Discovering Chinese Painting in America

Arts & Photography

Kuo, Jason C.

History & Criticism

Kendall/Hunt Publishing Company

Modern Chinese painting embodies the constant renewal and reinvigorations of Chinese civilization amidst rebellions, reforms, and revolutions, even if the process may appear confusing and bewildering. It also demonstrates the persistence of tradition and limits of continuities and changes in modern Chinese cluture. Most significantly, it compels us to ask several important questions in the study of modern Chinese culture: How extensively can cultural tradition be re-interpreted before it is subverted? At what point is creative re-invention an act of betrayal of tradition? How has selective borrowing from Chinese tradition and foreign cultrue enabled modern Chinese artists to sustain themselves in the modern world? By focusing on the art of Huang Pin-hung (1865-1955), particularly his late work, this book attempts to provide some answers to these questions.

Transforming Traditions in Modern Chinese Painting: Huang Pin-hung’s Late Work (Asian Thought and Culture)

Peter Lang Inc., International Academic Publishers

Born of Earth and Fire: Chinese Ceramics from the Scheinman Collection (Studies in Chinese Art and Archaeology)

Baltimore Museum Of Art

University of Maryland at College Park Dept. of Art History and archae

Univ of Washington Pr

VERY GOOD softcover, clean text NO remainders NOT ex-library slight shelfwear; previous owner's name inside; WE SHIP FAST. Carefully packed and quickly sent in rugged shipping box (or Priority Envelope). 201411233 133 pages. ; Studies in Chinese Art History and Archaeology. Paintings from the Tsien-hsiang-chai Collection provide vivid examples of the continuities and changes in modern Chinese art. They exemplify a wide range of styled and subject matter, and provide us with an excellent opportunity to appreciate and understand modern Chinese painting as an embodiment of modern Chinese cultural history. The turbulent story of modern China, as Jonathan Spence has put it, "is made up of overlapping cycles of collapse and reconsolidation, of revolution and evolution, of conquest and movements for progress." Just as many intellectuals advocated reforms in the social and political arenas, so they also espoused changes in painting. We recommend selecting Priority Mail wherever available; $3.99 Standard /Media Mail can take up to 3 weeks.

Heirs to a Great Tradition: Modern Chinese Paintings from the Tsien-Hsiang-Chai Collection (Studies in Chinese Art History and Archaeology, Vol 2)

Visual Culture in Shanghai, 1850s-1930s (Visual Culture, Popular Culture, and Cinema)

Visual Culture in Shanghai, 1850s-1930s is a study of formal and informal meanings of Haipai ("Shanghai School" or "Shanghai Style"), as seen through the paintings of the Shanghai school as well as other media of visual representation. The book provides us a point of entry into the nexus of relationships that structured the encounter between China and the West as experienced by the treaty-port Chinese in their everyday life. Exploring such relationships gives us a better sense of the ultimate significance of Shanghai's rise as China's dominant metropolitan center. This book will appeal not only to art historians, but also to students of history, gender studies, women's studies, and culture studies who are interested in modern China as well as questions of art patronage, nationalism, colonialism, visual culture, and representation of women. "This book constitutes a significant contribution to the literature about a period and a city that were pivotal to the emergence of modern China." -Richard K. Kent, Franklin &amp; Marshall College. "This book navigates the complexity of Chinese modernity.. It bridges, conceptually and visually, the China of the past to present-day Shanghai, the symbol of the urban economy of 21st-century China." -Chao-Hui Jenny Liu, New York University. "Shanghai was the rising and dynamic metropolis, where many aspects of modernity were embraced with enthusiasm. Pictorial art was no longer the domain of the elite, but professionalization, commercialization, popularization, and Westernization contributed to the dissemination of images to a larger and diverse audience." -Minna Törmä, University of Helsinki.

