Chinese Landscape Painting as Western Art History

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Hong Kong University Press, Jun 1, 2010 - Art - 208 pages
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This is a provocative essay of reflections on traditional mainstream scholarship on Chinese art as done by towering figures in the field such as James Cahill and Wen Fong. James Elkins offers an engaging and accessible survey of his personal journey encountering and interpreting Chinese art through Western scholars' writings. He argues that the search for optimal comparisons is itself a modern, Western interest, and that art history as a discipline is inherently Western in several identifiable senses. Although he concentrates on art history in this book, and on Chinese painting in particular, these issues bear implications for Sinology in general, and for wider questions about humanistic inquiry and historical writing. Jennifer Purtle's Foreword provides a useful counterpoint from the perspective of a Chinese art specialist, anticipating and responding to other specialists’ likely reactions to Elkins's hypotheses.
 

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420/10 would not read again, pile of donkey shit

Contents

Iterated Introductions
1
I A Brace of Comparisons
13
II Tying Some Laces
49
III The Argument
67
IV The Endgame and the Qing Eclipse
99
V Postscripts
133
Notes
147
Index
175
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About the author (2010)

James Elkins teaches at the School of the Art Institute of Chicago.

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