The Double Screen: Medium and Representation in Chinese Painting

Front Cover
University of Chicago Press, 1996 - Art - 296 pages
In the first exploration of Chinese paintings as both material products
and pictorial representations, The Double Screen shows how the
collaboration and tension between material form and image gives life to
a painting. A Chinese painting is often reduced to the image it bears;
its material form is dismissed; its intimate connection with social
activities and cultural conventions neglected.

A screen occupies a space and divides it, supplies an ideal surface for
painting, and has been a favorite pictorial image in Chinese art since
antiquity. Wu Hung undertakes a comprehensive analysis of the screen,
which can be an object, an art medium, a pictorial motif, or all three
at once. With its diverse roles, the screen has provided Chinese
painters with endless opportunities to reinvent their art.

The Double Screen provides a powerful non-Western perspective on
issues from portraiture and pictorial narrative to voyeurism,
masquerade, and political rhetoric. It will be invaluable to anyone
interested in the history of art and Asian studies.

 

What people are saying - Write a review

We haven't found any reviews in the usual places.

Contents

The Screen
9
The Night Entertainment of Han Xizai
29
Interior and Exterior Spaces
74
Inner and Outer Worlds
136
Emperors Choice
202
Metapictures
239
References
262
Bibliography
282
List of Illustrations
289
Copyright

Other editions - View all

Common terms and phrases

Popular passages

Page 4 - Field teaches in the Department of East Asian Languages and Civilizations at the University of Chicago.

About the author (1996)

Wu Hung is Harrie A. Vanderstappen Distinguished Service Professor in Chinese art history at the University of Chicago.

Bibliographic information