Abstract

This paper explores the uneasy position of painting in an early twentieth-century Shanghai publication, the National Essence Journal (Guocui xuebao, 1905-11), published by the prominent and influential Society for Preservation of National Learning (Guoxue baocunhui). The publication is like international expositions and museums in peculiar ways; the Chinese paintings in it, devoted to the nation, are paradoxically invisible. In the article I explore how and why, establishing the ways in which painting was newly understood to matter in the modern era.

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Additional Information

ISSN
1527-8271
Print ISSN
1067-9847
Pages
pp. 55-82
Launched on MUSE
2011-07-01
Open Access
No
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