The aims of this volume are to reflect on the fundamental issues in
the theory and practice of connoisseurship of Chinese painting in
particular and those of connoisseurship of art in general. One of
the most important challenges facing art historians and museum
professionals today is that graduate schools have produced art
historians with serious weakness, particularly a lack of direct
firsthand experience with works of art in the original. If we base
our construction of art history on works of calligraphy and
painting and on the inscriptions, colophons, and seal impressions
that accompany them, we must first make sure of their authorship
and identity. "This fascinating book, the first one in which
connoisseurship in Chinese painting and in European painting are
discussed together, enables us not only to confront several
approaches in the authentication of Chinese painting, but also to
benefit from the Western art studies in connoisseurial analysis and
the complex nature of copywork." -Michele Pirazzoli-t'Serstevens,
formerly Curator of Far Eastern Art of the Musee Guimet, Paris,
currently Directeur d'etudes, Ecole Pratique des Hautes Etudes,
Paris, author of La Civilisation du Royaume de Dian a l'epoque Han,
La Chine des Han: histoire et civilization, Giuseppe Castiglione
(1688-1766): Peintre et Architecte a la Cour de Chine, and editor
of Storia Universale dell'Arte: La Cina. "These thoughtful essays,
addressing a range of historical, cultural, and philosophical
issues, should remind all of us that the objectness of objects is
the starting point from which all else follows." -Peter Sturman,
Chair, Department of the History of Art and Architecture,
University of California, Santa Barbara, and author of Mi Fu: Style
and the Art of Calligraphy in Northern Song China. "Connoisseurship
is the most fundamental yet often overlooked aspect of art history:
it has the ability to affirm or completely change our understanding
of an art work, the artist's oeuvre, or even art history itself.
This volume is the first extensive investigation of Chinese
connoisseurship as a general and theoretical discipline." -Pauline
Lin, Bryn Mawr College, has published articles in The Review of
Politics and Dictionary of Literary Biography: Classical Chinese
Writers and is working on a book, Nature Inside Out: The Culture of
Landscape from the City of Ye (196-240). "Connoisseurship is the
necessary base of art history, for until we know who made what
when, we cannot engage in interpretation of paintings. Bringing
together scholars from diverse backgrounds, this volume provides
the necessary basis for the most important task facing art
historians today, the creation of a true world art history." -
David Carrier, Champney Family Professor, Case Western Reserve
University/Cleveland Institute of Art and author of Sean Scully,
Museum Skepticism: A History of the Display of Art in Public
Galleries, and A World Art History.
General
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