Jahr
2014
Typ
Publication
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 CulturesChapter One ................................................................................................. 2Shades of Mokkei: Muqi-style Ink Painting in Medieval KamakuraAaron M. RioChapter Two .............................................................................................. 23Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export PaintingMaria Kar-wing MokChapter Three ............................................................................................ 44"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945Clare TaylorChapter Four .............................................................................................. 65"Chinese" Paintings by Zdenek SklenarLucie OlivovaPart II: Envisioning Chinese Landscape ArtChapter Five .............................................................................................. 88Binyon and Nash: British Modernists’ Conception of Chinese Landscape PaintingMichelle Ying-ling HuangChapter Six .............................................................................................. 115In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden ArtMinna TörmäChapter Seven .......................................................................................... 130The Return of the Silent TravellerMark HaywoodPart III: Conceptualising Chinese Art through DisplayChapter Eight ........................................................................................... 154Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual CultureLenore Metrick-ChenChapter Nine ........................................................................................... 179Exhibitions of Chinese Painting in Europe in the…
(Huang1)
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
[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
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Chronologische Einträge (24)
| Jahr | Text | Verknüpfte Daten |
|---|---|---|
| 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…
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." |
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| 1840-1870 | Studio of Tingqua : Studio in Guangzhou of one of the most celebrated Chinese export artists. |
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| 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…
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." |
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| 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…
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. |
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| 1903 | Laurence Binyon beginnt chinesische Malerei zu studieren. |
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| 1910 | Queen Anne bedroom in Beaudesert, Staffordshire, decorated by Captain Harry Lindsay, using eighteenth-century Chinese wallpapers showing scenes of daily life. |
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| 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. |
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| 1934 | Ausstellung mit Liu Haisu, Henri Matisse und Pablo Picasso in Paris. Vi Kyuin Wellington Koo nimmt daran teil. |
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| 1935 | Exhibition of contemporary Chinese painting durch das Oriental Institute in Prag, Tschechoslowakei. Eröffnung durch Liang Lone. |
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| 1935 | Osvald Sirén reist das letzte Mal in China und sammelt Werke über chinesische Malerei. |
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| 1946 | Exhibition of modern Chinese watercolours, British Council, London mit Xu Beihong, Zhang Daqian und Huang Junbi. |
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| 1948 | Sirén, Osvald. Chinese influences of European gardens of the 18th century. Drei Vorträge im Courtauld Institute on Art in London. |
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| 1954 | Ernst Aschwin zur Lippe-Biesterfeld reist nach Taiwan um Bilder für die Ausstellung Chinese art treasures in Washington D.C. auszuwählen. |
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| 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…
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. |
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| 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. |
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| 1957 | Max Loehr reist nach Taiwan um über Song Malerei zu forschen. |
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| 1959 | Exhibition "China in the works of the Czechoslovak artists" in Prag. |
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| 1961 | Chinese art treasures : exhibition National Gallery of Art, Washington D.C. Exhibition of works from National Palace Museum Taiwan. |
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| 1967 | Zdenek Sklenar illustriert die Übersetzung von Cantos of old China. |
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| 1994 | Xing Danwen's schwarz-weiss Photos aus Tibet und Datong erscheinen in Photo news ; Febr. (1994). |
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Quellen (2)
| Jahr | Bibliografische Daten | Typ / Abkürzung | Verknüpfte Daten |
|---|---|---|---|
| 1913 | Binyon, Laurence. Ideas of design in East and West. In : Atlantic monthly ; Nov. (1913). | Publication / Biny5 |
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| 1916 | Binyon, Laurence. Ma Yüan’s landscape roll. (New York, N.Y. DeVinne Press, 1916). | Publication / Biny6 |
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Zitiert von (1)
| Jahr | Bibliografische Daten | Typ / Abkürzung | Verknüpfte Daten |
|---|---|---|---|
| 2007- | Worldcat/OCLC | Web / WC |