Modern Asian art

목차 (Table of Contents)

• CONTENTS
• Acknowledgments and Notes = 7
• Preface = 9
• 1 Introduction : A Disciplinary Field = 11
• Prologue = 11
• Approach = 12
• Problematics = 16
• Histories = 19
• Modalities = 21
• Processes = 23
• Notes = 26
• 2 Prehistories = 29
• Prehistory and modernism = 29
• The Chinese and the Jesuits = 31
• Dutch images and eighteenth­century Japan = 34
• Etching in nineteenth­century Japan = 37
• Glass painting in the eighteenth and nineteenth centuries = 39
• Knowledge of European drawing technique and oil painting in Asian contexts before the 1850s = 40
• Notes = 44
• 3 The Transfer = 49
• Models of transfer = 49
• Modalities of transfer = 51
• Types of culture mediating transfer = 54
• Transfer in a colonial culture = 54
• Transfer in a semi­colonial port culture = 58
• Transfer in a non­colonial culture = 63
• Notes = 66
• 4 Formation of the Neotraditional = 71
• The notion of tradition and its modern inapplicability = 71
• Towards a definition of the neotraditional = 73
• Criteria of modernity and the neotraditional = 75
• Neotraditionalist painting in India = 80
• Some recent Thai neotraditional painting = 84
• Notes = 88
• Colour Plates 1­25 = 91
• 5 The Aristocrats = 117
• Types of artist = 117
• Hyakutake kaneyuki = 120
• Ravi Varma = 123
• Comparison of aristocratic artists = 125
• Two other artists in Japan = 128
• Notes = 132
• 6 The Plebeians = 135
• The pelbeian artist = 135
• The reprographic context = 136
• Image genealogies = 138
• The workshop = 140
• Imported equipment and technicians = 142
• New popular visual discourse = 143
• Photography as technique = 144
• Photography as style = 147
• Popular illustration and 'fine art' prints = 148
• Notes = 151
• 7 The Professional Artist = 155
• The professional = 155
• Historical perspectives on some major art schools in Asia = 155
• India = 155
• Japn = 158
• China = 160
• Thailand = 161
• Indonesia = 162
• The functions of art schools = 163
• The artisan atelier and its modern successors = 164
• The regime of the professional = 166
• The integrated system = 167
• The social domain of certification = 169
• Beyond the art world = 171
• Notes = 172
• 8 Exhibition : The Salon and the Establishment = 175
• Exhibited spectacles = 175
• Types of artist group structure and exhibition = 176
• Fine art societies and other exhibition venues in India = 178
• the salon Structure = 179
• Salons and society = 183
• Towards a tripartite notion of art society = 185
• The scale of social time = 190
• Notes = 191
• Colour Plates 26­48 = 193
• 9 The Avant­Garde = 217
• Definition of avant­garde = 217
• The concept of the avant­garde = 220
• Towards an Asian avant­garde = 222
• The avant­garde as an institutional position = 226
• Defining associated types of avant­garde = 228
• Defining functions of avant­garde for the artist = 230
• Avant­garde art as criticism = 231
• Notes = 233
• 10 Nationalism and Allegories of the State = 239
• Thematic approaches = 239
• Asian nationalism and modern Asian art = 239
• Some subjects in pictorial representation of the national = 245
• The free and unfree nation = 245
• Propagandising the national = 246
• War as a subject of representation in visual art = 247
• The national and mass struggles = 249
• Leadership taste and the myth of the national = 250
• Allegory and national expression in art = 251
• Crisis = 252
• Allegories of women as symvols of national identity = 253
• Notes = 255
• 11 Cycles of Integration and Autonomy = 261
• The Orientalismic miasma = 261
• Types of relationships between the local and the international = 263
• Features of relationships between the local and the international = 269
• Features across specifically Asian discourses = 272
• Critical functional values in modernity = 274
• Closed and open modern art discourses = 274
• Long­and short­term cycles = 276
• Style as discourse or as a marker of discourse = 276
• Notes = 278
• 12 The Contemporary = 283
• The contemporary as a site in the absence of history = 283
• Definitions of the contemporary in the late 1980s = 284
• Discourse abandoned or circumvented = 288
• Postmodernity or the modern extended = 289
• Formulations of taste = 291
• Gatekeeping = 293
• International sites and spectacles = 295
• Historical forgetting and remembering = 297
• The heritage of the past in the present discourse of modern Asian art. = 297
• Notes = 298
• Postscript = 303
• List of Colour Plates = 305
• List of Black and White Figures = 307
• Reproduction Acknowledgments = 311
• List of Interviews = 313
• Bibliography = 317
• Index = 338