Shanshui. Poesie ohne Worte? Landschaft in der chinesischen Gegenwartskunst. Poetry without sound? Landscape in Chinese contemporary art.

Weiwei, Ai; Guanghui, Chen; Huang, Chen u.v.a.

ISBN 10: 377572849X / ISBN 13: 9783775728492

Edité par Ostfildern, Hatje Cantz, 2011

A propos de cet article

4°. 25,5 x 30,5 cm. 240 Seiten. Original-Pappband. 1. Auflage. Zweisprachige Ausgabe in Deutsch und Englisch. Katalog anlässlich der Ausstellung im Museum of Art, Luzern, 21.05.-02.10.2011. Mit zahlreichen Abbildungen. Neuwertiges, noch eingeschweißtes Exemplar. First edition. Bilingual edition in German and English. Exhibition catalogue. With many illustrations. Original hardcover. Mint copy, still shrink wrapped.

N° de réf. du vendeur 9036EB

Détails bibliographiques

• Titre: Shanshui. Poesie ohne Worte? Landschaft in der chinesischen Gegenwartskunst. Poetry without sound? Landscape in Chinese contemporary art.
• Éditeur: Ostfildern, Hatje Cantz
• Date de parution: 2011
• Langue: allemand
• ISBN à 10 chiffres: 377572849X
• ISBN à 13 chiffres: 9783775728492
• Reliure: Couverture rigide
• Édition: Edition originale
• Poids: 2000 grammes
• Catalogues du vendeur:
  • Kunst: Außereuropäische Kunst

A propos de ce titre

Synopsis

Shanshui, the Chinese word for landscape, is a compound of the two symbols for mountain and water, indispensable elements of historical shanshui painting. Its significance lies more in its transformational potential for connecting the individual to the world than in the accurate rendering of a particular landscape. Even in contemporary art in China, which is dominated by the human figure and supposedly liberated from the burden of tradition, there are more or less obvious elements of traditional mountain-water painting, which is deeply rooted in the nation's culture.\nThis publication was conceived in collaboration with Ai Weiwei-probably China's best-known contemporary artist-and it strikes an arc from selected historical shanshui paintings to important protagonists of contemporary Chinese art. The volume groups the works according to specific characteristics, such as the manipulation of traditional source materials and philosophical concepts, experiments with new media, or photography as a mode of expression essentially related to the "one brushstroke" propagated by Shi Tao, the seventeenth-century Chinese master.