE S
EA
RLY
PAINTING
S A
ND TH
E
PURSUIT
OF
IMMEDIACY
117
TH
E
1940
GUI
LIN
EXHIBITION AND DEBATES ON
WARTIME
ART
126
T
E
N
THOU
SAND
MIL
ES
DJ
TH
E
LI
RIV
E
R
AND
MASCULIN
E
MAJ
ESTY
132
HEROISM
AND
THE
NORTHWESTERN
BORD
E
RLAND
140
THE
LAND
OF
PRODUCTION
150
5
VIEWS
OF
THE
PARTY
-
STATE
165
OPEN
-
AIR
PAINTING
IN
THE NEW
CHINA
167
INDUSTRIAL
CONSTR
U
CTION
AS
SOCIALIST
LANDSCAPE
174
THE POETIC
TURN
182
NEW LOOK
OF
MOUNTAINS
AND
STREAMS
193
BEYOND THE STATE
S
VIEW
207
EPILOGUE
221
TOTAL ART: PERCEPTION
AS
CR
ITICAL
THINKING
224
THE
RISE OF BASES FOR OPEN
-
AIR PAINTING
AND
THE OSSIFIED
VIEW
228
NOTES
235
GLOSSARY
269
BIBLIOGRAPHY
275
INDEX
305
|
| adam_txt |
CONTENTS
LIST
OF
ILLUSTRATIONS
IX
ACKNOWLEDGMENTS
XIII
INTRODUCTION
1
OPTICAL
VISION
AND
THE OCULAR
TURN
4
RETHINKING
MODERN
CHINESE
ART
8
MATERIALS,
METHODOLOGY,
AND
CHAPTER
SUMMARY
11
1
OPEN-AIR
PAINTING
AND
THE
MODERN
CHINESE
PAINTER
16
"SKETCHING
FROM
LIFE
"
AND
WESTERN-STYLE PAINTING
17
SCIENTIZING
VISION
IN
CHINA
21
THE RISE
OF
OPEN-AIR
PAINTING
28
SKETCHING
THE HOMELAND
35
2
OPTICAL
VISION
AND
NEW
MODES
OF
DEPICTION
41
QUJING:
VIEW
-
TAKING
43
GOUTU:
COMPOSITION
47
TOUSHI:
PERSPECTIVE
53
SHIDIAN
(VIEWPOINT)
AND
DIPINGXIAN
(HORIZON)
57
GUOHUA
THROUGH
THE
OPTICAL
EYE
60
SEEING
MONUMENTAL
LANDSCAPE
AT
MOUNT
HUANG
65
WESTERN-STYLE PAINTING
AND
WEST LAKE
71
3
INVENTING
TRADITION
THROUGH
OPEN-AIR
PAINTING
80
HU
PEIHENG
AND
"OPEN-AIR
PAINTING
IN THE
TRADITIONA
L
WAY"
82
YU
JIANHUA
AND
"OPE
N-AIR
PAINTING
IN
THE
GUOHUA
WAY"
85
LINEAR
PERSPECTIVE
AND
"SIGHT"
IN
GUOHUA
PAINTING
89
CUN
MODELS AND
THE PRIORITIZATION
OF
PERCEPTION 99
CONTENTS
4
OPEN
-A
IR
PAINTING
DURING
THE
WAR
115
GUAN SHANYUE'S
EA
RLY
PAINTING
S A
ND TH
E
PURSUIT
OF
IMMEDIACY
117
TH
E
1940
GUI
LIN
EXHIBITION AND DEBATES ON
WARTIME
ART
126
T
E
N
THOU
SAND
MIL
ES
DJ
TH
E
LI
RIV
E
R
AND
MASCULIN
E
MAJ
ESTY
132
HEROISM
AND
THE
NORTHWESTERN
BORD
E
RLAND
140
THE
LAND
OF
PRODUCTION
150
5
VIEWS
OF
THE
PARTY
-
STATE
165
OPEN
-
AIR
PAINTING
IN
THE NEW
CHINA
167
INDUSTRIAL
CONSTR
U
CTION
AS
SOCIALIST
LANDSCAPE
174
THE POETIC
TURN
182
NEW LOOK
OF
MOUNTAINS
AND
STREAMS
193
BEYOND THE STATE
'S
VIEW
207
EPILOGUE
221
TOTAL ART: PERCEPTION
AS
CR
ITICAL
THINKING
224
THE
RISE OF BASES FOR OPEN
-
AIR PAINTING
AND
THE OSSIFIED
VIEW
228
NOTES
235
GLOSSARY
269
BIBLIOGRAPHY
275
INDEX
305 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
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| author_facet | Gu, Yi |
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| building | Verbundindex |
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| era | Geschichte 1919-1964 gnd |
| era_facet | Geschichte 1919-1964 |
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| index_date | 2024-07-03T15:06:51Z |
