Art in China (Oxford History of Art Series)

Rating:
Summary: Currently the best short introduction to art in China
Review: In researching information regarding Sung Dynasty scrolls and artists, I found this book to be a most generous indeed. The author provides clear, precise information without the clutter of person guesses. He provides a wonderful assortment of pictures and resources. Clear, clean photographs of artifacts providing the reader with primary documentation .This is a MUST for anyone studying the Arts and Artists of early China. Thank you Craig Clunas!

Rating:
Summary: BRILLIANT!!
Review: In researching information regarding Sung Dynasty scrolls and artists, I found this book to be a most generous indeed. The author provides clear, precise information without the clutter of person guesses. He provides a wonderful assortment of pictures and resources. Clear, clean photographs of artifacts providing the reader with primary documentation .This is a MUST for anyone studying the Arts and Artists of early China. Thank you Craig Clunas!

Rating:
Summary: An enjoyable introduction to "art" in China
Review: Reading Clunas' book is a refreshing experience forme. It surveys an amazingly broad spectrum of visual representations of Chinese culture, ranging from archaeological findings in ancient tombs to the works of comtemporary artists. And yet Clunas managed to keep the size of the book under control so that you can enjoy finishing it in a couple of days. Thus it serves well as a starting point for anyone who is interested in Chinese art to explore this vast territory. In doing so Clunas represents a common trend in the scholarly field of Chinese study for the last several decades. A big difference from other classical introductory books on Chinese art is that Clunas is more self-conscious and tries harder to avoid measuring Chinese culture completely by a Western ruler. Despite sometimes he offers opinions, which can only be regarded as conjectures because of the lack of solid evidences, about certain cultrual phenomena, he keeps an open-minded attitude and thus encourages reader to form their own theories. Two minor flaws prevent me giving it a 10. One is that it deosn't have a glossray for translation between English and Chinese, which I think is very useful, considering this book may well be very intresting to the students who are learning Chinese. And it fails to provide immediate references where several intriguing open questions are mentioned in the text. This may hamper interested readers to start their own research right away

Rating:
Summary: challenging book
Review: This is a challenging work.

He realizes 5 standpoints. He writes "What is historically called art in China, by whom and when?". Really, I feel it rather reflect unconscious attitude of 20th century collectors and scholars.

Art in the Tomb /Art at Court/Art in the Temple/Art in the life of the Elite /Art in the Market-Place

Following recent searching environment of artifacts; lifetime of painters, art-market, patrons, etc., as "Painter's Practice" by J.cahill, Mr. Clunas searched relations of arts-makers and the society. This approach is interesting and very suggestive. It may be the first try among such cheap and popular books about "Arts in China". For such character, I feel it should not be an elementary textbook.

Calligraphy was more focused than M. Sullivan's book"The Arts of China" in the chapter "Art in the life of the Elite". Short columns explain words and technical terms vividly. It is worth to buy it only for them. Bibliographical essays(231-237 p.) are very useful. Plates and figures are all fine. There is few inadequate item. Fig 83 and 87 shows as we appreciate in museums, i.e. shows its handscroll format. I think the author make effort to show surrounding textile of paintings and the format in some figs.

As an avocat d'diable, I notice some. The gong of Fig. 49 is not 8th century. Dragons and a beast should be genuine 8th century items. The gong is regarded 12-13th century Japanese artifact. The item of Fig. 82 may not be a representative work by Tang-Yin.

Both C. Clunas and Michael Sullivan edited catalogues of Sir Alain Barlow Collection(now in Sussex College). (ref. The Barlow Collection of Chinese Ceramics, Bronzes and Jades: an Introduction, The University of Sussex, 1997/Nov.) Sullivan did in 1963 and 1974. Clunas did in 1997. They might have share common intellectual environment according Oriental Ceramic Society, England.

Rating:
Summary: challenging book
Review: This is a challenging work.

He realizes 5 standpoints. He writes "What is historically called art in China, by whom and when?". Really, I feel it rather reflect unconscious attitude of 20th century collectors and scholars.

Art in the Tomb /Art at Court/Art in the Temple/Art in the life of the Elite /Art in the Market-Place

Following recent searching environment of artifacts; lifetime of painters, art-market, patrons, etc., as "Painter's Practice" by J.cahill, Mr. Clunas searched relations of arts-makers and the society. This approach is interesting and very suggestive. It may be the first try among such cheap and popular books about "Arts in China". For such character, I feel it should not be an elementary textbook.

Calligraphy was more focused than M. Sullivan's book"The Arts of China" in the chapter "Art in the life of the Elite". Short columns explain words and technical terms vividly. It is worth to buy it only for them. Bibliographical essays(231-237 p.) are very useful. Plates and figures are all fine. There is few inadequate item. Fig 83 and 87 shows as we appreciate in museums, i.e. shows its handscroll format. I think the author make effort to show surrounding textile of paintings and the format in some figs.

As an avocat d'diable, I notice some. The gong of Fig. 49 is not 8th century. Dragons and a beast should be genuine 8th century items. The gong is regarded 12-13th century Japanese artifact. The item of Fig. 82 may not be a representative work by Tang-Yin.

Both C. Clunas and Michael Sullivan edited catalogues of Sir Alain Barlow Collection(now in Sussex College). (ref. The Barlow Collection of Chinese Ceramics, Bronzes and Jades: an Introduction, The University of Sussex, 1997/Nov.) Sullivan did in 1963 and 1974. Clunas did in 1997. They might have share common intellectual environment according Oriental Ceramic Society, England.

Rating:
Summary: Currently the best short introduction to art in China
Review: While not the easiest to read, Clunas's book is currently the best short modest-sized introduction to art in China. The title "Art in China" (not "Chinese Art") is intentional, for Clunas is one of the rare Occidental authors on this subject who transcend the limitations of their background and succeed in communicating some of the subtlety and complexity of the subject, so remote from Western tastes, but no less beautiful and profound.

For example, he points out that while Western art has concentrated on painting, calligraphy is the most esteemed art form in China. Furthermore, from its earliest beginnings, Chinese aesthetics has placed little emphasis on illusionism and perspective, even regarding these as juvenile and distracting from artistic self-expression. (In this respect, the Chinese anticipated "modern art theory" by centuries.) The very term "Chinese Art", he maintains, is a Western invention, since the art work in China was, until recently, never divorced from its political, religious or decorative functions. (That is to say, it was not "museum art" isolated from its context and consciously regarded as art.) Because of these characteristics, art in China has been little appreciated in the West.

Clunas's probing book should be read slowly-- and re-read. The illuminating text gives a relatively sophisticated and sympathetic account of art in China, unlike many books, which are simply naive, provincial and as full of trivial dates and abstractions as they are lacking in insight. The representative works, drawn from all periods of Chinese history--including modern times--are superb and well chosen, and the pictures are excellent, considering the book's modest size. I especially enjoy the full-page color reproduction of Guo Xi's masterpiece "Early Spring" which equals, if not surpasses, the finest landscape paintings of the Dutch golden age (of course, not in illusionist technique, but in sheer expressive and evocative power as it unveils a mysterious fantastic landscape reflecting an interior, as much as an exterior, reality).

My only complaint is that there is only one book on "Art in China" in the Oxford History of Art series, while there are at least 30 on Western art in the same series. One book covers Western art for a 25-year span (1920-45), but 5,000 years of high art in China--in painting, jade, ceramics, lacquer, porcelain, calligraphy and sculpture--gets only a single volume! Talk about provincialism! Certainly, this is no fault of Dr. Clunas, whose work seems all the more commendable in the midst of the naive insularity and ethnocentrism with which it has unfortunately been grouped.