Appropriating Antiquity for Modern Chinese Painting

Description

The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book asks to what extent historical relics have been used to represent the ethnic identity for modern Chinese art? Did the antiquarian movements ultimately serve as a tool for re-writing art historiography in modern China on purpose? In searching for the public meaning of inventively reinforced private collecting activity, this book draws on modes of artistic creation to speak of an apposite use of antiquities through their imaginative links between ancient civilization and modern lives. It also addresses artistic exchanges between China, Japan and the West and how modernity was translated and appropriated at the turn of the twentieth century. Cover Halftitle page Title page Copyright page Dedication CONTENTS ILLUSTRATIONS ACKNOWLEDGEMENTS CHAPTER ONE Introduction Jinshi in Modern Context CHAPTER 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 CHAPTER THREE Rubbing into Painting Transmedia Appropriation of New Scholarly Painting 3.1 New Look of Collectors’ Accumulated Antiquities 3.2 Dashou and Composite Rubbing 3.4 From Evidential Learning to Festive Offering 3.5 Prelude to Jinshi Art CHAPTER 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 CHAPTER 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 CHAPTER 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 CHAPTER SEVEN Conclusion Multiplicity and Modernity NOTES SELECT BIBLIOGRAPHY INDEX AND GLOSSARY Plates