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This title is no longer available from this publisher at this time. To let the publisher know you are interested in the title, please email bv-help@uchicago.edu. |
The Double Screen: Medium and Representation in Chinese Painting
University of Chicago Press, 1997 Cloth: 978-0-226-36073-7 | Paper: 978-0-226-36074-4 Library of Congress Classification ND1040.W89 1996 Dewey Decimal Classification 759.951
ABOUT THIS BOOK | TOC
ABOUT THIS BOOK
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. See other books on: Hung, Wu | Painting | Representation | Techniques | Themes, motives See other titles from University of Chicago Press |
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This title is no longer available from this publisher at this time. To let the publisher know you are interested in the title, please email bv-help@uchicago.edu.
The Double Screen: Medium and Representation in Chinese Painting
ABOUT THIS BOOK | TOC
University of Chicago Press, 1997
Cloth: 978-0-226-36073-7
Paper: 978-0-226-36074-4
Cloth: 978-0-226-36073-7
Paper: 978-0-226-36074-4
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.
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.
ABOUT THIS BOOK | TOC
