1VIS127C

Fall 2011

Arts of Modern China

COURSE DESCRIPTION This course will explore the ways in which Chinese artists of the 20th century have defined modernity and their tradition against the complex background of Chinas history. A key issue for modern Chinese art is the degree to which Chinese artists have chosen to adopt Western conventions and the extent to which they have rejected them. Equally legitimate positions have been taken by artists whose work actively opposes the legacy of the past and by those who pursue innovations based upon their particular understandings of the Chinese tradition. Through examining art works in different media, including oil painting, graphic design, woodblock prints, traditional ink and color painting, and recent installation and video art, along with theoretical writing, bibliographical and institutional data, and other documentary materials, we will investigate the most compelling of the multiple realities that Chinese artists have constructed for themselves. COURSE OBJECTIVES You are expected to understand main development of Chinese art of the twentieth century in terms of function and iconography, stylistic characteristics, historical significance, and political and cultural implication, and to develop critical thinking, oral and writing skill, and to foster research ability. COURSE FORMAT The class will be conducted as a series of slide-illustrated lectures. Each section of the material will be presented chronologically, with detailed discussion of problems in interpretation, connoisseurship, or methodology. You will be examined on slides shown in class; for this reason, regular class attendance is expected. COURSE REQUIREMENT AND GRADING You are expected to become familiar with all the art works, facts, and concepts introduced in class, as well as with facts and issues introduced in the textbook and in the assigned outside reading. Study guides which list the works of art studied in each section will be handed out in class. Attendance and participation (5%) Marks will be kept on daily attendance, taken at the beginning of class, and participation marks will be kept throughout class and after class. Dont be late. Dont skip. Take-home Essay Question (10%) Take-home essay question requiring a response of about 2-3 pages in length (10%). Slide Examination (45%) a. In-class slide examination in which students will be asked to identify the artist, school or site; the date; and the subject matter of the work of art illustrated, and then to comment on the

significance of the work in terms of function, subject matter or iconography, and style. Some of these will be single monuments; others will be in the compare and contrast format. Term Paper (40%) One term paper (10-12 pages, typed, double space) with foot/end notes and bibliography. Students are expected to develop an issue related to the course material. Typical topics include studies of a single monument or work of art, work produced under the patronage of a particular individual or clan, a particular aspect of a single artist's work, or a carefully delimited discussion about the development of a particular type of subject matter. The grade will be based on clarity of presentation, effectiveness of evidence presented, and soundness of conclusions.

Makeups: It is necessary to have written documentation to make up a missed exam. It is the students responsibility to contact her/his instructor to make up the exam. Course Website: http://leda2.ucsd.edu/~kshen/VIS127C Textbook: Julia Andrews and Kuiyi Shen, Arts of Modern China. Berkeley: University of California Press (forthcoming). The text will be posted on the course website.
MAJOR REFERENCES Julia Andrews and Kuiyi Shen. A Century in Crisis: Modernity and Tradition in the Art of Twentieth Century China. New York: Guggenheim Museum and Abrams, 1998 Website: http://kaladarshan.arts.ohio-state.edu/exhib/gug/intr/china.html Michael Sullivan. Art and Artists in the Twentieth Century China. Berkeley: University of California Press, 1996 Julia Andrews. Painters and Politics in the Peoples Republic of China. Berkeley and Los Angeles: University of California Press, 1994. About Reading: To do well in this class, student should complete all required reading before class, as well as frequently read from the recommended list. Weekly required readings will be assigned from materials on reserve. Books kept on reserve shelf may be used in the library as well as checked out for a limited time. TENTATIVE SCHEDULE Week 1: Major Issues in the Art at the Dawn of Chinas Modern Age; Chinese Art in the Age of Imperialism: The Opium War to the Treaty of Shimonoseki (1842-1895) Reading: Andrews and Shen, Arts of Modern China, Chapter 1. Week 2: Art in the Creation of a New Nation: The Overthrow of the Qing and the Early Republic (1895-1920); Art in the New Culture of the 1920s Reading: Chapter 2; Chapter 3 Week 3: Modern Art in the 1930s Reading: Chapter 4. Week 4: The Golden Age of Guohua in the 1930s; Art in Wartime (1937-1949) Reading: Chapter 5; Chapter 6 Week 5: Western-Style Art, Ink Painting, Lianhuanhua, and Woodcuts under Mao, 1949-1966 Reading: Chapter 7 & 8 Week 6: Tuesday, November 1 : Take-home Essay Due; Art of the Great Proletarian Cultural Revolution (1966-1976)

