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Inhaltsangabe: The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. "This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork." -Michèle Pirazzoli-t'Serstevens, formerly Curator of Far Eastern Art of the Musée Guimet, Paris, currently Directeur d'études, École Pratique des Hautes Études, Paris, author of La Civilisation du Royaume de Dian à l'époque Han, La Chine des Han:histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte à la Cour de Chine, and editor of Storia Universale dell'Arte : La Cina. "These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows." -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. "Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist's oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline." -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). "Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history." - David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History.

About the Author: Jason C. Kuo teaches Chinese art at the University of Marlyland. He has held appointments at the National Taiwan University, Williams College, and Yale University. Among his publications are The Austere Landscape: The Paintings of Hung-jen; Chen Chikwan; Word as Image: The Art of Chinese Seal Engraving; and Art and Cultural Politics in Postwar Taiwan.

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Buchbeschreibung New Academia Publishing, LLC, United States, 2008. Hardback. Buchzustand: New. Language: English . Brand New Book ***** Print on Demand *****.The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork. -Michele Pirazzoli-t Serstevens, formerly Curator of Far Eastern Art of the Musee Guimet, Paris, currently Directeur d etudes, Ecole Pratique des Hautes Etudes, Paris, author of La Civilisation du Royaume de Dian a l epoque Han, La Chine des Han: histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte a la Cour de Chine, and editor of Storia Universale dell Arte: La Cina. These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows. -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist s oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline. -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history. - David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History. Buchnummer des Verkäufers APC9780980081473

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Buchbeschreibung New Academia Publishing, LLC, United States, 2008. Hardback. Buchzustand: New. Language: English . Brand New Book ***** Print on Demand *****. The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork. -Michele Pirazzoli-t Serstevens, formerly Curator of Far Eastern Art of the Musee Guimet, Paris, currently Directeur d etudes, Ecole Pratique des Hautes Etudes, Paris, author of La Civilisation du Royaume de Dian a l epoque Han, La Chine des Han: histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte a la Cour de Chine, and editor of Storia Universale dell Arte: La Cina. These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows. -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist s oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline. -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history. - David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History. Buchnummer des Verkäufers APC9780980081473

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Buchbeschreibung Buchzustand: New. This item is Print on Demand - Depending on your location, this item may ship from the US or UK. Buchnummer des Verkäufers POD_9780980081473

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Buchbeschreibung New Academia Publishing, LLC. Hardcover. Buchzustand: New. Hardcover. 236 pages. Dimensions: 9.1in. x 6.3in. x 1.0in.The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork. -Michle Pirazzoli-tSerstevens, formerly Curator of Far Eastern Art of the Muse Guimet, Paris, currently Directeur dtudes, cole Pratique des Hautes tudes, Paris, author of La Civilisation du Royaume de Dian lpoque Han, La Chine des Han: histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte la Cour de Chine, and editor of Storia Universale dellArte : La Cina. These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows. -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artists oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline. -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history. - David Carrier, Champney Family Professor, Case Western Reserve UniversityCleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Hardcover. Buchnummer des Verkäufers 9780980081473

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Buchbeschreibung New Academia Publishing, LLC, United States, 2008. Hardback. Buchzustand: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork. -Michele Pirazzoli-t Serstevens, formerly Curator of Far Eastern Art of the Musee Guimet, Paris, currently Directeur d etudes, Ecole Pratique des Hautes Etudes, Paris, author of La Civilisation du Royaume de Dian a l epoque Han, La Chine des Han: histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte a la Cour de Chine, and editor of Storia Universale dell Arte: La Cina. These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows. -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist s oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline. -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history. - David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History. Buchnummer des Verkäufers LIE9780980081473

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