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Folk Art and Modern Culture in Republican China by Felicity Lufkin (review)

Folk Art and Modern Culture in Republican China by Felicity Lufkin (review) Reviews 173 5. Despite Kleutghen’s generalization of previous scholar’s superficial treatment of Shixue, many have taken the content in the book seriously. Most notably the Italian scholar Elisabetta Corsi has written extensively on that subject and has made comparison on specific passages and illustrations between Perspectiva pictorum and Shixue in La Fábrica de las Ilusiones: Los jesuitas y la diffusion de la perspectiva lineal en China (1698–1766) (Mexico City: El Colegio de México, 2004). 6. Kristina Kleutghen, “Staging Europe: Theatricality and Painting at the Chinese Imperial Court,” Studies in Eighteenth-Century Culture 42 (2013): 81–102. 7. Many have written on this subject. For example, see Wu Hung, “Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber,” in Writing Women in Late Imperial China, ed. E. Wilmer and Kang-i Sun Chang (Stanford, CA: Stanford University Press, 1997). 8.On fictive surfaces, see Jonathan Hay, Sensuous Surfaces: The Decorative Object in Early Modern China (Honolulu: University of Hawai‘i Press, 2010); on the political instrumentality of art, see Hui-Chi Lo’s “Political Advancement and Religious Transcendence: The Yongzheng Emperor’s(1678–1735) Deployment of Portraiture” (PhD diss., Stanford University, 2009); on multiethnic empire as expressed through art, see Patricia Berger, Empire http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png China Review International University of Hawai'I Press

Folk Art and Modern Culture in Republican China by Felicity Lufkin (review)

China Review International , Volume 23 (2) – May 11, 2018

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'i Press.
ISSN
1527-9367

Abstract

Reviews 173 5. Despite Kleutghen’s generalization of previous scholar’s superficial treatment of Shixue, many have taken the content in the book seriously. Most notably the Italian scholar Elisabetta Corsi has written extensively on that subject and has made comparison on specific passages and illustrations between Perspectiva pictorum and Shixue in La Fábrica de las Ilusiones: Los jesuitas y la diffusion de la perspectiva lineal en China (1698–1766) (Mexico City: El Colegio de México, 2004). 6. Kristina Kleutghen, “Staging Europe: Theatricality and Painting at the Chinese Imperial Court,” Studies in Eighteenth-Century Culture 42 (2013): 81–102. 7. Many have written on this subject. For example, see Wu Hung, “Beyond Stereotypes: The Twelve Beauties in Qing Court Art and the Dream of the Red Chamber,” in Writing Women in Late Imperial China, ed. E. Wilmer and Kang-i Sun Chang (Stanford, CA: Stanford University Press, 1997). 8.On fictive surfaces, see Jonathan Hay, Sensuous Surfaces: The Decorative Object in Early Modern China (Honolulu: University of Hawai‘i Press, 2010); on the political instrumentality of art, see Hui-Chi Lo’s “Political Advancement and Religious Transcendence: The Yongzheng Emperor’s(1678–1735) Deployment of Portraiture” (PhD diss., Stanford University, 2009); on multiethnic empire as expressed through art, see Patricia Berger, Empire

Journal

China Review InternationalUniversity of Hawai'I Press

Published: May 11, 2018

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