The Role of Japan in Modern Chinese Art

要旨

“This ambitious, very important project defines no less than a new field of inquiry, one that scarcely could have been attempted in the past. The essays in this volume add enormously to the documentation of what late-period Chinese art learned from Japan, and begin to formulate conclusions that will enrich future accounts of both Japanese and Chinese art.” James Cahill, University of California, Berkeley\n 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.\n Joshua A. Fogel is Canada Research Chair and a professor of history at York University, Toronto, and a specialist in the history of cultural and political ties between China and Japan in the modern era.\n Contributors: Julia F. Andrews | Shana J. Brown | Chen Jie | Lisa Claypool | Walter B. Davis | Zaixin Hong | Yu-chih Lai | Tamaki Maeda | Kuiyi Shen | Richard Vinograd | Cheng-hua Wang | Aida Yuen Wong\n New Perspectives on Chinese Culture and Society, 3

主題