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Based on a comparative study of Chinese and Euro-American art theory in the 18th and 19th centuries, this book looks at how both cultures looked at their own past and their outside, and how they devised new ways of adapting them into evolving cultural constructs. While the 17th century was still a time when the epistemological backgrounds of both civilizations were so profoundly different, the 18th century saw the emergence in both places of profound changes that would get them close enough to create the conditions for the beginning of a conversation. First quite superficial and taking shape mostly in the decorative arts, this process of rapprochement, while remaining chaotic and unpredictable, led to wider and more profound zones of contact throughout the late 19th and 20th centuries. Through the reinterpretations of each other’s cultural creations, these zones of contact grew wider as the conditions for globalizations became more and more prevalent.

作者簡介

Frank Vigneron is Chair and Professor at the Department of Fine Arts, The Chinese University of Hong Kong. His research focuses on the history of Chinese painting from the 18th century onwards as well as on different aspects of contemporary Chinese art as seen in a global context.

  • List of Figures(第vii頁)
  • Introduction(第ix頁)
  • 1 Floating Epistemes(第1頁)
    • Episteme in the Works of Michel Foucault(第2頁)
    • “Passeurs”:The Jesuits in China(第6頁)
    • “Passeurs”:Chinoiseries(第13頁)
    • Conditions of Passage(第18頁)
    • Change of Episteme in China(第26頁)
  • 2 Change of Episteme in China(第43頁)
    • Literati Tradition in Painting(第44頁)
    • Dualism in Chinese Portrait Painting(第50頁)
    • Misreading by the Jesuit Portrait Painters(第64頁)
    • Misreading as Opening(第68頁)
    • The Idea of Period Styleas Life Cycle(第72頁)
  • 3 Changing Views of History(第83頁)
    • Art Classifications before the Republic(第84頁)
    • Originality and Copying(第87頁)
    • A Brief History of Chinese Art History(第96頁)
    • Teleological Process(第105頁)
    • Modern and Postmodern(第123頁)
  • 4 Past and Present of Chinese Calligraphy(第149頁)
    • From Antiquarianism to Chaos Script(第150頁)
    • Brush(第155頁)
    • Opening-Closing(第163頁)
    • Performativity(第171頁)
  • Conclusion:Multi-epistemic World(第181頁)
  • Bibliography(第187頁)
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