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Artículos de revistas sobre el tema "Chinese art in France"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Clunas, Craig. "Chinese Art and Chinese Artists in France (1924-1925)." Arts asiatiques 44, no. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.

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2

Fang, Zhiyu. "Traditions and Innovations in Chinese Contemporary Sculpture." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 28–39. http://dx.doi.org/10.36340/2071-6818-2022-18-2-28-39.

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After the Cultural Revolution, an unprecedented period of openness began in China. The gradual deepening of the Reform and Openness Policy created more opportunities for the development of contemporary Chinese sculpture. For "tradition", sculptors combine the form and content of traditional culture and sculpture, expressing the problems of modern life and human society, forming a rich creative thought and a broad creative outlook. Two art directions were formed. The first direction follows the creative method of sculptors who studied in France before the formation of the People's Republic of C

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3

Лю, Тяньцюань. "China - Japan - Europe: Chinese painting‘s absorption of western European traditions in the late 19th - early 20th century." Академический вестник УралНИИпроект РААСН, no. 3(54) (September 30, 2020): 85–90. http://dx.doi.org/10.25628/uniip.2022.54.3.014.

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В статье исследуется влияние западноевропейского искусства на китайскую живопись, которое шло через опыт японских художников и обучение в Японии китайских мастеров. Роль японской культуры в освоении китайским искусством западноевропейских традиций до сих пор остается недооцененной, часто исследователи не упоминают о связях с Японией, обращаясь сразу к периоду обучения китайских художников в европейских странах, прежде всего во Франции, который был по времени позднее. Однако именно мастера Страны восходящего солнца в конце XIX - начале XX века серьезно повлияли на формирование нового «европейск

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4

Хingchen, Gu, and Viacheslav Shulika. "FORMATION OF ART HISTORY SINOLOGY IN FRANCE IN THE LATE 19TH - EARLY 20TH CENTURIES: DIFFERENT APPROACHES TO THE INTERPRETATION OF CHINESE FINE ART." European Journal of Arts, no. 1 (2021): 143–49. http://dx.doi.org/10.29013/eja-21-1-143-149.

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5

Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева". Acta Polono-Ruthenica 2, № XXIV (30 червня 2019): 43–53. http://dx.doi.org/10.31648/apr.4460.

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Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to

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6

Du (杜娟), Juan. "Chinese Immigrants Acting as Local Residents." Journal of Chinese Overseas 16, no. 2 (November 11, 2020): 191–214. http://dx.doi.org/10.1163/17932548-12341423.

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Abstract Urban violence and threats to personal safety are everyday issues of shared concern for Chinese migrants in France. They push Chinese migrants to act as local residents and to interact with the host country in various and unexpected ways, whether openly or inconspicuously, in order to improve their living environment and negotiate their place in the host society. Drawing on an ethnography of Chinese immigrants living in the banlieues of Paris and their everyday social practices in relation to the issues of violence and insecurity, this article documents the strategies of everyday resi

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7

Kuo, Marie-Claire. "Translation and distribution of Chinese films in France: A personal account*." Journal of Chinese Cinemas 12, no. 3 (September 2, 2018): 237–49. http://dx.doi.org/10.1080/17508061.2018.1522804.

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8

Li, Shuangyi. "Novel, Film and the Art of Translational Storytelling: Dai Sijie's Balzac et la petite tailleuse chinoise." Forum for Modern Language Studies 55, no. 4 (July 13, 2019): 359–79. http://dx.doi.org/10.1093/fmls/cqz019.

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Abstract This article examines the novel and film Balzac et la Petite Tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic and structure of the novel, highlighting the cinematic sensibility of Dai’s literary aesthetic. I then move on to investigate the linguistic aspects of the various translations between the novel and the film in French, Mandarin Chinese and Sichuanese. The a

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9

Xavier, Subha. "The global afterlife: Sino-French literature and the politics of translation." French Cultural Studies 30, no. 2 (May 2019): 153–65. http://dx.doi.org/10.1177/0957155819842980.

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Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The ac

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10

Watanabe, Hiroshi, and Linus Recht. "Alexis de Tocqueville and Three Revolutions: France (1789–), Japan (1867–), China (1911–)." International Journal of Asian Studies 17, no. 2 (July 2020): 163–81. http://dx.doi.org/10.1017/s1479591420000236.

