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Conference Paper: Repetition in Chinese Painting and Print Culture: The Case of Wu Youru (d. 1894)
| Title | Repetition in Chinese Painting and Print Culture: The Case of Wu Youru (d. 1894) |
|---|---|
| Authors | |
| Issue Date | 2017 |
| Publisher | University Museum and Art Gallery, HKU. |
| Citation | Talk in University Museum and Art Gallery, the University of Hong Kong, Hong Kong, 29 April 2017 How to Cite? |
| Abstract | The notion of the 'copy' in Chinese painting has been conventionally concerned with issues of Chinese antiquity and archaism derived from multiple “pasts.” Copies, such as painting manuals, served as drafts for further reproductions of a painting. Multiple works in various art forms hint at the issues of doubling and substitution, but remain inadequately studied in relation to artistic production shaped by new cultural forces. Like many painters of his time, Wu Youru (d. 1894), the Shanghai School painter celebrated for his illustrations for the Dianshizhai Pictorial, made paintings while contributing works to illustrated pictorial magazines. Intriguingly, Wu himself copied several paintings from his “Women in the Latest Fashions” (1890), an album of twelve leaves in ink and colour on silk, presenting them in other media. Based on Wu Youru’s multiple copies, I offer a close reading of several originals and prints. |
| Description | This talk is part of the series held in conjunction with the UMAG's exhibition Robert Lettner: In Dialogue with the Chinese Landscape, co-organized by The University Museum and Art Gallery, HKU and City university of Hong Kong |
| Persistent Identifier | http://hdl.handle.net/10722/252641 |
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Chen, FF | - |
| dc.date.accessioned | 2018-04-27T04:15:52Z | - |
| dc.date.available | 2018-04-27T04:15:52Z | - |
| dc.date.issued | 2017 | - |
| dc.identifier.citation | Talk in University Museum and Art Gallery, the University of Hong Kong, Hong Kong, 29 April 2017 | - |
| dc.identifier.uri | http://hdl.handle.net/10722/252641 | - |
| dc.description | This talk is part of the series held in conjunction with the UMAG's exhibition Robert Lettner: In Dialogue with the Chinese Landscape, co-organized by The University Museum and Art Gallery, HKU and City university of Hong Kong | - |
| dc.description.abstract | The notion of the 'copy' in Chinese painting has been conventionally concerned with issues of Chinese antiquity and archaism derived from multiple “pasts.” Copies, such as painting manuals, served as drafts for further reproductions of a painting. Multiple works in various art forms hint at the issues of doubling and substitution, but remain inadequately studied in relation to artistic production shaped by new cultural forces. Like many painters of his time, Wu Youru (d. 1894), the Shanghai School painter celebrated for his illustrations for the Dianshizhai Pictorial, made paintings while contributing works to illustrated pictorial magazines. Intriguingly, Wu himself copied several paintings from his “Women in the Latest Fashions” (1890), an album of twelve leaves in ink and colour on silk, presenting them in other media. Based on Wu Youru’s multiple copies, I offer a close reading of several originals and prints. | - |
| dc.language | eng | - |
| dc.publisher | University Museum and Art Gallery, HKU. | - |
| dc.relation.ispartof | University Museum and Art Gallery, Talk | - |
| dc.title | Repetition in Chinese Painting and Print Culture: The Case of Wu Youru (d. 1894) | - |
| dc.type | Conference_Paper | - |
| dc.identifier.email | Chen, FF: fongc@hku.hk | - |
| dc.identifier.hkuros | 282055 | - |
| dc.publisher.place | Hong Kong | - |