Painting in China, 1644-1911
- PUBLISHED: December 2014
- SUBJECT LISTING: Asian Studies / China, Art History / Asian Art, Art / Painting
- BIBLIOGRAPHIC INFORMATION: 352 Pages, 7 x 10 in, 245 color illus., 1 map
- ISBN: 9780295993959
- Publisher: University of Washington Press
Addressing the previous lack of a comprehensive English-language study of Qing painting, art historian Claudia Brown’s account ranges from the tumultuous Ming–Qing transition to the end of imperial rule. In response to omissions in previous treatments, she examines major influences shaping the period and explores the relationship between painting and mapmaking, the role of patrons and collectors, printmaking and publishing, religious themes, and Western influences.
With more than two hundred color illustrations, Great Qing highlights fine examples of Qing painting in American museums, works from all regions of China, and paintings by women. Brown’s gorgeous, attentively rendered survey covers three centuries of momentous change and is intended for general audiences as well as art collectors, museum curators, and students and historians of Chinese art, culture, and society.
Authors & Contributors
Claudia Brown is professor of art history at Arizona State University and research curator for Asian art at the Phoenix Art Museum. She is the primary author and editor of Weaving China's Past: The Amy S. Clague Collection of Chinese Textiles and Minol Araki and coeditor of Buddhist Manuscript Cultures: Knowledge, Rituals, and Art.
If one had to choose an introduction to Qing painting, Brown’s Great Qing, with its capacious scope, would be it.- Harvard Journal of Asiatic Studies
Brown’s chapter on women artists is particularly valuable, as it presents one of the most thorough accounts of seventeenth- through twenty-first-century female painters in English. The sheer volume of artists discussed in this work is unprecedented in the field.- Choice
After a lifetime of study, the author brings the entire range of Qing painting alive in all of its diverse forms for the first time. Amazing!- Richard M. Barnhart, professor emeritus of art history, Yale University
The scope is immense . . . Brown considers social categories, conscientiously including imperial family, government officials, religious persons, women, and foreigners in her broad narrative. And she gestures toward a variety of issues, such as patronage, politics, identity, commemoration, commercialization, travel, tradition, and modernity.- De-nin Lee, author of The Night Banquet: A Chinese Scroll through Time