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 d...
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.
Chinese Painting and Its Audiences的创作者
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Craig Clunas is Professor of the History of Art at the University of Oxford. His books include Screen of Kings: Royal Art and Power in Ming China, Empire of Great Brightness: Visual and Material Culture and Social Status in Early Modern China, an
目录
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Acknowledgments ix
Introduction 1
1 Beginning and Ending 5
2 The Gentleman 37
3 The Emperor 85
4 The Merchant 117
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Acknowledgments ix
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)
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...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. (展开)
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 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。(展开)
"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 lo..."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. (展开)
詹镇鹏 原文发表于《书城》2020年10月。 著作等身的柯律格（Craig Clunas）刚在2018年从英国牛津大学卸任中国艺术史终身教席。作为他退休之前出版的最后一本书，《谁在看中国画》（Chinese Painting and Its Audiences）由他2012年在美国华盛顿国家美术馆的梅隆美术讲座系列讲...
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本书英文名是 Chinese Painting and Its Audiences, 翻译成“谁在看中国画”饶有趣味，相当吸引读者。不过英文标题首要强调的显然是 Chinese Painting, 但是中译名更突出了“观众”的作用。柯律格讨论的核心议题是“中国绘画”的概念如何生成，如何变化。其中，中国自身与中国...
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《谁在看中国画》（Chinese Painting And Its Audience）是英国当代著名艺术史家、牛津大学荣休教授柯律格（Craig Clunas）在2012年第61届梅隆美术讲座上所做的关于中国绘画一系列学术演讲的结集。柯律格作为研究早期现代中国物质文明史的重要学者，近年来他的主要著作《明代的...
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![[英国] 柯律格](https://img2.doubanio.com/img/author/medium/public/1565702723.01.jpg)
柯律格 作者
卓阅
广西师范大学出版社2020版
界面文化
广西师范大学出版社2020版
理想国imaginist
广西师范大学出版社2020版
别的猫
广西师范大学出版社2020版
鵬鵬 James
广西师范大学出版社2020版
这不是一个橙子
广西师范大学出版社2020版
東寫西讀
广西师范大学出版社2020版
5 有用 不验证不让胡说 2017-02-13 11:52:50
Would make interesting pairing with Ten Thousand Things (Ledderose's Mellon lectures from 1998) for a historiography seminar.
2 有用 やす 2017-03-24 09:37:18
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... 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. (展开)
0 有用 栞 2020-01-07 01:17:26
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 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。 (展开)
0 有用 瓜 2023-01-09 00:24:09 德国
讲座后草草翻了一遍。内容绝不完整，东西对比可能有点意思。
0 有用 Become a lake 2020-03-12 14:05:27
"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 lo... "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. (展开)