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Parting the Mists
In Parting the Mists, Aida Yuen Wong makes a convincing argument that the forging of a national tradition in modern China was frequently pursued in association with rather than in rejection of Japan. The focus of her book is on Japan’s integral role in the invention of "national-style painting," or guohua, in early-twentieth-century China. Guohua, referring to brush paintings on traditional formats, is often misconstrued as a residual conservatism from the dynastic age that barricaded itself within classical traditions. Wong places this art form at the forefront of cross-cultural exchange. Notable proponents of guohua (e.g., Chen Hengke, Jin Cheng, Fu Baoshi, and Gao Jianfu) are discussed ...
Visualizing Beauty
Visualizing Beauty examines the intersections between feminine ideals and changing socio-political circumstances in China, Japan, and Korea during the first half of the twentieth century. Eight essays present a broad range of visual products that informed concepts of beauty and womanhood, including fashion, interior design magazines, newspaper illustrations, and paintings of and by women. Studying "Traditional Woman" and "New Woman" as historical categories, this anthology contemplates the complex relations between feminine subjectivity and the promotion of modernity, commerce, and colonialism.
The Other Kang Youwei
This book is the first in-depth study of the art historical importance of Kang Youwei (1858-1927). The most prominent constitutional monarchist who served as advisor to Emperor Guangxu, he is discussed in previous scholarship largely as a political figure. Less well known are his achievements in calligraphy and calligraphy theory (he wrote the most comprehensive and widely-read guide to the Stele School in his day), and in his efforts to make art a powerful instrument for national transformation. He advocated East-West synthesis, more specifically, the adoption of Renaissance plasticity and Song Dynasty verisimilitude. His impact on East-West syncretism (including Japanese art) in portraiture, horse painting, and bird-and-flower painting, was extensive, long-lasting, and controversial. Besides providing an objective assessment of Kang's legacy, this book offers a rare integrated study of Chinese calligraphy, painting, and art theory of the twentieth century.
Fashion, Identity, and Power in Modern Asia
This edited volume on radical dress reforms in East Asia takes a fresh look at the symbols and languages of modernity in dress and body. Dress reform movements around the turn of the twentieth century in the region have received little critical attention as a multicultural discourse of labor, body, gender identity, colonialism, and government authority. With contributions by leading experts of costume/textile history of China, Korea, and Japan, this book presents up-to-date scholarship using diverse methodologies in costume history, history of consumption, and international trade. Thematically organized into sections exploring the garments and uniforms, accessories, fabrics, and fashion styles of Asia, this edited volume offers case studies for students and scholars in an ever-expanding field of material culture including, but not limited to, economic history, visual culture, art history, history of journalism, and popular culture. Fashion, Identity, and Power in Modern Asia stimulates further research on the impact of modernity and imperialism in neglected areas such as military uniform, school uniform, women’s accessories, hairstyles, and textile trade.
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 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, a...
Okakura Tenshin and Pan-Asianism
This volume explores four key themes emanating from Okakura Tenshin’s philosophy and legacy: Okakura Tenshin and the Ideal of Pan-Asianism; Other Forms of Pan-Asianism (especially Islam and China); Art and Asia, and Ways of Defining Asia (up to the present day). Okakura Tenshin (1862-1913), art historian and ideologue driven by a notion of Asia bound by culture, is a significant figure in Japan’s modern intellectual history. His writings in both Japanese and English became part of a growing discourse that positioned Japan as the guardian and protector of Asia against the depredations, cultural as much as economic and political, of the West. At the outbreak of the Pacific War, the first line of Okakura’s 1903 book (‘Asia is One’), The Ideals of the East, was celebrated posthumously by the Japanese military as the most powerful expression of Japan’s goal of political ascendancy in Asia.
Role of Japan in Modern Chinese Art
The modern histories of China and Japan are inexorably intertwined. Their relationship is perhaps most obvious in the fields of political, economic, and military history, but it is no less true in cultural and art history. Yet the traffic in artistic practices and practitioners between China and Japan remains an understudied field. In this volume, an international group of scholars investigates Japan’s impact on Chinese art from the mid-nineteenth century through the 1930s. Individual essays address a range of perspectives, including the work of individual Chinese and Japanese painters, calligraphers, and sculptors, as well as artistic associations, international exhibitions, the collotype production or artwork, and the emergence of a modern canon.
Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries
Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries explores women’s and men’s contributions to the arts and gendered visual representations in China, Korea, and Japan from the premodern through modern eras. A critical introduction and nine essays consider how threads of continuity and exchanges between the cultures of East Asia, Europe, and the United States helped to shape modernity in this region, in the process revealing East Asia as a vital component of the trans-Pacific world. The essays are organized into three themes: representations of femininity, women as makers, and constructions of gender, and they consider examples of architecture, painting, woodblock prints and illustrated books, photography, and textiles. Contributors are: Lara C. W. Blanchard, Kristen L. Chiem, Charlotte Horlyck, Ikumi Kaminishi, Nayeon Kim, Sunglim Kim, Radu Leca, Elizabeth Lillehoj, Ying-chen Peng, and Christina M. Spiker. Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries is now available in paperback for individual customers.
Qing Encounters
Qing Encounters: Artistic Exchanges between China and the West examines how the contact between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East-West divide. The essays in the volume reveal the extent to which images, artifacts, and natural specimens were traded and copied, and how these materials inflected both cultures’ visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople on both continents borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex new creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period.
Since Meiji
Research outside Japan on the history and significance of the Japanese visual arts since the beginning of the Meiji period (1868) has been, with the exception of writings on modern and contemporary woodblock prints, a relatively unexplored area of inquiry. In recent years, however, the subject has begun to attract wide interest. As is evident from this volume, this period of roughly a century and a half produced an outpouring of art created in a bewildering number of genres and spanning a wide range of aims and accomplishments. Since Meiji is the first sustained effort in English to discuss in any depth a time when Japan, eager to join in the larger cultural developments in Europe and the U....
