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首页> 外文学位 >Surreptitious appropriation: Ren Bonian (1840--1850) and Japanese culture in Shanghai, 1842--1895 (China).
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Surreptitious appropriation: Ren Bonian (1840--1850) and Japanese culture in Shanghai, 1842--1895 (China).

机译：秘密挪用：任伯年（1840--1850）和上海的日本文化，1842--1895（中国）。

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摘要

This dissertation investigates a crucial but previously unexplored facet of visual culture in Shanghai: the increasing presence of Japanese goods, prints, and entertainment in Shanghai in the late nineteenth century. By constructing the daily circulation and consumption of Japanese material culture in Shanghai, this dissertation will argue that Ren Bonian, arguably the most creative and representative painter of Shanghai at the time, adopted and appropriated many designs and conventions from Japanese Ukiyo-e woodblock prints and lacquer designs, but without giving explicit credit. In contrast to the supposed mainstream of Chinese-centered mentality in the Shanghai art scene at this time, ironically, it is indeed this unrecognized and somewhat surreptitious appropriation of artistic idioms from Japanese popular culture by painters like Ren Bonian that shaped what we now identify as the most inventive element of Shanghai paintings. In terms of the structure, this dissertation begins with a methodological discussion of the various issues regarding the significance of the period from 1842 to 1895, and of the artist, Ren Bonian, in the study of not only Chinese art history, but also cultural exchange and Sino-Japanese history. Due to the deeply rooted misconception that has always asserted a unilateral Chinese influence over Japan, Chapter One first "rewrites" a history of how Japanese luxury goods, including art objects, were indeed circulated, consumed, and appreciated in China throughout history. Coming back to Ren Bonian and Shanghai, in Chapter Two and Chapter Three, I reconstruct the Japanese things and Japanese people that Ren might have encountered and associated with, respectively, in his day in Shanghai. Then, Chapter Four is devoted to a formal investigation of Japanese idioms in the art of Ren Bonian. This visual analysis will finally come together with pieces of cultural fragments gathered in the previous chapters to form a picture of the emerging trans-national popular culture in Shanghai in the nascent modern world of the late nineteenth century.
机译：本文研究了上海视觉文化的一个至关重要但从未开发的方面：在19世纪后期，日本商品，版画和娱乐在上海的存在与日俱增。通过构建上海日本物质文化的日常流通和消费，本文将论证当时的上海最有创意和代表性的画家任伯年，采纳并借鉴了日本浮世绘木版画的许多设计和惯例，漆设计，但没有给予明确的认可。具有讽刺意味的是，与当时以上海为中心的以华人为中心的心理主流形成对比，具有讽刺意味的是，确实是像日本人那样的画家对日本流行文化的这种艺术习语的这种未被认可和某种秘密的挪用，塑造了我们现在所认定的上海绘画中最具创造力的元素。在结构方面，本文首先从方法论的角度讨论了1842年至1895年这一时期的重要性以及艺术家任伯年在研究中国艺术史以及文化交流方面的重要性。和中日历史。由于根深蒂固的误解一直主张中国对日本的单方面影响，第一章首先“重写”了一段历史，说明日本的奢侈品，包括艺术品，在整个历史上的确在中国流通，消费和欣赏。回到任伯年和上海，在第二章和第三章中，我分别重构了任志强在上海的日子里可能遇到并与之交往的日本事物和日本人。然后，第四章专门研究Ren Bonian艺术中的日本成语。最终，这种视觉分析将与前几章中收集到的文化片段一起，构成一张十九世纪末现代世界中新兴的上海跨国流行文化的图片。

著录项

  • 作者

    Lai, Yu-chih.;

  • 作者单位

    Yale University.;

  • 授予单位 Yale University.;
  • 学科 Art History.; History Asia Australia and Oceania.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 520 p.
  • 总页数 520
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 艺术史、艺术思想史;世界史;
  • 关键词

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