Description

Basil Gray's publications on Chinese and Islamic art have done much to introduce these subjects to a European public. This first volume deals with Chinese painting and luxury art. An introductory section on Chinese art attempts to chart the aesthetic and philosophical ideas that lie at the roots of Chinese culture, and which have succeeded in dictating the development of this highly individual civilization. A second section, on Chinese painting, examines the early development of Chinese scroll painting and its subsequent influence on Japanese and European artists. The influence of Chinese painting on the earliest Western visitors to the court at Peking and on subsequent European collectors, is of particular interest. The third section deals with lacquer and metalwork, and includes a number of studies which attempt to answer problems of attribution and influence. The volume concludes with two reports on the museums of modern China and Japan.

Studies in Chinese and Islamic Art, Volume I: Chinese Art

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Hardback by Basil Gray

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Basil Gray's publications on Chinese and Islamic art have done much to introduce these subjects to a European public. This... Read more

    Publisher: Pindar Press
    Publication Date: 31/12/1985
    ISBN13: 9780907132219, 978-0907132219
    ISBN10: 907132219

    Number of Pages: 286

    Non Fiction , Art & Photography

    Description

    Basil Gray's publications on Chinese and Islamic art have done much to introduce these subjects to a European public. This first volume deals with Chinese painting and luxury art. An introductory section on Chinese art attempts to chart the aesthetic and philosophical ideas that lie at the roots of Chinese culture, and which have succeeded in dictating the development of this highly individual civilization. A second section, on Chinese painting, examines the early development of Chinese scroll painting and its subsequent influence on Japanese and European artists. The influence of Chinese painting on the earliest Western visitors to the court at Peking and on subsequent European collectors, is of particular interest. The third section deals with lacquer and metalwork, and includes a number of studies which attempt to answer problems of attribution and influence. The volume concludes with two reports on the museums of modern China and Japan.

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