Hostname: page-component-848d4c4894-5nwft Total loading time: 0 Render date: 2024-05-15T08:13:45.959Z Has data issue: false hasContentIssue false

Western Approaches to Chinese Landscape Painting

Published online by Cambridge University Press:  01 January 2024

Kiraz Perinçek Karavit*
Affiliation:
Boğaziçi University, Turkey
*
Kiraz Perinçek Karavit, Asian Studies Center, Boğaziçi University, South Campus, Cultural Heritage Museum, Bebek, Istanbul, Turkey. Email: kiraz.perincek@gmail.com

Abstract

This paper considers Western approaches at different time periods to Chinese landscape painting, with a focus on the eleventh century Chinese painter Guo Xi's Essay on landscape painting. First, brief information will be given about the artist and his work. A brief scrutiny of a review published in 1936 will show how the Essay became influential in the West. Later publications, which appeared in 1969, 2007, and 2009 respectively, will show some changes in Western approaches to Chinese landscape painting, revealing the main rhetoric of their times along with changing debates and approaches within Western art history.

Type
Articles
Copyright
Copyright © ICPHS 2022

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Blair, S, Bloom, J (2003) The mirage of Islamic art: Reflections on the study of an unwieldy field. The Art Bulletin 85(1): 152184.CrossRefGoogle Scholar
Bozdoğan, S, Necipoğlu, G (2007) Entangled discourses: scrutinizing orientalist and Nationalist legacies in the architectural historiography of the “Lands of Rum”‘, Muqarnas. An Annual on the Visual Cultures of the Islamic World 24: 16.Google Scholar
Clunas, C (1997) Art in China. Oxford: Oxford University Press.Google Scholar
De Silva, A (1967) The Art of Chinese Landscape Painting in the Caves of Tunhuang. New York: Crown Publishers.Google Scholar
Feleppa, R (1986) Emics, Etics, and social objectivity. Current Anthropology 27(3): 243255.CrossRefGoogle Scholar
Fernald, HE (1936) Review of An Essay on Landscape Painting by Kuo his. Journal of the Royal Asiatic Society of Great Britain and Ireland 68(4): 681683.CrossRefGoogle Scholar
Fong, WC (1969) Toward a structural analysis of Chinese landscape painting. Art Journal 28(4): 388397.CrossRefGoogle Scholar
Gombrich, EH (1960) Art and Illusion: A study in the Psychology of Pictorial Representation. New York: Pantheon Books.Google Scholar
Grabar, O (1976) Islamic art and archaeology. In Binder, L (ed), The Study of the Middle East New York: Wiley, 229263.Google Scholar
Guo, X (1935) An Essay on Landscape Painting, transl. Sakanishi, Shio. London: John Murray.Google Scholar
Harris, M (1976) History and significance of the Emic/Etic distinction. Annual Review of Anthropology 5: 329350.CrossRefGoogle Scholar
Kesner, L (2007) Is a Truly global art history possible?. In Elkins, J (ed) Is Art History Global?. New York-London: Routledge, 81111.Google Scholar
Lin, C (2006) The Art of Chinese Painting: Capturing the Timeless Spirit of Nature, transl. Yan, X., Ni, Y. Beijing: China Intercontinental Press.Google Scholar
Lin, Y (1967) The Chinese Theory of Art. Translations from the Masters of Chinese Art. London: Heinemann.Google Scholar
Morris, MW, Leung, K, Ames, D, Lickel, B (1999) Views from Inside and Outside: integrating Emic and Etic Insights about Culture and Justice Judgment. The Academy of Management Review 24(4): 781796.CrossRefGoogle Scholar
Nelson, RS (1997) The map of art history. The Art Bulletin 79(1): 2840.CrossRefGoogle Scholar
Pike, KL (1967) Language in Relation to a Unified Theory of the Structure of Human Behavior. The Hague: Mouton.CrossRefGoogle Scholar
Sullivan, M (2007) The gift of distance: Chinese landscape painting as a source of inspiration. Southwest Review 92(3): 407419.Google Scholar
Sullivan, M (1979) Symbols of Eternity: The Art of Landscape Painting in China. Stanford: Stanford University Press.Google Scholar
Summers, D (1996) Representation. In Nelson, RS, Shiff, R (eds) Critical Terms for Art History. Chicago: University of Chicago Press, 316.Google Scholar
Summers, D (2006) World art history and the rise of Western modernism, or goodbye to the visual arts. In Onians, J (ed) Compression vs Expression: Containing and Explaining the World's Art. New Haven: Yale University Press, 215234.Google Scholar
Tinsley, CH (2005) The heart of darkness: advice on navigating cross-cultural research. International Negotiation 10: 183192.CrossRefGoogle Scholar
Turner, M (2009) Classical Chinese landscape painting and the aesthetic appreciation of nature. The Journal of Aesthetic Education 43(1): 106121.CrossRefGoogle Scholar
Xia, J (2011) An anthropological Emic-Etic perspective on open access practices. Journal of Documentation 67(1): 7594.CrossRefGoogle Scholar
Zhang, A (2002) A History of Chinese Painting, trans. Li, D. J. Beijing: Foreign Languages Press.Google Scholar