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This essay is an attempt to think through the three revolutions, using Tocqueville's theory of “democracy” as a key. For Tocqueville, democracy is a society with “the equality of conditions” – in other words, a society that has no hereditary status system. In this sense, Chinese society since the Song Dynasty has been “democracy” as Tocqueville himself pointed out repeatedly. In his understanding, contemporary China was a “democratic society” and its form of government was highly centralized “despotism”; in sum, it was “democratic despotism.” Tocqueville was warning against the possible Sinifi

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11

Nguyen Thi Mai, Chanh. "The journey to “go global” of the contemporary Chinese woman writer Can Xue." Journal of Science Social Science 66, no. 3 (August 2021): 3–11. http://dx.doi.org/10.18173/2354-1067.2021-0041.

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Can Xue is a contemporary Chinese writer of international stature, while in Vietnam, it is assumed that no more than three translations of her works are noticed. This woman writer possesses the most literary works appearing in foreign high school and university textbooks compared with other contemporary Chinese writers. To date, no less than thirty volumes of hers have been translated into more than ten languages and published in a number of countries including the UK, France, Germany, Italy, Sweden, Japan, etc. A myriad of professional researchers, critics and scholars, Sinologists in the Wes

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12

Barthel, Alexandre. "“Bad Luck for the Chinese”: France and the Transit of War Materiel to China During the Sino-Japanese War (1937–1939)." MANUSYA: Journal of Humanities 25, no. 1 (June 9, 2022): 23–40. http://dx.doi.org/10.1163/26659077-25010002.

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Abstract The attitude of France towards the Sino-Japanese War that started in 1937 has given rise to various judgments. Officially neutral, France is often presented as having taken, at least morally, a favorable attitude toward China. Yet the French government had officially prohibited the transit of war materiel en route to China across the Indochinese border. This issue became increasingly important as the Japanese blockade of China progressed and conditioned the capacity of Chiang Kai-shek’s government to continue the fight. The diplomatic archives of the United States, greatly concerned b

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13

Kirby, William C. "The Chinese Century? The Challenges of Higher Education." Daedalus 143, no. 2 (April 2014): 145–56. http://dx.doi.org/10.1162/daed_a_00279.

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One can find in any airport kiosk books that proclaim ours to be “the Chinese century.” We have titles such as “The Dragon Awakes,” “China's Rise,” “The Rise of China,” and “China's Ascent,” to name but a few. But to rise is not necessarily to lead. What constitutes leadership? In higher education, China is building the fastest growing system–in quality as well as in quantity–in the world. The foremost global powers of the past four centuries all offered models in the realms of culture, ideas, and education. This may be said of seventeenth-century France under Louis XIV; of the Qing during the

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14

Spolsky, Bernard. "EDITOR'S INTRODUCTION." Annual Review of Applied Linguistics 29 (March 2009): vii—xii. http://dx.doi.org/10.1017/s0267190509090011.

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From the beginning, public tests and examinations were instruments of policy. The Imperial Chinese examination was created to permit the emperor to replace the patronage system by which powerful lords were choosing their own candidates to be mandarins. The Jesuit schools in 17th-century France introduced a weekly testing system to allow central control of classroom teaching. In 19th-century England, Thomas Macaulay argued for employing the Chinese principle in selecting cadets for the Indian Civil Service; a similar system was later used for the British Civil Service. A primary school examinat

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15

OHASHI, H., and R. R. MILL. "HYLODESMUM, A NEW NAME FOR PODOCARPIUM (LEGUMINOSAE)." Edinburgh Journal of Botany 57, no. 2 (July 2000): 171–88. http://dx.doi.org/10.1017/s0960428600000123.

