Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?

Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?

This article analyzes the change in the reception of Chinese painting in scholarly discussions by Western art historians on both sides of the Atlantic at the beginning of the 20th century, and it studies its place and role in the esthetic discussion that led to a questioning of the Classical model....

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Autore principale: Peng, Chang Ming
Natura: Article ou chapitre numérique
Lingua:Français
Pubblicazione: 2020
Accesso online:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_209_0047RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2020-3-page-47?lang=fr https://doi.org/10.3917/rda.209.0047 Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ? Peng, Chang Ming2020 fre Revue de l'art | 209 | 3 | 2020-09-23 | p. 47-60 | 0035-1326 RDA_20924 This article analyzes the change in the reception of Chinese painting in scholarly discussions by Western art historians on both sides of the Atlantic at the beginning of the 20th century, and it studies its place and role in the esthetic discussion that led to a questioning of the Classical model. Convergences in the approaches led to a questioning of their logic in accord with the historical, esthetic and historiography context. Multiple factors contributed to favoring the emergence and the development of a scholarly discussion. Also, the accentuation of the opening up to world cultures in the first decades of the 20th century supported the emergence of new perceptions of Chinese painting. If this latter had demonstrated the validity of another system of painterly references and its internal coherence, the idea developed among art historians that explorations of the forms of expression that differed or strayed from Classical norms should also be undertaken within the context of Western tradition. This favored the reconciliation and the comparisons between Chinese painting and older Western painting of the Italian Primitives or contemporary modern artists, opening the way in return for a renewed reading of Western art. Thus the debate over the other esthetic norms possible in cultures outside of Europe nourished as much a change in the vision of Chinese painting as this latter also contributed to the development of these considerations.Cairn free access
language Français
format Article ou chapitre numérique
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description This article analyzes the change in the reception of Chinese painting in scholarly discussions by Western art historians on both sides of the Atlantic at the beginning of the 20th century, and it studies its place and role in the esthetic discussion that led to a questioning of the Classical model. Convergences in the approaches led to a questioning of their logic in accord with the historical, esthetic and historiography context. Multiple factors contributed to favoring the emergence and the development of a scholarly discussion. Also, the accentuation of the opening up to world cultures in the first decades of the 20th century supported the emergence of new perceptions of Chinese painting. If this latter had demonstrated the validity of another system of painterly references and its internal coherence, the idea developed among art historians that explorations of the forms of expression that differed or strayed from Classical norms should also be undertaken within the context of Western tradition. This favored the reconciliation and the comparisons between Chinese painting and older Western painting of the Italian Primitives or contemporary modern artists, opening the way in return for a renewed reading of Western art. Thus the debate over the other esthetic norms possible in cultures outside of Europe nourished as much a change in the vision of Chinese painting as this latter also contributed to the development of these considerations.
author Peng, Chang Ming
spellingShingle Peng, Chang Ming
Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
author_facet Peng, Chang Ming
author_sort Peng, Chang Ming
title Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
title_short Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
title_full Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
title_fullStr Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
title_full_unstemmed Le discours savant sur la peinture chinoise en Occident au tournant du XXe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
title_sort le discours savant sur la peinture chinoise en occident au tournant du xxe siècle : termes et enjeux d’un changement radical, une histoire globale avant la lettre ?
publishDate 2020
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url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2020-3-page-47?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.209.0047
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