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E-book China and the West : Reconsidering Chinese Reverse Glass Painting

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Penilaian

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Most of the following contributions are based on a two-day workshop held in February 2020 at the Vitromusée Romont, the Swiss Museum of Stained Glass and Glass Art, to commemorate the exhibition Reflets de Chine: Trois siècles de peinture sous verre chinoise, one of the first exhibitions in the West that presented a major survey dedicat-ed to Chinese reverse glass painting, tracing its long history, little known to date. Co-organized by the Vitrocentre Romont and the Section of East Asian Art History of the University of Zurich, the workshop brought together international specialists in the idyllic Swiss town of Romont to conduct a series of talks about reverse glass paint-ing—and not only in China, but also in the neighboring Asian cultures. This highly successful and thought-provoking event gave rise to this publication, in which most workshop participants have taken part, in addition to several invited authors.The eighteenth and nineteenth centuries saw a flood of Chinese objects arriving to European ports. These were mostly made for export and were shipped through the southern port of Canton, where the foreign factories were located. Numerous work-shops and factories worked nonstop to satisfy the wishes of the eager and rich Euro-pean public. Ceramics, textiles, furniture, wallpaper, paintings and a bewildering range of other objects that fit into the Western concept of an “Exotic Other” were produced for export. The objects brought to the West, in particular paintings, have been subject of Western academic studies during the last decades, with key works being written by scholars such as Craig Clunas, Patrick Conner, and Carl Crossman.1The reverse glass painting that forms the core of this volume have not been as fortu-nate. While they have been mentioned as sub-categories in texts dealing with types of export art, they have not been the subject of exclusive focus, with a few exceptions. It is clear that the study of Chinese reverse glass painting has lagged behind, with few academic studies in the West until the recent groundbreaking publication by Thierry Audric.2 The fact remains that relatively few Western scholars have published on the subject, despite the important information that reverse glass painting carries, as will be seen in this volume.Reverse glass painting is a clear case study of a globalized trade, crossing borders not only between China and the West, but also, as we will see in the following chap-ters, between various Asian countries. This transnational interchange of objects, tech-niques, and motifs is a clear example of early modern knowledge transfer across borders that challenges prevailing notions of purely national or regional perceptions of art.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

738 AMB c

Penerbit

Boston : De Gruyter., 2022

Deskripsi Fisik

293 hlm

Bahasa

English

ISBN/ISSN

9783110711776

Klasifikasi

738

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Ceramics Arts

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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