false801215<![CDATA[The Double Screen: Medium and Representation in Chinese Painting]]>http://photo.goodreads.com/books/1178495826m/801215.jpghttp://photo.goodreads.com/books/1178495826s/801215.jpgand pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and cultural conventions neglected.
A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favorite pictorial image in Chinese art since antiquity. Wu Hung undertakes a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art.
The Double Screen provides a powerful non-Western perspective on issues from portraiture and pictorial narrative to voyeurism, masquerade, and political rhetoric. It will be invaluable to anyone interested in the history of art and Asian studies.
</div>]]>80121537871781996The Double Screen: Medium and Representation in Chinese Paintingtotal:2|5:2|210301766054.25161578303172367352801215022636074197802263607440
<![CDATA[The Double Screen: Medium and Representation in Chinese Painting]]>
http://photo.goodreads.com/books/1178495826m/801215.jpghttp://photo.goodreads.com/books/1178495826s/801215.jpg
http://www.goodreads.com/book/show/801215.The_Double_Screen_Medium_and_Representation_in_Chinese_Painting
5.001
and pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and cultural conventions neglected.
A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favorite pictorial image in Chinese art since antiquity. Wu Hung undertakes a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art.
The Double Screen provides a powerful non-Western perspective on issues from portraiture and pictorial narrative to voyeurism, masquerade, and political rhetoric. It will be invaluable to anyone interested in the history of art and Asian studies.
</div>]]>
199600falseFri May 29 23:48:13 -0700 2009Fri May 29 23:48:13 -0700 2009203153591044231801215022636074197802263607440
<![CDATA[The Double Screen: Medium and Representation in Chinese Painting]]>
http://photo.goodreads.com/books/1178495826m/801215.jpghttp://photo.goodreads.com/books/1178495826s/801215.jpg
http://www.goodreads.com/book/show/801215.The_Double_Screen_Medium_and_Representation_in_Chinese_Painting
5.002
and pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and cultural conventions neglected.
A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favorite pictorial image in Chinese art since antiquity. Wu Hung undertakes a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art.
The Double Screen provides a powerful non-Western perspective on issues from portraiture and pictorial narrative to voyeurism, masquerade, and political rhetoric. It will be invaluable to anyone interested in the history of art and Asian studies.
</div>]]>
199650falseWed Apr 16 13:44:09 -0700 2008Wed Apr 16 13:44:09 -0700 200879288295587172059211094846292297809484629240
<![CDATA[The Double Screen: Medium and Representation in Chinese Painting]]>
http://www.goodreads.com/images/nocover-111x148.jpghttp://www.goodreads.com/images/nocover-60x80.jpg
http://www.goodreads.com/book/show/2059211.The_Double_Screen_Medium_and_Representation_in_Chinese_Painting
5.001
and pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and cultural conventions neglected.
A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favorite pictorial image in Chinese art since antiquity. Wu Hung undertakes a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art.
The Double Screen provides a powerful non-Western perspective on issues from portraiture and pictorial narrative to voyeurism, masquerade, and political rhetoric. It will be invaluable to anyone interested in the history of art and Asian studies.
</div>]]>
199650falseFri Oct 19 06:20:33 -0700 2007Fri Oct 19 06:20:33 -0700 20078
http://www.goodreads.com/book_link/follow/8?book_id=801215