World 3: Research on Chinese Art History – A Western Perspective

The Research On Chinese Art History

A Western Perspective

Since the late 20th century, the discourse of scholarship on Chinese art history has undergone significant changes. It was a period in which the western new art history theories placed substantial influence on the study of Chinese art history, and also an era when the scholars of Chinese art history were exploring new methods on the basis of resonating with the consequences. At that time, there were both deconstructive treatises that dissect the studies on literati life, and ambitious general history writings with aims of reconstructing the history of art. In effect, not only holistic thinking emerged from the realms of anthropology and archaeology, but also numerous terminologies derived from post-modern philosophy and literature studies. "Ideologicalization" was the fundamental characteristic alongside various scholarship on Chinese art history in this period. On the one hand, the frame of art history research has passed far beyond the field of Chinese painting, in contrast, simultaneously leading the research on bronze art, Buddhist art, and tomb art. On the other hand, the examination of concepts such as the ways of exhibiting, seeing, producing, consuming, as well as spatiality and materiality, greatly expanded the vertical and horizontal dimensions of all study fields.

Along with changes socially embedded, and the increasingly frequented scholarly conversations among intellectuals from all over the world after the 1980s, "research on Chinese art history" in the landscape of globalization has found widespread interests. It introduced new notions with the "western perspective" conception for scholarship on Chinese art history. During this period, the relationship between Chinese art history, and the discipline of art history and cultural studies interweaving in time and place, resulting in new ideas. In fact, the perception of the "western perspective" in the context of Chinese art history reasonably differs from now and in the last 30–40 years. However, these historical phenomena demonstrate the condensation of scholarly reflections at that stage. The reconstructed concept of "western perspective" in the volume's title refers to "the site of knowledge production," and reveals the various fashions of research practices in different locations. The embodiment of interdisciplinary thinking, a variety of subject matter, perspective, and methodology shapes the divergence and future of Chinese art history. World 3: The Research On Chinese Art History–A Western Perspective aims to review and introduce the knowledge production in various places, focus on "research on Chinese art history" in diverse contexts, and comparatively reflect on the discipline over the past three to four decades.

目录

Table of Contents

Huang Zhuan | General Preface

Wu Hung | Editorial Preface

New Studies

Hong Zaixin

Mongol Court and Chinese Literati from Jiangnan: On the Studies of the Art of Yuan China and Development of Humanistic Studies Since 1980s

Li Yingchun

Modern Chinese Architectural History: Problematics, Perspectives, and Scholarships in the Past Thirty Years

Xu Tingting

How to Define “ ‘Chinese’ Photography ”?— Its Historical Subjectivities in Historiography

Katherine Renhe Tsiang

Worldly Buddhist Icons: The Global Distribution of Sculptures from Tianlongshan

Claudia Brown

Acquisitions of Chinese Painting by North American Museums Since the 1980s: Some Impressions

Theory and Criticism

Fan Jingzhong

A Preface to Huang Zhuan’s Synopsis on Chinese Art Historiography

Huang Zhuan

Lectures on Chinese Art Historiography: A Synopsis

Projects

Wu Xia

A General Account of the International Conference on Ancient Tomb Art

Jonathan K. Nelson

Chinese Scholars on Renaissance Studies in the PRC

Yang Xiao

Towards A Cross-Cultural Perspective of Research on Chinese Art History in the 20th Century: Some Thoughts on “the Ethnographic Eye” Project

Deborah Marrow and Joan Weinstein

The Getty Foundation's Connecting Art Histories Initiative

Project Updates

Jerome Silbergeld et al.

Where Did We Come from? Where Will We Go ? Chinese Art History’s Past and Future

Book Reviews

Jennifer Purtle

Ways of Perceiving Chinese Art in Late Imperial China

Karil J. Kucera

Review on A Companion to Chinese Art

Zou Jianlin

Hans Belting’s An Anthropology of Images: Picture, Medium, Body and its Reception

World
3

World 3 is an academic publication series initiated by OCAT Institute based in Beijng, first launched in 2014 by the late founding Editor-in-Chief Huang Zhuan. Taking art history as its basic orientation while exploring points of connectivity in other disciplines, the journal features original publications and Chinese translations of innovative thematic research in art history and theory, and in other relevant fields such as cultural, social, and intellectual history, the history of linguistics, psychology, philosophy, and religion. Other sections include review and commentary on associated international events, publications, exhibitions, and research institutions. The series offers a publishing platform for the research outcomes in related fields, and strives for conditions that cultivate new modalities of thinking and epistemology in Chinese scholarship.

◼ World 3 

OCAT InstituteOpened in orderly form 6 May, Please make an appointment to visit"Stars 1979" postponed to June 28

About OCAT Institute

The OCAT Institute is a non-profit research center dedicated to the history of art and its related discourses. It is also a member of the OCAT Museums. The Institute has three main areas of activity: publication, archives, and exhibition. The scope of its research encompasses art from antiquity, modern and contemporary Chinese art, more specifically, it includes the investigation of artists, artworks, schools of art production, exhibitions, art discourses, as well as art institutions, publications and other aspects of art’s overall ecology. It will establish a research archives and facilitate dialogue and exchange between China and abroad. In addition, it serves as an exhibition platform in Beijing.

The OCAT Institute aims to establish a paradigm of values, a system of academic investigation, and modes of applying historical research methodologies to modern and contemporary Chinese art. Through an interdisciplinary approach that bridges contemporary art research, critical theory, and the history of ideas and culture, it promotes an integrated methodology that seeks to cultivate an open spirit of academic research. The OCAT Institute is open to the public in 2015.

Opening Hours: 10:00-17:00, Tuesday-Sunday (Closed on Mondays)

Address: OCAT Institute, Jinchanxilu, Chaoyang District, Beijing (100 meters North from Subway Line 7 Happy Valley Scenic Area Station Exit B)

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Website: www.ocatinstitute.org.cn