Outre les trois articles depouilles, ce numero special consacre aux Mathematiques presente une section devolue aux «Analyses et comptes rendus» d’ouvrages recents, ainsi qu’une rubrique «Revue des revues» internationale. M.-M. V.

Revue philosophique de la France et de l’étranger

By exploring the shift of ancestral worship centers in ancient China and its impact on art, the author argues that the genealogical/political structure of the Three Dynasties found its religious form in temple worship; however, following the decline of this system during the Eastern Zhou and the Qin, the tomb of an individual increased in importance. This process culminated during the Eastern Han: Problems in dynastic succession forced the Eastern Han rulers to abandon temple ceremonies and transfer them to graveyards. But this new system was again renounced by the following Wei dynasty, and many funerary structures were destroyed in an “iconoclastic” movement. The author contends that this complex development in religion strongly influenced and even governed the course of ancient Chinese art: Corresponding to the shift in religious center, the tomb assumed new symbolic imagery, and pictorial funerary art replaced ritual vessels to become the dominant artistic genre of early imperial China.

From Temple to Tomb: Ancient Chinese Art and Religion in Transition

The eighteenth-century Chinese taste for European things was met less by importing foreign goods than by domestically producing occidentalizing works of art, a diverse category of objects that can be termed “occidenterie.” This essay redirects the previous consideration of occidenterie from the Jesuit mission and imperial court painting toward a diversity of examples that span geography, material, format, and social class. The various ways in which Chinese occidenterie produced in different places and for different audiences employed elements connoting the West, thereby acquiring their foreign or exoticizing auras, more accurately reflects the empire-wide complexity of this phenomenon.

Chinese Occidenterie: The Diversity of "Western" Objects in Eighteenth-Century China

t is a commonplace of the current historical thinking about globalization to say: There are no vantage points from which to observe any culture since the very processes of globalization have effectively abolished the temporal and spatial distance that previously separated cultures.' Another way this thinking has been expressed is in the idea of globalization as the mode and ultimate structure of singularization, standardization, and homogenization of culture in service of instruments of advanced capitalism and neoliberalism. After such totalization, what remains of the critical forces of production that throughout the modern era have placed a strong check on the submergence of all subjective protocols to the orders of a singular organizing ideology, be it the state or the market? What may immediately follow this spatial and temporal reordering is to ask: If globalization has established, categorically, the proximity of cultures, can the same be said about globalization and art? Here, what marks the critical division between culture and art is that for centuries art as such has waged a fierce battle of independence from all cultural, social, economic, and political influences. Unlike the apotropaic device of containment and desublimation through which the modern Western imagination perceived other cultures, so as to feed off their strange aura and hence displace their power, the nearness today of those cultures formerly separated by their distance to the objectifying conditions of modernist history calls for new critical appraisals of our contemporary present and its relationship to artistic production. I start with these observations in order to place in proper context the current

The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition

Tourism has greatly increased world wide in recent decades, especially in China.

Nature-dominated Scenic and Historic Interest Areas, representative of the Chinese philosophy of the 'oneness of nature and human beings', are the most popular tourism destinations in China. Tourism impacts in these areas have been receiving the attention of heritage landscape conservation. Management actions have largely been determined with an emphasis on natural values. This thesis maintains that values relating to nature are socially and culturally constructed, and that they dynamically change through history. By investigating the social and cultural structures underpinning values related to nature, a macro-history method has been applied to explore the traditional Chinese View of nature from traditional Chinese philosophies and landscape cultures. An instrumental case study method has been applied to explore the contemporary Chinese values of nature. The relationships between traditional values and contemporary values have been identified. It was found that the traditional Chinese values still have a profound influence today, although many aspects have been distorted. Historic high culture in natural areas has been replaced by mass tourism culture and Western values. The research also found that today's values are more socially and politically contested. It has been revealed that there are deep social, cultural, economic and political roots underlying heritage conservation management actions. Changing and contested values have been interpreted from these perspectives. The values inherent in the Chinese View of nature, such as holistic philosophical perspectives, sophisticated Chinese landscape languages, and evolving living landscapes, have been identified. The contributions of these values to relevant theories of environmental philosophy, cultural landscape, national park tourism and heritage conservation have been identified by this research. The implications for multi-cultural dialogues in heritage landscape conservation have been addressed.