Reading: Chapter 9 Week 7: Art after Mao (1976-1989) Reading: Chapter10 Week 8: Tuesday, November 15: Slide Exam; Alternative Chinas: Hong Kong and Taiwan Reading: Chapter 11 Week 9: No U-Turn: Chinese Art After 1989, No class on Thursday, Nov.24 Reading: Chapter 12 Week 10. The New Millenium, and the Chinese Century? Term paper due on Thursday, December 1 Reading: Chapter 13. REFERENCE BOOKS: Andrews, Julia F. Painters and Politics in the Peoples Republic of China. Berkeley and Los Angeles: University of California Press, 1994. ND1045.A53 1994 ______. Fragmented Memory: Chinese Avant-Garde in Exile, with Gao Minglu. Exhibition catalogue. Columbus: Wexner Center for the Arts, 1993. Andrews, Julia F., and Kuiyi Shen. A Century in Crisis: Modernity and Tradition in the Art of Twentieth Century China. New York: Guggenheim Museum and Abrams, 1998 N7345.A53 1998x ______. Traditionalism as a Modern Stance: The Chinese Womens Calligraphy and painting Society. Modern Chinese Literature and Culture vol.11, no.1 (Spring 1999). pp. 1-30. Barme, Geremie, and Jon Minford. Seeds of Fire: Chinese Voices of Conscience. Newcastleupon-Tyne, 1988. PL2658.E1 S44 1988 Barnhart, Richard, et al. Three Thousand Years of Chinese Painting. New Haven: Yale University Press, 1997. ND1040.T48 1997 Brown, Claudia, and Ju-hsi Chou. Transcending Turmoil: Painting at the Close of Chinas Empire 1796-1911. Phoenix Art Museum, 1992. ND1043.5.B76 1992 Cahill, James Francis. The Painters Practice. New York: Columbia University Press, 1994. ND1043.5.C35 1994 Chang, Arnold. Painting in the Peoples Republic of China: The Politics of Style. Boulder: Westview Press, 1980. Chang, Tsong-zung, ed. The Stars: 10 Years. Hong Kong, 1989. China Avant-Garde: Conter-Current in Art and Culture. Hong Kong: Oxford University Press, 1993. ISBN 0-19-586423-9 Clark, John, Modern Asian Art. North Rude, N.S.W., 1988. ______. ed. Modernity in Asian Art. Canberra: Wild Peony, 1993 Cohen, Joan Lebold. The New Chinese Painting, 1949-1986.New York: Abrams, 1987. ND1045.C631987 ______. Painting the Chinese Dream: Chinese Art Thirty Years after the Revolution (Painting and Sculpture 1978-1981).Northampton, Mass., 1982. Croizier, Ralph. Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906-1951. Berkeley and Los Angeles: University of California Press, 1988. ND1043.53L55 C7 1988 Doran, Valerie C. Chinas New Art, Post-1989, with a Restropective from 1979-1989. Introduction by Chang Tsong-zung, Hong Kong: Hanart T Z Gallery 1993. Erickson, Britta. On the Edge: Contemporary Chinese Artists Encounter the West. Exh. Cat.

Stanford: Cantor Art Center, Stanford University, 2005. ______. Words without Meaning, Meaning without Words: the Art of Xu Bing. Exh.cat. Washington, D.C.: Sackler Gallery, 2001. Ellsworth, Robert. Later Chinese Painting and Calligraphy, 1800-1950. New York: Random House, 1988. Farrer, Anne. Wu Guanzhong: A Twentieth-Century Chinese Painter. London: British Museum, 1992. Fu, Shen C. Y. And Jan Stuart. Challenging the Past: The Paintings of Chang Dai-chien. Washington, 1991.ND1049.C4523 A4 1991 Galikowski, Maria. Art and Politics in China, 1949-1986. Hong Kong: Chinese University of Hong Kong, 1996. N7345.G35 1998x Gao Minglu, ed., Inside Out: New Chinese Art, San Francisco Museum of Modern Art and Asian Society Galleries, 1998. ______. The Wall: Reshaping Contemporary Chinese Art, Buffalo: Albright-Knox Art Gallery, 2005. Goldman, Merle, ed. Chinas Intellectuals and State: In Search of a New Relationship. Cambridge, Mass., 1987. DS777.6.C46 1987 ______. Chinas Intellectuals: Advise and Dissent. Cambridge, Mass., 1981. DS777.6.G64 Hajek, Luber. Contemporary Chinese Painting. London: Spring Books, 1961. ND1045.H312 History of Chinese Oil Painting: from Realism to Post-Modernism. Hong Kong: Schoeni Art Gallery Ltd., 1995. ISBN 962-7502-15-4 Kao, Mayching, ed. Twentieth-Century Chinese Painting. Oxford: Oxford University Press, 1988. ND1045. T86 1988 Kraus, Richard C.. Pianos and Politics in China: Middle-Class Ambitions and the Struggle over Western Music. Oxford, England: Oxford University Press, 1989. ML336.5.K72 1989 Kuo, Jason Chi-sheng. ed., Visual Culture in Shanghai, 1850-1930. Washington D.C.: New Academia Publishing, 2007. _____. Heirs to a Great Tradition: Modern Chinese Paintings from the Tsien-hsiang-chai Collection. Seattle: University of Washington Press, 1993. _____. Innovation with Tradition: The Painting of Huang Pin-hung. With contributions by Richard Edwards and Tao Ho. Hong Kong, 1989. Laing, Ellen Johnston. The Winking Owl: Art in the Peoples Republic of China. Berkeley and Los Angeles: University of California Press, 1988. N7345.L35 1988 _____. An Index to Reproductions of Paintings by Twentieth-Century Chinese Artists. Asian Studies Program, Publication no.6. Eugene: University of Oregon, 1984. Z5949.C5 L32 c.2 Lee, Leo Ou-fan. Shanghai Modern. Cambridge: Harvard University Press, 1999 DS796.S25 L43 1999 _____, ed. Lu Xun and His Legacy. Berkeley and Los Angeles: University of California Press, 1985.PL2754.S5 Z7567 1985 _____. The Romantic Generation of Modern Chinese Writers. Cambridge, Mass.: Harvard University Press, 1973. PL2277.L4 1973 Li, Chu-tsing. Trends in Modern Chinese Painting (The C.A. Drenowatz Collection). Artibus Asiae Supplementum 36. Ascona, Switz: Artibus Asiae Publishers, 1979. _____. Liu Kuo-sung: the Growth of a Modern Chinese Artist. Taipei: National Gallery of Art and Museum of History, 1969. ND1049. L7739 L5

