十七世纪中国绘画、理论和批评中的当代性

IF 1.1 0 ASIAN STUDIES
Katharine Burnett
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引用次数: 0

摘要

中国绘画常常被认为是永恒不变的,是一门依赖于临摹古人的艺术,因而永远是重复的。然而,仔细观察艺术、理论和评论,尤其是十七世纪的艺术、理论和评论,就会对这些观念提出质疑。当我们一次又一次地看到艺术家们借鉴早期著名画家的作品,却又对其进行改造,甚至是颠覆时,我们必须要问,他们所倡导的是什么价值观。本文认为,从十六世纪到十七世纪,绘画批评和实践发生了转变,十七世纪的批评价值观强调当代性、新颖性和差异性,这导致了绘画经典的扩展。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Contemporaneity in Seventeenth-Century Chinese Painting, Theory, and Criticism
Chinese painting has often been considered timeless and unchanging, an art reliant on the copying of the ancients, and thereby forever reiterative. Closer inspection of the art, theory, and criticism, especially of the seventeenth century, however, challenges these notions. When time and again we see artists referring to the works of earlier acclaimed painters but yet transforming them — or even subverting them — we must ask what values are being promoted. In this essay, it is argued that a shift occurred in painting criticism and practice from the sixteenth century to the seventeenth, that seventeenth-century critical values emphasized the contemporary, new, and different, and that this resulted in an expanded canon of painting.
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来源期刊
Ming Studies
Ming Studies ASIAN STUDIES-
CiteScore
0.70
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