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Hylodesmum H. Ohashi & R.R. Mill (Leguminosae or Fabaceae, tribe Desmodieae), based on Desmodium sect. Podocarpium Benth. (=D. subgen. Podocarpium (Benth.) H. Ohashi), is a replacement name proposed here for Podocarpium (Benth.) Y.C. Yang & P.H. Huang published in 1979 for Chinese species belonging to the genus. The name it replaces, Podocarpium (Benth.) Y.C. Yang & P.H. Huang, is a later homonym of two earlier names, Podocarpium A. Braun ex Stizenb. (fossil Leguminosae or Fabaceae) and Podocarpium Unger (fossil Podocarpaceae) and it is also inadmissible under Art. 20.2. New combin

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16

Park, Ji-young. "A Comparative Study on the Appreciation and Adoption of Dijian tushuo in China, Korea, Japan, and France." Korean Journal of Art History 311 (September 30, 2021): 5–43. http://dx.doi.org/10.31065/kjah.311.202109.001.

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Dijian tushuo (帝鑑圖說; The Emperor's Mirror, Illustrated and Discussed) is a book compiled by Zhang Juzheng (張居正, 1525-1582), a great scholar during the late period of the Ming Dynasty of China. The book was made for the education of Wanli Emperor (萬歷帝, r.1572-1620), who rose to the throne at an early age. It contains 117 stories about the virtuous and evil deeds of previous emperors, complete with illustrations and relevant articles. After its presentation to the emperor in 1572, several editions of the book were produced by the end of the nineteenth century, and copies were distributed to neig

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17

Kua, Paul. "Two Nineteenth-Century Copies of Joseph Prémare’s Notitia linguæ sinicæ." Library 23, no. 1 (March 1, 2022): 68–95. http://dx.doi.org/10.1093/library/22.3.68.

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Abstract French Jesuit Joseph Prémare, a missionary to Qing Dynasty China, had completed by the end of 1728 the draft of a book entitled Notitia linguæ sinicæ, intended to assist aspiring Catholic missionaries from Europe in learning the Chinese language. One of the original manuscripts sent from Canton to Paris, now held in the Bibliothæque nationale de France in Paris, was rediscovered in the 1810s by the French sinologist Jean-Pierre Abel-Rémusat, and became the source for some manuscript copies, made mostly before the work’s eventual publication in 1831. This paper examines two of these ma

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18

CLEMENTS, REBEKAH. "BRUSH TALK AS THE ‘LINGUA FRANCA’ OF DIPLOMACY IN JAPANESE–KOREAN ENCOUNTERS, c. 1600–1868." Historical Journal 62, no. 2 (October 30, 2018): 289–309. http://dx.doi.org/10.1017/s0018246x18000249.

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AbstractThe study of early modern diplomatic history has in recent decades expanded beyond a bureaucratic, state-centric focus to consider the processes and personal interactions by which international relations were maintained. Scholars have begun to consider, among other factors, the role of diplomatic gifts, diplomatic hospitality, and diplomatic culture. This article contributes to this discussion from an East Asian perspective by considering the role of ‘brush talk’ – written exchanges of classical, literary Chinese – during diplomatic missions from the Korean Chosŏn court to the Tokugawa

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19

Suraeva, Natalia G. "THE IMAGE OF CHINA IN THE CORRESPONDENCE OF CATHERINE II." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 62–78. http://dx.doi.org/10.36340/2071-6818-2021-17-4-62-78.

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In 1762, Catherine II (1729-1796), Catherine le Grand, as Voltaire called her, an extraordinary woman who was destined to undergo many reforms and establish Russia’s place in the world, ascended to the Russian throne. Her reign coincided with the reign of Emperor Qianlong (1711-1799), one of the most enlightened monarchs in Chinese history; during his time, the empire achieved many military victories and brilliant achievements in the arts. By the time of Catherine’s accession to the throne, relations between the two countries were very strained. Meanwhile, the age of Enlightenment, the century

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20

Sehgal, M. L. "From Non-Alignment to Multi-Alignment: India Hopes to Contain China." Advances in Social Sciences Research Journal 7, no. 9 (October 4, 2020): 619–53. http://dx.doi.org/10.14738/assrj.79.9103.

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In 1954, India did a ‘Himalayan Blunder’ of having fallen into China’s trap of accepting Tibet to be a part of China. In ‘1962 Indo- China War’, China’s biggest argument of its having claim over Ladakh was that since Ladakh was a part of Tibet and thus belongs to China. But the historical perspective, altogether, contradicts it. Having annexed Tibet and forcefully occupying Aksai Chin, there was no looking back for China; be it in 1965, 1967, 1987, 2013, 2017; and now in 2020. Every time, the Chinese rulers would invent one lie or the other. Xi Jinping, the present Chinese President, imbibes t

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21

Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-2-6-9.