| indexdate | 2024-07-10T08:55:13Z |
| institution | BVB |
| isbn | 9780674244450 9780674244443 |
| language | English |
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| series2 | Harvard East Asian monographs |
| spelling | Gu, Yi Verfasser (DE-588)1034981595 aut Chinese ways of seeing and open-air painting Yi Gu Cambridge (Massachusetts) ; London Harvard University Asia Center 2020 Cambridge (Massachusetts) ; London Harvard University Press 2020 xv, 317 Seiten Illustrationen 26 cm txt rdacontent sti rdacontent n rdamedia nc rdacarrier Harvard East Asian monographs 430 Includes bibliographical references (pages 275-303) and index How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there. Geschichte 1919-1964 gnd rswk-swf Landschaftszeichnung (DE-588)4166648-3 gnd rswk-swf Landschaftsmalerei (DE-588)4114355-3 gnd rswk-swf Freilichtmalerei (DE-588)4155323-8 gnd rswk-swf China (DE-588)4009937-4 gnd rswk-swf Landscape painting, Chinese / 20th century Landscape painting, Chinese / Technique Landschaftsmalerei China China (DE-588)4009937-4 g Landschaftsmalerei (DE-588)4114355-3 s Landschaftszeichnung (DE-588)4166648-3 s Freilichtmalerei (DE-588)4155323-8 s Geschichte 1919-1964 z DE-604 Harvard East Asian monographs 430 (DE-604)BV002779893 430 V:DE-604 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032245740&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Gu, Yi Chinese ways of seeing and open-air painting Harvard East Asian monographs Landschaftszeichnung (DE-588)4166648-3 gnd Landschaftsmalerei (DE-588)4114355-3 gnd Freilichtmalerei (DE-588)4155323-8 gnd |
| subject_GND | (DE-588)4166648-3 (DE-588)4114355-3 (DE-588)4155323-8 (DE-588)4009937-4 |
| title | Chinese ways of seeing and open-air painting |
| title_auth | Chinese ways of seeing and open-air painting |
| title_exact_search | Chinese ways of seeing and open-air painting |
| title_exact_search_txtP | Chinese ways of seeing and open-air painting |
| title_full | Chinese ways of seeing and open-air painting Yi Gu |
| title_fullStr | Chinese ways of seeing and open-air painting Yi Gu |
| title_full_unstemmed | Chinese ways of seeing and open-air painting Yi Gu |
| title_short | Chinese ways of seeing and open-air painting |
| title_sort | chinese ways of seeing and open air painting |
| topic | Landschaftszeichnung (DE-588)4166648-3 gnd Landschaftsmalerei (DE-588)4114355-3 gnd Freilichtmalerei (DE-588)4155323-8 gnd |
| topic_facet | Landschaftszeichnung Landschaftsmalerei Freilichtmalerei China |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032245740&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV002779893 |
| work_keys_str_mv | AT guyi chinesewaysofseeingandopenairpainting |