This volume addresses questions of canon, value, historiographical
interest, and large-scale historical structures as they apply to
Chinese art history in the context of post-colonial studies. As the
field of Chinese art history moves into postcolonial studies,
institutional critique, and economic and social contextualization,
it is especially important that questions of canon, value,
historiographical interest, and large-scale historical structures
not be left behind. The aim of this book is to examine critically
the historiography of the field of Chinese painting, to assess what
achievements have been made, and to understand what and how
personal backgrounds of scholars and institutional constraints may
have affected various practices in the field. "This volume is a
comprehensive and critically self-aware introduction to the history
of Chinese art historiography in America, and includes reflections
on more general issues of the encounters between East and West.
This is a timely, much-needed book." -Olga Lomova, Director,
Institute of East Asian Studies, Charles University, Prague, and
Dircetor, Chiang Ching-kuo Foundation International Sinological
Center, Prague; Editor of Recarving the Dragon: Understanding
Chinese Poetics. "This volume provides a true dialogical
interaction of ideas in scholarship and reveals Western, Chinese
and Japanese approaches to Far Eastern artistic heritage. The
mutual elucidation of pedagogical wisdoms brings about salutary
heuristic lessons that help readers overcome assumptions in which
Western theoretical methodology has been trapped for so long."
-Shigemi Inaga, Professor, International Research Center for
Japanese Studies (Kyoto, Japan); John Kluge Chair of Modern Culture
in the Kluge Center at the Library of Congress; Editor of Crossing
Cultural Borders: Beyond Reciprocal Anthropology; author of Kaiga
no tasogare: Eduaru Mane botsugo no toso . "This volume contributes
importantly toward understanding the current state of Chinese art
history in the US and its complicated historiography. It is
provocatively argued, engagingly written, and passionately felt."
-Katharine P. Burnett, Associate Professor of Art History,
University of California at Davis, has published articles in Art
History, Word & Image, and Orientations and is working on a
book, Dimensions of Originality: Essays in Seventeenth-Century
Chinese Art. "This volume is the next in Jason Kuo's long
bibliography of original and important contributions to the study
of Chinese painting. Each essay raises questions that draw Chinese
painting into the discourse of modernism more generally." -Nancy S.
Steinhardt, Professor of East Asian Art and Curator of Chinese Art
at the Museum of Archaeology and Anthropology, University of
Pennsylvania. Author of Chinese Traditional Architecture, Chinese
Imperial City Planning, and Liao Architecture. Editor and adaptor
of Chinese Architecture, and co-editor of Hawaii Reader in
Traditional Chinese Culture.
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