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Dear readers, We are pleased to present to you Issue 2, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research are

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22

Li, Zhen, Ad Stoffelen, and Anton Verhoef. "A generalized simulation capability for rotating- beam scatterometers." Atmospheric Measurement Techniques 12, no. 7 (July 4, 2019): 3573–94. http://dx.doi.org/10.5194/amt-12-3573-2019.

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Abstract. Rotating-beam wind scatterometers exist in two types: rotating fan-beam and rotating pencil-beam. In our study, a generic simulation frame is established and verified to assess the wind retrieval skill of the three different scatterometers: SCAT on CFOSAT (China France Oceanography SATellite), WindRad (Chinese Wind Radar) on FY-3E, and SeaWinds on QuikSCAT. Besides the comparison of the so-called first rank solution retrieval skill of the input wind field, other figures of merit (FoMs) are applied to statistically characterize the associated wind retrieval performance from three aspe

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23

Carswell, John. "Born of earth and fire: Chinese ceramics from the Scheinman Collecton. Edited by Jason C. Kuo, essay by Melissa Walt Thompson, catalogue entries by Frances Klapthor. (Studies in Chinese Art and Archaeology, 1.) pp. 116, 92 col. illus. College Park, The Department of Art History and Archaeology, University of Maryland, in association with the Baltimore Museum of Art. Distributed by University of Washington Press, Seattle and London, 1992. US $30.00." Journal of the Royal Asiatic Society 6, no. 1 (April 1996): 145–46. http://dx.doi.org/10.1017/s1356186300015236.

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24

Yui, Wei. "Chinese Women’s Art." Культура и искусство, no. 5 (May 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.

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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection o

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25

Jiehong, Jiang. "Chinese art outside the art space." Journal of Contemporary Chinese Art 5, no. 2 (September 1, 2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.

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26

Rubinskiy, Yuriy. "Chinese diaspora in France." Contemporary Europe 59, no. 3 (July 20, 2014): 127–32. http://dx.doi.org/10.15211/soveurope32014127132.

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27

KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 159, no. 1 (2003): 189–244. http://dx.doi.org/10.1163/22134379-90003756.

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-Timothy Barnard, J.M. Gullick, A history of Selangor (1766-1939). Kuala Lumpur: Malaysian branch of the Royal Asiatic Society, 1989, vi + 220 pp. [MBRAS Monograph 28.] -Okke Braadbaart, Michael L. Ross, Timber booms and institutional breakdown in Southeast Asia. Cambridge: Cambridge University Press, 2001, xvi + 237 pp. -H.J.M. Claessen, Patrick Vinton Kirch ,Hawaiki, ancestral Polynesia; An essay in historical anthropology. Cambridge: Cambridge University Press, 2001, xvii + 375 pp., Roger C. Green (eds) -Harold Crouch, R.E. Elson, Suharto; A political biography. Cambridge: Cambridge Univers

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28

Bazilevich, Mikhail E., and Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.

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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yoko

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29

Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.

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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distor

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Corbett, David Peters, and Christopher Green. "Art in France 1900-1940." Art Bulletin 84, no. 4 (December 2002): 691. http://dx.doi.org/10.2307/3177294.

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31

Cahill, James, and Jerome Silbergeld. "Chinese Art and Authenticity." Bulletin of the American Academy of Arts and Sciences 55, no. 1 (2001): 17. http://dx.doi.org/10.2307/3824253.

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32

Pengfei, Wei. "CHINESE TRADITIONAL ART — QUYI." Arts education and science 1, no. 1 (2020): 134–36. http://dx.doi.org/10.36871/hon.202001017.

