Modern Chinese painting in Europe: a failure or a tour-de-force

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00023281%3A_____%2F13%3A%230000545" target="_blank" >RIV/00023281:_____/13:#0000545 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Modern Chinese painting in Europe: a failure or a tour-de-force

Popis výsledku v původním jazyce

Beginning in the mid-1920s, first exhibitions of contemporary Chinese painting were staged in Europe, later developing into a strong current introducing the thus far unknown facet of Chinese culture to European public. It was precisely the moment when China was allowed to speak for herself for the first time, as far as art was concerned, as it was usually others who spoke for her when displays of ancient Chinese art were prepared in the preceding decades. The paper discusses the exhibitions of paintingorganized by Chinese students of art in France in the mid-1920s, those arranged by prominent collectors of contemporary Chinese painting in the late 1920s and early 1930s all around Europe and those sent by the Chinese government as official presentations of Chinese painting of the day in the mid-1930s. It puts all of these events into a broader context of cultural exchanges between China and the West and discusses their individual merits and failures. The paper tries to systematize all

Název v anglickém jazyce

Modern Chinese painting in Europe: a failure or a tour-de-force

Popis výsledku anglicky

Beginning in the mid-1920s, first exhibitions of contemporary Chinese painting were staged in Europe, later developing into a strong current introducing the thus far unknown facet of Chinese culture to European public. It was precisely the moment when China was allowed to speak for herself for the first time, as far as art was concerned, as it was usually others who spoke for her when displays of ancient Chinese art were prepared in the preceding decades. The paper discusses the exhibitions of paintingorganized by Chinese students of art in France in the mid-1920s, those arranged by prominent collectors of contemporary Chinese painting in the late 1920s and early 1930s all around Europe and those sent by the Chinese government as official presentations of Chinese painting of the day in the mid-1930s. It puts all of these events into a broader context of cultural exchanges between China and the West and discusses their individual merits and failures. The paper tries to systematize all

Druh

D - Stať ve sborníku

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2013

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název statě ve sborníku

Face to Face. The transcendence of the arts in China and beyond. Approaches to Modern and Contemporary Art

ISBN

978-989-8300-47-8

ISSN

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e-ISSN

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Počet stran výsledku

26

Strana od-do

46-71

Název nakladatele

Centro de Investigacao e Estudos em Belas-Artes (CEIBA)

Místo vydání

Lisabon

Místo konání akce

Lisabon

Datum konání akce

1. 1. 2013

Typ akce podle státní příslušnosti

WRD - Celosvětová akce

Kód UT WoS článku

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