Cover

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Frontmatter

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Contents

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p. vii

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Acknowledgements

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pp. ix-x

Certain material presented in this book was previously published, in a different form, in other locations. Thanks are due to the editors and copyright holders of those publications for allowing that material to be used as the basis for aspects of the present work. ...

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Introduction

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pp. 1-12

In recent years Chinese contemporary art has received extensive exposure in the international art arena. The rise of China on the world stage, following the economic liberalization and opening-up of the Deng Xiaoping era, has been one obvious major factor behind this transformation. ...

Part I: Trajectories: Chinese artists and the West

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Chapter 1: Chitqua: A Chinese artist in eighteenth-century London

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pp. 15-84

Until recently, accounts of Chinese art have tended to give an undue prominence to the artistic taste of the scholar-gentleman elite, which valorized amateur production and private circulation, and emphasized qualities of rhythmic vitality and expressivity in brushwork. An internalization of literati values by art historians meant that less attention...

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Chapter 2: Cross-cultural dialogue and artistic innovation: Teng Baiye and Mark Tobey

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pp. 85-111

When American painter Mark Tobey (1890–1976) discussed his artistic development, he emphasized the importance of his study of Chinese brushwork, undertaken in Seattle with a Chinese friend, in liberating him from bondage to the Renaissance heritage and permitting him to discover the dynamic linearity which became the hallmark of his style. ...

Part II: Imported genres

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Chapter 3: Iconicity and indexicality: The body in Chinese art

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pp. 115-132

In this chapter I consider the place of the body in Chinese art.1 I begin by identifying in a somewhat schematic way various defining characteristics of literati painting and calligraphy, the art of the social elite in pre-modern China.2 I then consider, with greater historical focus, the moment when a distinctly modern visual culture, drawing self-consciously on Western...

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Chapter 4: Abstraction and modern Chinese art

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pp. 133-164

Linear stories of modern art’s development have characteristically been formalistic ones, and although such narratives have not always treated abstraction as essential to artistic progress, they have generally given art that is abstract a central role to play. In particular, abstract art proved crucial to narratives that construct postwar American modernism...

Part III: Returning home: Cites between China and the world

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Chapter 5: Illuminating facades: Looking at postcolonial Macau

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pp. 167-188

First settled by the Portuguese in 1557, Macau’s position at the mouth of China’s Pearl River enabled it to play a significant role in the early development of trading and other links between East Asia and Europe. Its pivotal role was already threatened by the eighteenth century, however, following the Japanese prohibition on foreign trade...

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Chapter 6: The haunted city: Hong Kong and its urban others in the postcolonial era

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pp. 189-212

When we travel to other cities as the result of personal desire — for example, in our identity as tourists — we are driven to a significant extent by the place that city has in our imaginative life. Towards the beginning of Proust’s monumental work In Search of Lost Time the narrator’s young self...

Notes

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pp. 213-252

Index

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pp. 253-259