This richly illustrated book provides an anthology and summation of the work of one of the world’s leading historians of Chinese painting and calligraphy. Wen Fong helped create the field of East Asian art history during a distinguished five-decade career at Princeton University and the Metropolitan Museum of Art. Few if any writers in English have such a broad knowledge of the history and practice of Chinese painting and calligraphy. In this collection of some of his most recent essays, Fong gives a sweeping tour through the history of Chinese painting and calligraphy as he offers new and revised views on a broad range of important subjects.
The topics addressed include “art as history,” in which each art object preserves a moment in art’s own significant history; the museum as a place of serious study and education; the close historical relationship between calligraphy and painting and their primacy among Chinese fine arts; the parallel development of representational painting and sculpture in early painting history; the greater significance of brushwork, seen abstractly as a means of personal expression by the artist, in later painting history; the paradigmatic importance of the master-to-follower lineage as a social force in shaping the continuity and directing the subtle changes in Chinese painting history; the role of collectors; and the critical necessity of authenticated works for establishing an accurate art history.
Throughout the book, Fong skillfully combines close analysis and detailed contextualization of individual works to reveal how the study of Chinese painting and calligraphy yields deep insights about Chinese culture and history.
2 有用 Soo Yung 2015-09-14 09:34:53
融会贯通,涉及很多西方的理论家想法、著作,以对比、补全对于中国书法与绘画的理解,极为大气;毕竟是用英文写作,受众群体还是西方艺术史学界,已经是极好的入门介绍,虽然有一些分析相对浅尝辄止,毕竟对艺术的形神描绘是难以用文学表达的;深刻意识到中西方艺术的差别,将很多西方艺术分析理论套到中国书法和绘画上过于生硬,太不‘正确’;由于长时间受到西方现当代艺术的洗脑,在欣赏、理解中国艺术时面临极大的困难,思路难... 融会贯通,涉及很多西方的理论家想法、著作,以对比、补全对于中国书法与绘画的理解,极为大气;毕竟是用英文写作,受众群体还是西方艺术史学界,已经是极好的入门介绍,虽然有一些分析相对浅尝辄止,毕竟对艺术的形神描绘是难以用文学表达的;深刻意识到中西方艺术的差别,将很多西方艺术分析理论套到中国书法和绘画上过于生硬,太不‘正确’;由于长时间受到西方现当代艺术的洗脑,在欣赏、理解中国艺术时面临极大的困难,思路难以纠正,很痛苦;如何欣赏明显的平面画作通过颜色透明重叠而形成空间层次、轮廓、骨架的美感的方法太出彩了(p136, 200)! 第六七章谈山水画的篇幅,由于中国画和美学传统的认识、训练,面对不同风格的作品连基本的感悟力都丧失了,太钝化。真希望方闻能多谈谈中国当代艺术家如何继承和创新的 Chris (展开)
1 有用 鵬鵬 James 2015-05-23 13:54:44
大略翻過。一般七八十歲的年齡大師寫的文集,思路都像閑雲野鶴般大氣而跳躍,讀起來囫圇吞棗、不求甚解即可。
0 有用 没静电 2015-02-12 09:03:22
英雄悲歌,前浪反后浪作品,Sibergeld 序言流畅热诚,一反现在主流写作的聚乙烯感
0 有用 Zhuziweiart 2019-10-24 20:27:18
太好了
0 有用 fff勒内 2024-05-18 04:08:06 美国
最难懂的部分是视觉分析…几点重要的intervention很清晰:archaism as progress/post-mimetic genealogy/painting-calligraphy。representation-presentation某种意义上是画意(此处可见石守谦的贡献)。明晓此种历史逻辑的缺憾的同时仍然跌入了exceptionalism的叙事(但历史作为某种运作网络可见Kubl... 最难懂的部分是视觉分析…几点重要的intervention很清晰:archaism as progress/post-mimetic genealogy/painting-calligraphy。representation-presentation某种意义上是画意(此处可见石守谦的贡献)。明晓此种历史逻辑的缺憾的同时仍然跌入了exceptionalism的叙事(但历史作为某种运作网络可见Kubler的影响)。董源、石涛。 (展开)