Introduction 1
1 Beginning and Ending 5
2 The Gentleman 37
3 The Emperor 85
4 The Merchant 117
5 The Nation 155 6
The People 193
Conclusion 229
Notes 237
Bibliography 263
Index 277
Photography and Copyright Credits 287
· · · · · · (收起)
具体描述
What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.
Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting.
Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.
用户评价
Would make interesting pairing with Ten Thousand Things (Ledderose's Mellon lectures from 1998) for a historiography seminar.
评分Would make interesting pairing with Ten Thousand Things (Ledderose's Mellon lectures from 1998) for a historiography seminar.
评分 评分##The genealogy of "Chinese painting," questioning the "Chineseness" in writing Chinese art history from both domestic and outside through the 15th century towards today, by tracing the construction of the concept of "painting" in China。关心的问题并不新颖了，对“Chineseness”的提问也不前言了，但在艺术史领域一直没有这样的写作也是奇怪。柯律格运用大量史料和物证，分析大量绘画来证明他的论点。一次有趣的阅读体验。
评分##Clunas contemplates "Chinese painting" as an Orientalist construct. The idea is not new, but the selection of materials and the narrative make this book a pleasant reading. The motif of "distinction" reappears. It is interesting that the premodern and modern parts of his writing feature somehow different styles.
评分 评分##"Chinese Painting"解构大法：turn the attention away from an attempt to define the essence of what makes “Chinese painting,” and to look at some of the ways that works have been viewed, over a relatively long span of time.
评分##Super exciting and fruitful reading. Reflecting on the field of Chinese painting and the construction of "painting" in China, with bold arguments meticulously structured and solidly grounded by social historical, textual, visual evidences.
评分##思路很清晰，启发很大的一本书
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