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The purpose of this article is to provide a comprehensive cultural and art history analysis of such a form of performing arts as Quyi, which has deep historical roots in China. Quyi art is endowed not only with a unique aesthetic function, but also has cultural significance and plays an important role in the history of China. Based on the study of historical sources, the article analyzes the traditions of vocal performance of Quyi, taking into account the cultural characteristics of certain regions of China and dialect differences, vocal variations, types of performing techniques, styles, scho

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33

Caswell, James O., and Cheng Te-k'un. "Studies in Chinese Art." Pacific Affairs 58, no. 3 (1985): 520. http://dx.doi.org/10.2307/2759262.

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34

Li, Pi. "Chinese Contemporary Video Art." Third Text 23, no. 3 (May 2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.

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35

Li (李志鹏), Zhipeng. "Chinese Ethnic Media in France." Journal of Chinese Overseas 16, no. 2 (November 11, 2020): 242–66. http://dx.doi.org/10.1163/17932548-12341425.

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Abstract This article seeks to analyze recent developments in overseas media in the Chinese language in France. To do so it underlines the links between these media, created for and by Chinese migrants, and the trajectory of an entrepreneurial diaspora within the host country. The vast bulk of data is drawn from a qualitative study of several media organizations of the Chinese diaspora in France. In particular, a comparative study of two media, Ouzhou shibao and Huarenjie, has enabled an examination of a twofold interrelated phenomenon. On the one hand, the changes in commercial strategy to re

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36

Picot, Nicole. "L’edition d’art en France." Art Libraries Journal 17, no. 3 (1992): 45–46. http://dx.doi.org/10.1017/s0307472200007975.

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Public interest in art is encouraging the publishing of art books and exhibition catalogues, although many of these publications focus on the same subjects. Some 1,200 art books are published in France each year, selling on average some 6,500 copies. Two large publishers dominate French art publishing, but many others are also involved in producing quality art books including titles which help to fill the gaps left by the big general publishers. Because production costs are all but prohibitive, and because the size of the home market is limited, some of these publishers have published books wi

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37

PAN, LUOMING. "Western graffiti art VS Chinese "contemporary calligraphy" art." Convergence of Humanities, Social Science an Art’s Academy 4, no. 3 (December 31, 2020): 69–86. http://dx.doi.org/10.37846/soch.4.3.69.

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38

Bloomgarden, Joan. "Inside Art: Cave Images in France." Art Therapy 15, no. 3 (July 1998): 203–6. http://dx.doi.org/10.1080/07421656.1989.10759323.

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39

Luckhurst, N. "Bloomsbury and France: Art and Friends." Comparative Literature 54, no. 1 (January 1, 2002): 91–93. http://dx.doi.org/10.1215/-54-1-91.

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40

Ray, Gordon Norton, and G. Thomas (George Thomas) Tanselle. "The Art Deco Book in France." Studies in Bibliography 55, no. 1 (2002): 1–131. http://dx.doi.org/10.1353/sib.2005.0009.

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Ray, Gordon Norton. "The Art Deco Book in France." Studies in Bibliography 55, no. 1 (2002): 19–131. http://dx.doi.org/10.1353/sib.2005.0010.

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42

Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.

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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.

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Bian, Zilong. "Chinese Traditional Art of Lacquerware." Университетский научный журнал, no. 65 (2022): 93–100. http://dx.doi.org/10.25807/22225064_2021_65_93.

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Hu, Mingyuan. "Language and Chinese Art History." Australian and New Zealand Journal of Art 21, no. 1 (January 2, 2021): 41–57. http://dx.doi.org/10.1080/14434318.2021.1934774.

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Addiss, Stephen, and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Journal of Aesthetic Education 26, no. 1 (1992): 115. http://dx.doi.org/10.2307/3332737.

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Ryor, Kathleen M. "Children in Chinese Art (review)." China Review International 9, no. 2 (2002): 572–76. http://dx.doi.org/10.1353/cri.2003.0115.

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Caswell, James O., and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Pacific Affairs 65, no. 3 (1992): 405. http://dx.doi.org/10.2307/2760084.

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Fong, Wen C. "The Modern Chinese Art Debate." Artibus Asiae 53, no. 1/2 (1993): 290. http://dx.doi.org/10.2307/3250520.

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Marshall, Michael. "Chinese art reveals ancient expertise." New Scientist 246, no. 3287 (June 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)31095-2.

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Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Resumen

Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of th

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