Contemporary Chinese landscape paintings: genealogies of form

References

• Baihua, Z., and J. De Meyer. 2017. “The Birth of Artistic Conception in China.” Art in Translation 9 (3): 367–396. https://doi.org/10.1080/17561310.2017.1353291.
   Google Scholar
• Bell, C. 1920. Art. New York: Frederick A. Stokes Company.
   Google Scholar
• Berkowitz, E. 2017. “The 1910 ‘Manet and the Post-Impressionists’ Exhibition: Importance and Critical Issues.” BRANCH: Britain, Representation and Nineteenth-Century History.
   Google Scholar
• Chilvers, I., and J. Glaves-Smith. 2009. A Dictionary of Modern and Contemporary Art. Oxford: Oxford University Press.
   Google Scholar
• Dowling, C. 2013. “Aesthetic Formalism.” Internet Encyclopedia of Philosophy.
   Google Scholar
• Elkins, J. 2010. Chinese Landscape Painting as Western Art History. Hong Kong: Hong Kong University Press.
   Google Scholar
• Foster, H. 1996. The Return of the Real: Art and Theory at the End of the Century. Cambridge, MA: MIT Press.
   Google Scholar
• Gardiner, P. 2003. Kant, Immanuel. Oxford Art Online. https://doi-org.libraryproxy.griffith.edu.au/10.1093/gao/9781884446054.article.T045764.
   Google Scholar
• Greenberg, C. 1940. “Towards a Newer Laocoon.” Partisan Review VII:296–310.
   Google Scholar
• Greenberg, C. 1982. “Modernist Painting.” In Modern Art and Modernism: A Critical Anthology, edited by F. Frascina and C. Harrison, 5–10. London: Sage.
   Google Scholar
• Han, X. 1999. “Why I Say the Brush and Ink is Zero? The Interview of Wu Guanzhong.” Art, 7.
   Google Scholar
• Holzman, D. 1986. “The Cold Food Festival in Early Medieval China.” Harvard Journal of Asiatic Studies 46 (1): 51–79. https://doi.org/10.2307/2719075.
   Web of Science ®Google Scholar
• Hu, D. 1995. “The Philosophical Origin of the Black-White System of Chinese Painting.” International Journal of Politics, Culture, and Society 8 (3): 453–465. https://doi.org/10.1007/BF02142895.
   Google Scholar
• Jian, Z. 2020. “Rediscovering Modern Art in the 1980s Diachronic Enquiring and Synchronic Borrowing from Wu Guanzhong to the 1985 New Wave Movement.” In Complementary Modernisms in China and the United States, edited by Z. Jian and R. Bruce, 564–575. Santa Barbara: Punctum Books.
   Google Scholar
• Jullien, F. 2009. The Great Image has No Form, or on the Nonobject Through Painting. Chicago: University of Chicago Press.
   Google Scholar
• Kant, I. 1892. The Critique of Judgement. London: Macmillan.
   Google Scholar
• Kaprow, A., and J.-J. Lebel. 1966. Assemblage, Environments & Happenings. New York: Abrams.
   Google Scholar
• Li, K. 2000. Li Keran Lun Yi Shu [The arguments of Li Keran on art]. Beijing: ren min mei shu chu ban she.
   Google Scholar
• Li, E. 2016. dao de jing [Tao De Ching]. Nanjing: Jiangsu Phonex Art Press.
   Google Scholar
• Li, X. 2016. “Major Trends in the Development of Contemporary Chinese Art.”
   Google Scholar
• Lin, F. 1926. “dong xi yi shu zhi qian tu” [The prospect of east and west art]. dong fang za zhi, 23.
   Google Scholar
• Lin, Y. 2012. The Gay Genius: The Life and Time of Su Tungpo. Beijing: Foreign Language Teaching and Researching Press.
   Google Scholar
• Morris, R. 1993. Anti Form (1968), na.
   Google Scholar
• National Palace Museum. 2017. The Cold Food Observance. National Palace Museum. Accessed September 3, 2023. https://theme.npm.edu.tw/exh106/npm_anime/ColdFoodObservance/en/index.html.
   Google Scholar
• Purtle, J. 2020. “Whose Hobbyhorse Now?: A Revised Foreword for Chinese Landscape Painting as Western Art History.” Journal of Contemporary Painting 6 (1): 11–21. https://doi.org/10.1386/jcp_00011_1.
   Web of Science ®Google Scholar
• Shao, Y. 2007. “xing yu wu xing – shi jue wen hua zhong de xing yu wu xing” [Form and anti-form – the tangible and distangible in visual culture]. Art Research(mei shu yan jiu).
   Google Scholar
• Shen, Y. 2013. Fu lai yi shu pi ping wen xuan [Roger Fry: Selected essays and criticism]. Edited by Y. Shen. Nanjing: Jiangsu Art Press.
   Google Scholar
• Wu, G. 1979. “hui hua de xing shi mei” [The formal beauty of the painting]. mei shu, 5.
   Google Scholar
• Wu, G. 1980. “guan yu chou xiang mei” [The beauty of the abstract]. mei shu, 10.
   Google Scholar
• Wu, G. 1981. “nei rong jue ding xing shi” [Do the contents determine the form?]. mei shu.
   Google Scholar
• Wu, G. 2010. “bi mo deng yu ling” [Ink and brush held no values]. mei shu, 2.
   Google Scholar
• Yang, C. 2009. zhong guo hui hua li dai li lun ping zhu: song dai juan [Chinese historical painting theories’ commentaries: Song dynasty]. Wuhan: Hubei Art Press.
   Google Scholar
• Yin, S. 2019. “Qi xiang cang mang–Hong Ling de yi shu” [The vast expanse of the atmosphere: Hong Ling's art]. Oil Painting Art, 58–63.
   Google Scholar
• Yu, Y. 2019. Wu guan zhong de chuan tong guan yu hui hua yan jiu [The research on Wu Guanzhong's view on traditional art and practice]. Changsha: Hunan Art Press.
   Google Scholar
• Zhang, Y. 2006. Discussion About Zhang Yu’s “Experimental Ink-and-Wash”. Pifo Gallery. Accessed August 20, 2023. https://pifo.cn/press/16/.
   Google Scholar
• Zhang, Y. 2015. “zi shi zhi zhong wo suo jing li de shi yan shui mo” [From the beginning to the end: The experimental ink and wash art I have experienced]. dang dai yi shu, 6.
   Google Scholar
• Zhu, F. 2020. “zhong guo hua de qing gan biao da-xin xiang biao da yu yi jing” [Emotional expression in traditional Chinese painting: Mental image expression and artistic conception]. Nothern Art.
   Google Scholar