New Academia Pub Llc

"Jason C. Kuo's in-depth study of the paintings of Gao Xingjian significantly enriches our understanding of a major cultural polymath. This lavishly illustrated book enables us to make important connections between painting and writing, a type of synthesis often downplayed by western post-Enlightenment tendencies toward cultural specialization but very much at the heart of the Chinese literati tradition." ―Paul Gladston (University of Nottingham), principal editor of the Journal of Contemporary Chinese Art and author of Contemporary Chinese Art: A Critical History. "In The Inner Landscape: The Paintings of Gao Xingjian, Jason C. Kuo offers his readers a multifaceted lens through which to frame an engagement with the remarkable pictorial, filmic, and literary art of the Chinese writer and 2000 Nobel laureate in literature, Gao Xingjian. A central theme in his oeuvre is reflection on his life as a writer in self-exile in France, a life at once burdened with the memory of his homeland and yet artistically liberating. Kuo illuminates our understanding of the meaning and significance of his art by situating it within a critical discussion of the contemporary context of global modernity, a context that challenges our notions of national cultural identity in an age of mobile subjectivity and the deterritorialization of cultural practices." ―Stephen J. Goldberg (Hamilton College), author of Dislocating the Center: Contemporary Chinese Art Beyond National Borders. "The Inner Landscape: The Paintings of Gao Xingjian presents almost 300 paintings by the contemporary artist, poet, film-maker, author, and Nobel Laureate Gao Xingjian. Jason C. Kuo's erudite study not only details Gao's development as an intellectual, but also contextualizes and explores his attitudes toward writing, painting, and film-making in the interstices of 'East' and 'West'." ―Katharine P. Burnett (University of California, Davis), author of Dimensions of Originality: Essays in Seventeenth-Century Chinese Art Criticism. "The Inner Landscape: The Paintings of Gao Xingjian by Jason C. Kuo is a most thought-provoking and intelligent study of the art of Gao Xingjian. Kuo, driven by a desire for synthesis in his scholarship, brings a modernist practice to bear on a long tradition of intellectual discourse in China." ―Frances Klapthor, Baltimore Museum of Art.

The Inner Landscape: The Paintings of Gao Xingjian

New Academia Publishing/ The Spring

Lo Ch’ing is one of China’s foremost contemporary poet-painters. Despite the differences in their circumstances, many contemporary Chinese painters share one common trait: they have been stimulated by contact with contemporary Western art, but they did not merely imitate it; instead, they have rediscovered the abstract and expressionistic possibilities in their own tradition. It is in this sense that they are heirs to the great tradition of Chinese painting. Through their synthesis of the theories, techniques and styles of traditional literati painting in their own work, they were able to achieve innovation that enriched the tradition. These artists exemplify one of the best ways to be contemporary Chinese artist. Lo Ch’ing has internalized such conflicting state of tradition and modernity (or even post-modernity, if you will) in his work. The “Chinese tradition” takes a not so subtle turn in the Taiwanese environment. Indeed, Taiwan was, incidentally, the most curious and embracing place for matters of experimental nature, particularly during late 1970’s to 1980s when Lo Ch’ing rose to fame. The rise of industrialization, post-industrialization, and curious issue of Taiwan’s cultural identity created a nurturing and controversial ground for creative talents. Industrialization and post-industrialization are subjects of Lo Ch’ing’s work. Certainly, there is an oddity in Lo Ch’ing’s depiction of alien saucers and floating rocks and mountains, yet Lo Ch’ing’s work presents a fresh curiosity that had not been explored in the practice of in painting precisely for that reason. Scholars often used the phrase “reinvention of the Chinese landscape” to describe and define Lo Ch’ing’s work and his motivation behind it, and it’s not entirely correct. To put it in correct historical term, however, it was not the artist who industrialized the landscape, not to mention one can easily argue that the urban landscape of Taiwan is one that is drastically different than landscapes in China. Lo Ch’ing’s’work has a heightened sense of awareness in its presentation of any subject in this matter, and that Lo Ch’ing’s work is very conscious of the environment that its content was derived from. Urbanity, interestingly enough, would be an idea that is in opposition to the tradition of Chinese literati landscape painting, for it means the destruction of nature.

The Poet's Brush: Chinese Ink Paintings by Lo Ch'ing

Individual Artists

See the best price to sell, buy, or rent books by Kuo, Jason C.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Kuo, Jason C.