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The Analysis of Western Art History Theory and Chinese Landscape Painting

Lue Li

Abstract


According to James Elkins, all art history belongs to western art, no matter which country or region it comes from. The reason is popular historical art theories and textbooks come from the west as well as the goal and research method. This essay will first analyse a Chinese paintingwith Erwin Panofsky’s argument about three different aspects on appreciating paintings, followed by the thinking about Elkin’s introduction. And it will conclude that the western theory is being using by the world successfully, as the non western art will find their own way to appreciate their works.

Keywords


Chinses landscape paintings, iconography, iconology

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References


[1]James Elkins, “Interated Introduction,” Chinese Landscape Painting as Western Art History (Hong Kong: Hong Kong University Press, 2010): 6.

[2]Erwin Panofsky. “Iconography and iconology: an introduction to the study of Renaissance art.” Meaning in the visual arts. (Harmondsworth: Penguin, 1955): 81.

[3] Sophia Suk-Mun Law, “Being in Traditional Chinese Landscape Painting,” Journal​ of Intercultural Studies 32, no. 4 (2011): 369–82.

[4]Mark Sullivan. “The Gift of Distance: Chinese Landscape Painting as a Source of Inspiration.” Southwest Review 92, no. 3 (2007): 408-9[OL]. [2021-05-26].

[5] Wen C. Fong. “Why Chinese Painting Is History.” The Art Bulletin​ ​ 85, no. 2 (2003): 78[OL]. [2021-05-26]. https://www-jstor-org.libproxy.york.ac.uk/stable/3177344.

[6] Wen C. Fong. “Toward a Structural Analysis of Chinese Landscape Painting.” Art Journal 28, no. 4 (1969): 388[OL]. [2021-05-26]. https://www-jstor-org.libproxy.york.ac.uk/stable/775311




DOI: https://doi.org/10.18282/le.v10i1.2486

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