| The Painter's Practice: How Artists Lived and Worked in Traditional China Revised Edition Contributor(s): Cahill, James (Author) |
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ISBN: 0231081812 ISBN-13: 9780231081818 Publisher: Columbia University Press OUR PRICE: $49.50 Product Type: Paperback - Other Formats Published: May 1995 Annotation: This book consists of four lectures: the first chapter is a somewhat contentious introduction that attempts to provide a methodological justification for the whole project; the second and third present collections of data in part anecdotal, arranged and discussed by topics. The fourth is still another attempt to formulate the great transformation that Chinese painting underwent from its early to its late period, and deals with issues that will not be new to readers of the recent literature in that field. |
| Additional Information |
| BISAC Categories: - Social Science | Sociology - General - Art | Asian - General - History | Asia - General |
| Dewey: 305.975 |
| Series: Bampton Lectures in America |
| Physical Information: 0.6" H x 8.4" W x 10.9" (1.10 lbs) 187 pages |
| Themes: - Cultural Region - Asian - Ethnic Orientation - Asian |
| Descriptions, Reviews, Etc. |
| Publisher Description: In The Painter's Practice, James Cahill reveals the intricacies of the painter's life with respect to payment and patronage--an approach that is still largely absent from the study of East Asian art. Drawing upon such unofficial archival sources as diaries and letters, Cahill challenges the traditional image of the disinterested amateur scholar-artist, unconcerned with material rewards, that has been developed by China's literati, perpetuated in conventional biographies, and abetted by the artists themselves. His work fills in the hitherto unexplored social and economic contexts in which painters worked, revealing the details of how painters in China actually made their living from the sixteenth century onward. Considering the marketplace as well as the studio, Cahill reviews the practices and working conditions of artists outside the Imperial Court such as the employment of assistants and the use of sketchbooks and prints by earlier artists for sources of motifs. As loose, flamboyant brushwork came into vogue, Cahill argues, these highly imitable styles ironically facilitated the forger's task, flooding the market with copies, sometimes commissioned and signed by the artists themselves. In tracing the great shift from seeing the painting as a picture to a concentration on the painter's hand, Cahill challenges the archetype of the scholar-artist and provides an enlightened perspective that profoundly changes the way we interpret familiar paintings. |