Description
Book SynopsisChia-Ling Yang is Professor of History of Art and Personal Chair of Chinese Art at The University of Edinburgh, UK. She received her PhD in Chinese Art from SOAS, University of London, UK. She has worked with the V&A and the British Museum on a range of exhibition projects.
Trade ReviewAppropriating Antiquity for Modern Chinese Art is full of new information and important discussions that should have been properly investigated a long time ago. The author takes the readers on a journey into the rich world of
jinshi painting which is set within a complicated international network as well as an intricate historical context. It is a must-read for those of us who study the art and history of China at the turn of the 20th century. * Nicole Chiang, Senior Curator, Hong Kong Palace Museum, Hong Kong *
Appropriating Antiquity examines a wealth of new materials, showing how the fervent study of inscriptions on bronze and stone led to a re-evaluation of the history of Chinese calligraphy that also impacted on 19th and early 20th-century Chinese painting. * Roderick Whitfield, Percival David Professor, Emeritus, SOAS, University of London, UK *
Appropriating Antiquity for Modern Chinese Painting is an outstanding achievement in elucidating the transmediality and transcultural aspects of antiquarianism. Chia-Ling Yang, with her solid research and penetrating analysis of primary sources, brings to life key figures whose high-minded goals carried them through periods of turmoil. * Aida Yuen Wong, Nathan Cummings and Robert B. and Beatrice C. Mayer Professor of Fine Arts and Professor in East Asian Studies, Brandeis University, USA *
By exploring the phenomenon of epigraphic studies at the end of the Qing dynasty and its impact on the visual arts, Yang Chia-ling offers a transdisciplinary cultural history that refocuses our vision of Chinese modernity on the relationship of the Chinese elites to the written sign and to its origins. * Eric Lefebvre, Director, Cernuschi museum, Paris, France *
A formidable effort of research,
Appropriating Antiquity is an essential contribution for the understanding of Chinese art and culture, as it clearly exposes the mechanisms through which Evidential Learning influenced scholarly artistic practice and production in the 19th century. By examining many primary sources, it offers a clear picture of the cultural context of scholarly circles and reveals the inner feelings of the intellectuals. * Sabrina Rasteli, University of Venice, Italy *
Table of ContentsAcknowledgements List of Plates List of Figures Part One: .Introduction: Jinshi in Modern Context Part Two: From Evidential Learning to Antiquarian Art 2.1
Jinshixue and Cultural Landscape in the Lower Yangtze River 2.2 Illustrated Records of Investigating Steles 2.3 The Stele School and Re-evaluation of Bafenshu 2.4 A Revival of Pre-Tang Scripts and its Impact on Art
Part Three: Rubbing into Painting: Transmedia Appropriation of New Scholarly Painting 3.1 New Look of Collectors’ Accumulated Antiquities 3.2 Dashou and Composite Rubbing 3.3 Intertextual and Transmedia Approaches 3.4 From Evidential Learning to Festive Offering 3.5 Prelude to
Jinshi Art
Part Four: From Deification to Quotidian: Jinshiqi and the Four Accomplishments 4.1 Dimension of Mobility in Wartime 4.2 Life of
Jinshi Objects after the Taiping Rebellions 4.3 Antiquarian Approaches to Seal Carving 4.4 New Brush Mode Derived from Northern Wei Calligraphy 4.5
Jinshi Characteristics in Painting 4.6 Archaeological Elements in Commercial Art and Popular Culture
Part Five: Nature as Culture: Historicizing of Antiquity and Translated Modernity 5.1 Evidential Learning and the Culture of Investigating Nature: From
Bogu to Bowu 5.2 Tradition of Miscellaneous Painting 5.3 Illustrations of Local Resources 5.4 Natural History Paintings Made in China 5.5 Historification of Translated Modernity 5.6 Translating
Bowu into National Essence
Part Six: Cultural Orthodoxy in the New Nation: A Political Use of Jinshi 6.1 Another Role of
Jinshi Society: Shanghai Tijinguan Epigraphy, Calligraphy and Painting Society (1911–26) 6.2 Defining Literati Painting Through
Jinshi: Society of the Virtuous (1912–42) 6.3 Reclaiming Cultural Identity: Society of Cang Jie Study (1916–c. 1941) 6.4
Jinshi Society as Museum or Art Market? 6.5 Political Use of
Jinshi: Re-writing History with Archaic Models
Conclusion: Multiplicity and Modernity Notes Select Bibliography Index
