明代风物志及近代视觉:柯律格著作两种
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Superfluous Things——Material Culture and Social Status in Early Modern China/Pictures and Visuality in Early Modern China
著者/Craig Clunas
early attachment to mimesis in favour of a self-referential attention to painting in and of itself. This is indeed the theoretical position adopted by most of the canonical artists and theorists (and it is a distinctiveness of the Chinese situation that they are frequently one and the same people) since the eleventh century. It is an account that has considerable strengths,
not least those of taking seriously statements from within Chinese culture.
body of Chinese picture-making and picture-viewing practices for which representation remained a central issue, indeed the principal justification for picture making at all. Some of these engagements fall within the Chinese discourse of 'painting' as historically constructed and presently sustained. Many of them do not. All need to be considered as part of a specific
historical visuality, Hal Foster's 'sight as social fact',3 although I have done no more than indicate in Chapter 4 some of the directions such an enquiry would have to take.

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