“The Art of Modern China is a long-awaited, much-needed survey. The authors’ combined experience in this field is exceptional. In addition to presenting key arguments for students and arts professionals, Andrews and Shen enliven modern Chinese art for all readers. The Art of Modern China gives just treatment to an expanded field of overlooked artworks that confront the challenges of modernization.”—De-nin Deanna Lee, author of The Night Banquet: A Chinese Scroll through Time.

The last of four two-volume sets on the key periods of paradigm shift in Chinese religious and cultural history, this book examines the transformation of values in China since 1850, in the “secular” realms of economics, science, medicine, aesthetics, media, and gender, and in each of the major religions (Confucianism, Buddhism, Daoism, Christianity) as well as in Marxist discourse. The nation and science are the values invoked most frequently, with the market and democracy a distant second. As in previous periods of fundamental change in Chinese history, rationalization and secularization have played central roles, but interiorization nearly disappears as a driving force. Also in continuity with the past, the state insists on an exclusive right to define and adjudicate orthodoxy. Contributors include: Daniel H. Bays, Sébastien Billioud, Adam Yuet Chau, Na Chen, Philip Clart, Walter B. Davis, Arif Dirlik, Thomas David DuBois, Lizhu Fan, David Faure, Melissa Wei-Tsing Inouye, Ji Zhe, Xiaofei Kang, Eric I. Karchmer, André Laliberté, Angela Ki Che Leung, Xun Liu, Richard Madsen, David Ownby, Ellen Oxfeld, Volker Scheid, Grace Yen Shen, Michael Szonyi, Wang Chien-ch’uan, Xue Yu

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1988.

The anthropology of art in China includes studies of popular arts among the Han in both rural and urban settings, and of folk arts among minority peoples. The country is currently experiencing rapid social change and aesthetic values are being transformed. Chinese scholars have both an exciting range of dramatic case studies to present and their own distinctive theories to offer on these processes. This volume is the first to present an overview of the anthropology of art in China to researchers in the English-speaking world. The essays are written by leading Chinese professors in the fields of visual art, dance, music and art theory.

This book presents in eight chapters the work of over 75 Chinese female artists, both pictorial and poetic. Their art is viewed within a framework of eight themes. The broad topics explored include the body; life; the representation of the experience of being a woman; home and the world; a view of children and other women; clothes; social conscience; fantasy; and abstraction—nonfigurative work and its viability as a medium to express the spiritual. These themes provide several lenses through which to enjoy and compare these artists’ approaches and outputs. The volume is unique in its inclusion of poetry by contemporary women whose voices articulate so many of the same concerns as the visual artists. In China, poetry has always been the prime form of artistic expression, and it remains so today. Looking at this poetry affords us a different means of appreciating the art of women in contemporary society.

How did art reform fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period? "Modern art for a modern China" was the rallying cry of Chinese intellectuals, many of whom were artists, critics, writers, poets and educators. Wang describes how these groups discussed and implanted changes in China’s conception and practice of art. She demonstrates how art reforms fit into the many initiatives for social and cultural change that contributed to the New Cultural Movement that transformed the Chinese cultural landscape during the Republican period. In doing so, she analyses two key areas in the intellectual history of Republican China: China’s art reform in the early decades of the twentieth century; and the connection and intersection between colonialism, nationalism and cosmopolitanism, including their direct impact on the development of art and art practice in China. Modern Art for a Modern China is an invaluable resource for scholars and students of China’s twentieth-century intellectual history and art history.

A wide-ranging and accessibly written guide to the key aspects of elite and popular culture in contemporary China.

An important reference source for scholars and students of modern Chinese art, collectors, museums and libraries, dealers and auction houses. It includes biographical entries for approximately 800 Chinese artists who grew up or were trained in China and who are likely to be represented in collections, exhibitions, and auctions within and outside China.

Folk art is now widely recognized as an integral part of the modern Chinese cultural heritage, but in the early twentieth century, awareness of folk art as a distinct category in the visual arts was new. Internationally, intellectuals in different countries used folk arts to affirm national identity and cultural continuity in the midst of the changes of the modern era. In China, artists, critics and educators likewise saw folk art as a potentially valuable resource: perhaps it could be a fresh source of cultural inspiration and energy, representing the authentic voice of the people in contrast to what could be seen as the limited and elitist classical tradition. At the same time, many Chinese intellectuals also saw folk art as a problem: they believed that folk art, as it was, promoted superstitious and backward ideas that were incompatible with modernization and progress. In either case, folk art was too important to be left in the hands of the folk: educated artists and researchers felt a responsibility intervene, to reform folk art and create new popular art forms that would better serve the needs of the modern nation. In the early 1930s, folk art began to figure in the debates on social role of art and artists that were waged in the pages of the Chinese press, the first major exhibition of folk art was held in Hangzhou, and the new print movement claimed the print as a popular artistic medium while, for the most part, declaring its distance from contemporary folk printmaking practices. During the war against Japan, from 1937 to 1945, educated artists deployed imagery and styles drawn from folk art in morale-boosting propaganda images, but worried that this work fell short of true artistic accomplishment and pandering to outmoded tastes. The questions raised in interaction with folk art during this pivotal period, questions about heritage, about the social position of art, and the exercise of cultural authority continue to resonate into the present day.

Modern Chinese painting embodies the constant renewal and reinvigorations of Chinese civilization amidst rebellions, reforms, and revolutions, even if the process may appear confusing and bewildering. It also demonstrates the persistence of tradition and limits of continuities and changes in modern Chinese cluture. Most significantly, it compels us to ask several important questions in the study of modern Chinese culture: How extensively can cultural tradition be re-interpreted before it is subverted? At what point is creative re-invention an act of betrayal of tradition? How has selective borrowing from Chinese tradition and foreign cultrue enabled modern Chinese artists to sustain themselves in the modern world? By focusing on the art of Huang Pin-hung (1865-1955), particularly his late work, this book attempts to provide some answers to these questions.