Chinese Painting and Its Audiences (The A. W. Mellon Lectures in the Fine Arts, 61)

**A history of the reception of Chinese painting from the sixteenth century to the present**What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In __Chinese Painting and Its Audiences__, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. __Chinese Painting and Its Audiences__ demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting.Exploring the complex relationships between works of art and those who look at them, __Chinese Painting and Its Audiences__ sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DCPlease note: All images in this ebook are presented in black and white and have been reduced in size.

A history of the reception of Chinese painting from thesixteenth century to the present What is Chinese painting?When did it begin? And what are the different associations of thisterm in China and the West? In Chinese Painting and ItsAudiences, which is based on the A. W. Mellon Lectures in theFine Arts given at the National Gallery of Art, leading arthistorian Craig Clunas draws from a wealth of artistic masterpiecesand lesser-known pictures, some of them discussed here in Englishfor the first time, to show how Chinese painting has beenunderstood by a range of audiences over five centuries, from theMing Dynasty to today. Chinese Painting and Its Audiencesdemonstrates that viewers in China and beyond have irrevocablyshaped this great artistic tradition. Arguing that audiences withinChina were crucially important to the evolution of Chinesepainting, Clunas considers how Chinese artists have imagined thereception of their own work. By examining paintings that depictpeople looking at paintings, he introduces readers to ideal typesof viewers: the scholar, the gentleman, the merchant, the nation,and the people. In discussing the changing audiences for Chineseart, Clunas emphasizes that the diversity and quantity of images inChinese culture make it impossible to generalize definitively aboutwhat constitutes Chinese painting. Exploring the complexrelationships between works of art and those who look at them,Chinese Painting and Its Audiences sheds new light on howthe concept of Chinese painting has been formed and reformed overhundreds of years. Published in association with the Center forAdvanced Study in the Visual Arts, National Gallery of Art,Washington, DC Please note: All images in this ebook are presentedin black and white and have been reduced in size.

A history of the reception of Chinese painting from the sixteenth century to the present What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences , which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition. Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting. Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size. A history of the reception of Chinese painting from the sixteenth century to the present What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences , which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition. Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting. Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC "What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition. Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people"--Publisher's description. Contents Acknowledgments Introduction 1 Beginning and ending 2 The gentleman 3 The emperor 4 The merchant 5 The nation 6 The people Conclusion Notes Bibliography Index Photography and Copyright Credits