Parting the Mists: Discovering Japan and the Rise of National-Style Painting in Modern China (Asian Interactions and Comparisons, 12)

In __Parting the Mists__, Aida Yuen Wong makes a convincing argument that the forging of a national tradition in modern China was frequently pursued in association with rather than in rejection of Japan. The focus of her book is on Japan’s integral role in the invention of "national-style painting," or __guohua,__ in early-twentieth-century China. __Guohua__, referring to brush paintings on traditional formats, is often misconstrued as a residual conservatism from the dynastic age that barricaded itself within classical traditions. Wong places this art form at the forefront of cross-cultural exchange. Notable proponents of __guohua__ (e.g., Chen Hengke, Jin Cheng, Fu Baoshi, and Gao Jianfu) are discussed in connection with Japan, where they discovered stylistic and ideological paradigms consonant with the empowering of "Asian/Oriental" cultural practices against the backdrop of encroaching westernization. Not just a "window on the West," Japan stood as an informant of China modernism in its own right. The first book in English devoted to Sino-Japanese dialogues in modern art, __Parting the Mists__ explores the sensitive phenomenon of Japanism in the practice and theory of Chinese painting. Wong carries out a methodologically agile study that sheds light on multiple spheres: stylistic and iconographic innovations, history writing, art theory, patronage and the market, geopolitics, the creation of artists’ societies, and exhibitions. Without avoiding the dark history of Japanese imperialism, she provides a nuanced reading of Chinese views about Japan and the two countries’ convergent, and often colliding, courses of nationalism. In Parting The Mists, Aida Yuen Wong Makes A Convincing Argument That The Forging Of A National Tradition In Modern China Was Frequently Pursued In Association With Rather Than In Rejection Of Japan. The Focus Of Her Book Is On Japan's Integral Role In The Invention Of National-style Painting, Or Guohua, In Early-twentieth-century China. Guohua, Referring To Brush Paintings On Tradition Formats, Is Often Misconstrued As A Residual Conservatism From The Dynastic Age That Barricaded Itself Within Classical Traditions. Wong Places This Art Form At The Forefront Of Cross-cultural Exchange. Notable Proponents Of Guohua (e.g., Chen Hengke, Jin Cheng, Fu Baoshi, And Gao Jianfu) Are Discussed In Connection With Japan, Where They Discovered Stylistic And Ideological Paradigms Consonant With The Empowering Of Asian/oriental Cultural Practices Against The Backdrop Of Encroaching Westernization. Not Just A Window On The West, Japan Stood As An Informant Of China Modernism In Its Own Right. This Volume Contains A Broad Range Of Materials From Both Chinese And Japanese Archives. It Is One Of The Most Impartial Accounts Of The Sino-japanese Relationship In Recent Years. In Addition To Analyzing Artistic Expressions And Their Ideological Underpinnings, Parting The Mists, Takes The Reader Into The Artists' Inner Circles - Their Friendships, Group Affiliations, And Social Networks. A Valuable Contribution To The Study Of Modern Chinese Painting And Trans-asiatic Modernism, It Will Be A Reference For Sino-japanese Relations In Art History For Some Time To Come.--jacket. Tradition Is A Foreign Country. -- Nationalism And The Writing Of New Histories. -- Literati Painting As The Oriental Modern -- Wu Changshuo's Japanese Circle: Between Patronage And Style. -- Six Exhibitions And Sino-japanese Diplomacy. Aida Yuen Wong. Includes Bibliographical References (p. ]165]-182) And Index.

In Parting the Mists, Aida Yuen Wong makes a convincing argument that the forging of a national tradition in modern China was frequently pursued in association with rather than in rejection of Japan. The focus of her book is on Japan's integral role in the invention of "national-style painting," or guohua, in early-twentieth-century China. Guohua, referring to brush paintings on traditional formats, is often misconstrued as a residual conservatism from the dynastic age that barricaded itself within classical traditions. Wong places this art form at the forefront of cross-cultural exchange. Notable proponents of guohua (e.g., Chen Hengke, Jin Cheng, Fu Baoshi, and Gao Jianfu) are discussed in connection with Japan, where they discovered stylistic and ideological paradigms consonant with the empowering of "Asian/Oriental" cultural practices against the backdrop of encroaching westernization. Not just a "window on the West," Japan stood as an informant of China modernism in its own right.

The first book in English devoted to Sino-Japanese dialogues in modern art, Parting the Mists explores the sensitive phenomenon of Japanism in the practice and theory of Chinese painting. Wong carries out a methodologically agile study that sheds light on multiple spheres: stylistic and iconographic innovations, history writing, art theory, patronage and the market, geopolitics, the creation of artists' societies, and exhibitions. Without avoiding the dark history of Japanese imperialism, she provides a nuanced reading of Chinese views about Japan and the two countries' convergent, and often colliding, courses of nationalism.

Contents Illustrations Series Editor’s Preface Acknowledgments Notes to the Reader Introduction 1. Tradition Is a Foreign Country 2. Nationalism and the Writing of New Histories 3. Literati Painting as the “Oriental Modern” 4. Wu Changshuo’s Japanese Circle: Between Patronage and Style 5. Six Exhibitions and Sino-Japanese Diplomacy Conclusion Notes Glossary Bibliography Index