Juliane Noth shows how art and discussions about the future of ink painting were linked to the reshaping of the country, leading to the creation of a uniquely modern Chinese landscape imagery. Noth offers a new understanding of these experiments by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
'Chinese Landscapes Made Easy' shows you how to paint stunning landscapes in the classic Chinese style with a core material list of just six essential Chinese brushes. Starting with how to hold and control a Chinese brush, the author builds your confidence by demonstrating simple techniques on paper, before tackling more complex marks in conjunction with a series of painting ‘lessons’, each dedicated to a different key element of Chinese landscape painting. The projects section takes you through all the step-by-step techniques in order to complete your very own works of art. Each project has a colour palette and information on brushes to use, so you can be fully prepared. Master just two simple brushstrokes – ‘dots’ and ‘long dots’ – and you will be able to paint a simple waterfall. With more practice you can progress to more advanced strokes that enable you to depict subtle light reflections on land. With clear illustrations on key hand movements and easy-to-follow techniques, "Chinese Landscapes Made Easy" guides you all the way to mastering this beautiful form of landscape painting.
The exchange of landscape practice between China and Europe from 1500–1800 is an important chapter in art history. While the material forms of the outcome of this exchange, like jardin anglo-chinoisand Européenerie are well documented, this book moves further to examine the role of the exchange in identity formation in early modern China and Europe. Proposing the new paradigm of “entangled landscapes”, drawing from the concept of “entangled histories”, this book looks at landscape design, cartography, literature, philosophy and material culture of the period. Challenging simplistic, binary treatments of the movements of “influences” between China and Europe, Entangled Landscapes reveals how landscape exchanges entailed complex processes of appropriation, crossover and transformation, through which Chinese and European identities were formed. Exploring these complex processes via three themes—empire building, mediators’ constraints, and aesthetic negotiations, this work breaks new ground in landscape and East-West studies. Interdisciplinary and revisionist in its thrust, it will also benefit scholars of history, human geography and postcolonial studies.
"The studies collected in this volume were written by anthropologists, architects, geographers, historians, a sociologist, and a veterinary ecologist. Taken together they form an exceptionally coherent survey of Chinese villages, ranging from the dry north to the humid southeast and southwest of this vast country. Going beyond books on Chinese vernacular architecture that focus on individual dwellings, this work examines the village ensemble itself, the various settings for the habitation, work, and leisure of China's large rural population." "Discussions of design, spatial layout, physical setting, settlement patterns, geomantic principles (fengshui), and evolutionary patterns set the stage for eighteen village case studies. Many villages still preserve characteristics that evoke a respect for and understanding of "old China," while others expose the drastic metamorphosis of recent decades. Villages are examined as places, emphasizing that which is visible; each village has its own order and complex of natural and human elements. Chinese Landscapes, though it focuses on the physical appearance of individual villages as they are situated within the constellation that comprises the Chinese landscape, suggests much about more general social, economic, and political patterns."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity there."
Chinese cinema has a long history of engagement with China’s art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. Through four films—Li Shizhen (1956), Stage Sisters (1964), Early Spring in February (1963), and Legend of Tianyun Mountain (1979)—Mia Liu reveals how landscape offered an alternative text that could operate beyond political constraints and provide a portal for smuggling interesting discourses into the film. While allusions to pictorial traditions associated with a bygone era inevitably took on different meanings in the context of Mao-era cinema, cinematic engagement with literati landscape endowed films with creative and critical space as well as political poignancy. Liu not only identifies how the conventions and aesthetics of traditional literati landscape art were reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configured themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, suggesting that landscape be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.
This book documents the research project on the trauma of the Cultural Revolution in China and its intergenerational effects. It allows the reader to view the trauma through the perspective of 2,500 years of Chinese thought, and in the light of Chinese social history and governmental policy.
In this comparative, interdisciplinary study based on extensive fieldwork as well as historical sources, Janet Sturgeon examines the different trajectories of landscape change and land use among communities who call themselves Akha (known as Hani in China) in contrasting political contexts. She shows how, over the last century, processes of state formation, construction of ethnic identity, and regional security concerns have contributed to very different outcomes for Akha and their forests in China and Thailand, with Chinese Akha functioning as citizens and grain producers, and Akha in Thailand being viewed as "non-Thai" forest destroyers. The modern nation-state grapples with local power hierarchies on the periphery of the nation, with varied outcomes. Citizenship in China helps Akha better protect a fluid set of livelihood practices that confer benefits on them and their landscape. Denied such citizenship in Thailand, Akha are helpless when forests and other resources are ruthlessly claimed by the state. Drawing on current anthropological debates on the state in Southeast Asia and more generally on debates on property theory, states and minorities, and political ecology, Sturgeon shows how people live in a continuous state of negotiated boundaries - political, social, and ecological. This pioneering comparison of resource access and land use among historically related peoples in two nation-states will be welcomed by scholars of political ecology, environmental anthropology, ethnicity, and politics of state formation in East and Southeast Asia.
"A book for beginners who want to learn about it."-- "Arts & Activities . Rock formations, mountain crags, waterfalls, pines, willows, pagodas, bridges, lakes and mists. 64 pages, 126 b/w illus., 8 1/4 x 11.
