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A highly illustrated examination of portraiture in China across media and millennia. Facing China is an exploration of the portrait arts in China from the dynastic to the modern and contemporary, in painting, sculpture, photography, and video. The book focuses on truth and memory in the portraiture process, from encounters between subject, portrait, and artist, to broader familial, social, and political arenas. It also examines the influence of location on portrait production, reception, and display, from tombs, ancestral shrines, temples, gardens, and palace halls to public and private spaces. Featuring one hundred fifty fine illustrations, with one hundred in color, Facing China has much to say to specialists in the field as well as general readers interested in Chinese art.
"In 1634, scholar-official Zhang Taijie (b. ca. 1588) published a book titled A Record of Treasured Paintings (C. Baohui lu), presenting an extensive catalog of a purportedly vast painting collection he claimed to have built. However, the entire book is Zhang's meticulously crafted forgery; he even forged paintings to match the documentation, and profited from trading them. Furthermore, the book intriguingly mirrors unfounded art-historical claims of its time. Prominent figures like Dong Qichang (1555-1636) made entirely fabricated arguments to assert legitimate lineages in Chinese art, designed to create a fictionalized history shaped by preferred beliefs rather than reality. While presenting the first comprehensive exploration of various forgery practices in early modern China-fabricated texts, forged paintings, and fictitious art history-The Forger's Creed examines the cultural, social, and genealogical desires, anxieties, and tensions prevalent in early modern China. Through thorough scrutiny of the historical irregularities introduced by these forgeries, J. P. Park highlights a peculiar and paradoxical phenomenon wherein forgeries transform into legitimate materials across Chinese history"--
This work explores the developments in the function of informal portraiture in later Ming and Qing dynasty China, from about AD1600 to 1900. The study focuses on images of artists, including self-portraits, and their associates from centres of painting in
A major survey of contemporary artist Hung Liu, whose layered portraits explore history and memory through the stories of marginalized figures​ Hung Liu: Portraits of Promised Lands presents the stunning work of this contemporary Chinese American artist. Liu (b. 1948) blends painting and photography to offer new frameworks for understanding portraiture in relation to time, memory, and history. Often working from photographs, she uses portraiture to elevate overlooked subjects, amplifying the stories of those who have historically been invisible or unheard. This richly illustrated book examines six decades of Liu's painting, photography, and drawing. Author Dorothy Moss illuminates the importance of family photographs in Liu's work; Nancy Lim examines the origins of Liu's artistic practice; Lucy R. Lippard explores issues of identity and multiculturalism; and Elizabeth Partridge focuses on Liu's recent series based on Dorothea Lange's Depression-era photographs. Philip Tinari, along with artists Amy Sherald and Carrie Mae Weems, among others, conveys Liu's impact on contemporary art. Having lived through war, political revolution, exile, and displacement, Liu paints a complex picture of an Asian Pacific American experience. Her portraits speak powerfully to those seeking a better life, in the United States and elsewhere.
This book portrays 38 Chinese from today’s People’s Republic of China. It shows a range of different lifestyles including a rock star in Beijing, an old priest in Canton, a chef in Chengdu, a professor of Chinese history in Nanjing, and a farmer in the Ningxia desert.
Reprinted for the first time since its original publication twenty years ago, The Face of China is an evocative and candid collection of some of the first photographs made in that country. Along with descriptive captions, these images describe the daily Life and surroundings of an era now passed. The people are as seen through Western eyes, and the places are as traversed by foreigners. These early photographers were explorers and adventurers. They tugged huge cameras with heavy glass plates over rugged, unfamiliar terrain. Interspersed throughout the book are passages from significant texts and travelers' diaries, observations and opinions that echo and illuminate the images. For many Chinese, these photographers were the first white faces ever seen, and they carried with them previously undreamed of contraptions. For all this, there is an unguarded air to many of the portraits, and the street scenes have the candid took of today's street photographer.
Despite their powerful presence and exquisite quality, Chinese ancestor portraits have never been studied as a genre. This illustrated text explores the artistic, historical, and religious significance of these paintings and places them in context with other types of commemorative portraiture. During the late Ming (1368-1644) and Quing (1644-1911) dynasties, full-length portraits of individual men and women came into vogue. These ancestor portraits were important objects of veneration, and the practice continued into the 20th century, when paintings were gradually replaced by photographs. The authors explore the works in depth, presenting a fascinating glimpse of Chinese life and culture and providing biographies of the sitters. Worshiping the Ancestors should appeal to connoisseurs of Chinese art and to all those interested in social history, portraiture, and devotional art.
- The first academic insight into the Taikang photography collection- High-quality pictures of this revered gallery accompanied by essays from the experts- A glimpse into how portrait photography has shaped the history of China From political leaders to celebrities, photographic portraits exert considerable influence over our reaction to public figures. As the first academic publication focused on the Taikang photography collection, this book explores both the mechanics of portraiture and its psychological effects. Taikang Space is one of the most important non-profit art institutions in China. Based in Beijing, they focus on contemporary art and photography. Portrait Fever is based on the framework of the eponymous exhibition, which ran at Taikang Space from March 2017. This book introduces the curator and researchers involved with the exhibition, as well as researchers such as Shi Zhimin, Jin Yongquan, Liu Jianping, Liu Zhangbolong, who deliver their own unique angles on the topic of portrait photography. Portrait Fever also features the curator's interviews with Qia Sijie, Chen Shilin and Zhang Zuo - respectively the personal photographer, standard portrait re-toucher and darkroom technician of Chairman Mao.