Lim, Lucy, ed. Wu Guanzhong: A Contemporary Chinese Artist. San Francisco, 1989. ______. Contemporary Chinese Painting: An Exhibition from the Peoples Republic of China. San Francisco, 1984. ISBN 0-9609784-8-8 Link, Perry, Paul Pickowitz, Rechard Mason, Popular China. 2001. Minick. Scott, and Jiao Ping. Chinese Graphic Design in the Twentieth Century. London, 1990. NK1068.M56 1996x Shen, Kuiyi. Zhou Brothers: Thirty Years of Collaboration. Chicago: Elmeherst Museum & Chicago Cultural Center, 2004. ______. Word and Meaning: Six Contemporary Chinese Artists. Baffulo: University at Baffalo Art Gallery, 2000. Shen, Kuiyi and Julia Andrews, Blooming in the Shadows: Unofficial Chinese Art, 1974-1985. New York: China Institute Gallery, 2011 Silbergeld, Jerome. China into Film: Frame of Reference in Contemporary Chinese Cinema. London: Reaktion Books, 1999. PN1994.S55 1999x _____, with Gong Jisui. Contradictions: Artistic Life, the Socialist State, and the Chinese Painter Li Huasheng. Seattle: University of Washington Press, 1993. ND1049.L4765 S56 1993 _____. Mind Landscape: The Paintings of C.C. Wang. Seattle: University of Washington Press, 1987. ND1049.W18 A4 1987 Spence, Jonathan D. The Gate of Heavenly Peace: the Chinese and Their Revolution, 18951980. New York: Penguin Books, 1982. DS774.S59 1982 _____. The Search for Modern China. New York, London: W.W.Norton & Company, 1990. DS754.S65 1990 Strassberg, Richard E., ed. I dont Want to Play Chess with Cezanne and Other Works: Selections from the Chinese New Wave and Avant-Garde Art of the Eighties. Pasadena, 1991. Strassberg, Richard E., and Waldemar A. Nielsen. Beyond the Open Door: Contemporary Paintings from the Peoples Republic of China. Pasadena, 1987. ND1045.S87 1987x Sullivan, Michael. Art and Artists of Twentieth Century China. Berkeley and Los Angeles: University of California Press, 1996. N7345.S79 1996 _____. The Meeting of Eastern and Western Art. 2nd ed. Berkeley and Los Angeles: University of California, 1989. N7429.S93 1997x Sun, Shirley Hsiao-ling. Lu Hsun and the Chinese Woodcut Movement, 1929-1936. Ph.D. diss., Stanford University, 1974. Vine, Richard, New China, New Art, Munich: Prestel, 2008 Weidner, Marsha. Views from Jade Terrace: Chinese Women Artists, 1300-1912. Indianapolis, 1988. N7343.5.V54 1988x Wu Hung, ed. Contemporary Chinese Art: Primary Documents, New York: Museum of Modern Art, 2010 ______, Wang Huangsheng, and Feng Boyi, eds. The First Guangzhou Triennial: ReinterpretationA Decade of Experimental Chinese Art (1990-2000). Exh.cat. Guangzhou: Guangdong Museum of Art, 2002. ______. ed. Chinese Art at the Crossroads: Between Past and Future, Between East and West. Hong Kong: New Art Media, 2001. ______. Exhibiting Experimental Art in China. Exh. Cat. Chicago: Samrt Museum of Art, University of Chicago, 2000.

______. Transience: Chinese Experimental Art at the End of the Twentieth Century, Chicago: Smart Museum of Art, University of Chicago,1999. Wu Tung. Painting in China since the Opium Wars. Boston, 1980