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Parting the Mists : Discovering Japan and the Rise of National-Style Painting in Modern China / Aida Yuen Wong.

By: Material type: TextTextPublisher: Honolulu : University of Hawaii Press, [2006]Copyright date: ©2006Description: 1 online resource (232 p.) : 64 illus., 30 in colorContent type:
Media type:
Carrier type:
ISBN:
  • 9780824829520
  • 9780824845360
Subject(s): DDC classification:
  • 320
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Illustrations -- Series Editor's Preface -- Acknowledgments -- Notes to the Reader -- Introduction -- 1. Tradition Is a Foreign Country -- 2. Nationalism and the Writing of New Histories -- 3. Literati Painting as the "Oriental Modern" -- 4. Wu Changshuo's Japanese Circle: Between Patronage and Style -- 5. Six Exhibitions and Sino-Japanese Diplomacy -- Conclusion -- Notes -- Glossary -- Bibliography -- Index
Summary: 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 in connection with Japan, where they discovered stylistic and ideological paradigms consonant with the empowering of "Asian/Oriental" cultural practices against the backdrop of encroaching westernization. Not just a "window on the West," Japan stood as an informant of China modernism in its own right.The first book in English devoted to Sino-Japanese dialogues in modern art, Parting the Mists explores the sensitive phenomenon of Japanism in the practice and theory of Chinese painting. Wong carries out a methodologically agile study that sheds light on multiple spheres: stylistic and iconographic innovations, history writing, art theory, patronage and the market, geopolitics, the creation of artists' societies, and exhibitions. Without avoiding the dark history of Japanese imperialism, she provides a nuanced reading of Chinese views about Japan and the two countries' convergent, and often colliding, courses of nationalism.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780824845360

Frontmatter -- Contents -- Illustrations -- Series Editor's Preface -- Acknowledgments -- Notes to the Reader -- Introduction -- 1. Tradition Is a Foreign Country -- 2. Nationalism and the Writing of New Histories -- 3. Literati Painting as the "Oriental Modern" -- 4. Wu Changshuo's Japanese Circle: Between Patronage and Style -- 5. Six Exhibitions and Sino-Japanese Diplomacy -- Conclusion -- Notes -- Glossary -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

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 in connection with Japan, where they discovered stylistic and ideological paradigms consonant with the empowering of "Asian/Oriental" cultural practices against the backdrop of encroaching westernization. Not just a "window on the West," Japan stood as an informant of China modernism in its own right.The first book in English devoted to Sino-Japanese dialogues in modern art, Parting the Mists explores the sensitive phenomenon of Japanism in the practice and theory of Chinese painting. Wong carries out a methodologically agile study that sheds light on multiple spheres: stylistic and iconographic innovations, history writing, art theory, patronage and the market, geopolitics, the creation of artists' societies, and exhibitions. Without avoiding the dark history of Japanese imperialism, she provides a nuanced reading of Chinese views about Japan and the two countries' convergent, and often colliding, courses of nationalism.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)