The Chinese view of nature : tourism in China's scenic and historic interest areas

Sensuous Surfaces: The Decorative Object in Early Modern China

constructed for Chinese art history in the course of the twentieth century has by and large employed a stratigraphie model of periodization?a view of the past in terms of sedimented layers of cultural time. In this essay I begin by exploring the particular form stratigraphy has taken in the Chinese field, as well as its weaknesses, and why it has had any role at all. I go on to consider a related but analytically distinct question: that of macrohistorical narrative, which provides the story lines for the long-term historical development of art. What are its models in Western historiography of Chinese art? Where do these models come from? Completing a brief overview of the modern Western diachronics of Chinese art history in English-language writing, I then examine the historiographie role played by the temporal unit of the century, an ostensibly neutral slice of historical time that has consistently been pressed into interpretative service by both stratigraphy and narrative, and has served as a bridge between the two. In the modern West, scholars have assumed the necessity of bringing stratigraphy and macrohistorical narrative into alignment. Is it worth continuing these efforts today, or is it now time to jettison this core assumption of modernist art historical practice? At the end of the essay, I make the case for the latter option, with the argument that we should be aiming instead at an explicitly disjunctive diachronics.1

Toward a Disjunctive Diachronics of Chinese Art History

1 Shitao, Yangzhou, and modernity 2 The conspicuous consumption of time 3 The common claim on dynastic narrative 4 Zhu Ruoji's destinies 5 The acknowledgment of origins 6 The Artis-Entrepreneur 7 Paintings as commodities 8 The painter's craft 9 Painting as praxis 10 The private horizon

Shitao: Painting and Modernity in Early Qing China

The eighteenth century saw China become, once again, a vast empire stretching far into Inner Asia. Not since the Mongol Yuan dynasty had the Chinese empire reached anything approaching this extent, and once again the stewardship of a nomad people was required. While one can legitimately speak of this empire as Chinese, to the extent that it was so presented by China's Manchu rulers, one has to be careful about what is understood by \"China.\" For China was, in a sense, a floating concept that few people at the time wanted to pin down too closely, lest the inherent gap of perception between Manchu rulers and Han Chinese subjects became too evident. One often has the sense, reading Chinese writings of the late seventeenth and eighteenth century, that much is being deliberately left unsaid. It was clearly in the interest of the Qing state that the Han Chinese population be able to recognize itself in the Chinese empire; less obviously, perhaps, it must have been psychologically and politically necessary for the dynasty's Han Chinese subjects to be able to avoid thinking of the Qing as an alien power?if only because every adult male bore the visible sign of Manchu conquest on his body in the form of the pigtail, and clothes under the Qing dynasty were made to conform to Manchu custom. It might be argued that it was only at the cost of what might be thought of as a suspension of disbelief with regard to Manchu rule that the Han Chinese population could protect the successful negotiation of dynastic transition during the fifty years after 1644 that had brought a restoration of order and prosperity. The alternative, in all its horror, was spelled out repeatedly by the Qing state in dismissals of officials, show trials, and the persecution of writers from around 1710 to the end of the century.2 The official state conception of empire was a multiethnic coalition under the umbrella of Manchu

Culture, Ethnicity, and Empire in the Work of Two Eighteenth-Century "Eccentric" Artists

Toward a Theory of the Intercultural

Handle everyday research tasks with reliable, citation-backed results

Your personal Research Agent to handle research tasks with citation-backed results

Popular Tasks used by Researchers

How can I help with your research?

Meet SciSpace

Get more enhanced response by uploading the PDFs you want me to reference.

No relevant PDFs in your library

SciSpace is the AI research assistant for academics. Run systematic literature reviews on 280M+ papers, and write papers with cited sources. Trusted by 1M+ students, PhDs & researchers.

SciSpace | AI for Research

Analyze PDFs

Code & Manuscripts

Funding & Grants

Literature & Patents

Medical & Clinical Data

Systematic Review

Visualize & Present

Web & Data

Build a Google Scholar-like website for your research.

Build a website

Create charts and images for your research

Create a Chart

Write a paper for submission to a journal

Draft a manuscript

Patent Search

Design eye-catching scientific posters in minutes.

Scientific Poster Generation

Systematic Literature Review

One task is running at the moment. Your messages will be shown right after.

Drag and drop or click here to browse

Loved by <highlight>1 million+</highlight> researchers

Extract a list of specific topics and their sources from unstructured text

Topics

Compare and analyze relevant papers that matches with your search

Papers

Get insights from PDFs and bookmarked papers from your library

My library

Recent searches

Try searching for:

Catch AI-generated content in scholarly and non-scholarly content

{ai} Detector

Ai Writer

Get PDF Summaries, highlighted text explanations 

Chat with PDF

Effortlessly create in-text citations and bibliographies in APA and 2,500 other formats

Citation generator

Get explanations, summaries, and answers on academic papers

Ease up your research workflow with {scispace}'s cohort of exciting AI tools

Elevate your academic writing skills and convey your ideas the way you want

Paraphraser

Explore our range of reading and writing tools

Your file is being prepared and should be ready in a few minutes. If it's a large file, it might take a bit longer. You can close this window, and we'll email you the file when it's done.

You have reached a maximum limit of <strong>{limit}</strong> columns in the table. Remove at least <strong>1</strong> column to add or create another one.

Jonathan Hay

Author Tools

Chat about Author