About Nature: Discourses on the Boundaries of East and West in Curtis Carter’s Concern over Contemporary Chinese Art

Eva Kit Wah Man

Abstract


American aesthetician Curtis Carter demonstrates genuine concern for the subject of nature in contemporary Chinese art and its representations. He correctly points out that the Chinese tradition of featuring nature in the arts represents an imaginary paradise grounded in an idealized nature. Carter’s concern regarding China’s entry into a state of globalization is the impact of Westernizing globalization on the place of nature in Chinese art. Before discussing his concern, this article provides a review of the meaning of nature in traditional Chinese art and revisits ink painter Shitao’s notion of nature in his most representative painting notes, Hua-pu. Curtis also mentions the Chinese garden, stating that gardens in urban settings are supposed to maintain the presence of nature, and exemplifying them as symbolic presentations of nature. In addressing Carter’s concern, a review of the aesthetic experience of visiting a Chinese garden is provided for background. Carter also suggests examining the practices of contemporary Chinese experimental art versus the practices of traditional art to determine whether nature will retain a significant place in today’s Chinese art practices under the strong influences of globalization. This article examines the contemporary ink landscape scene and suggests that new Chinese art involves the invention of new paradigms in art creation, the resources of which are now available globally, and that representations of nature and reality are transforming.

 

Article received: April 30, 2020; Article accepted: June 25, 2020; Published online: September 15, 2020; Review article 

How to cite this article: Man, Eva Kit Wah. "About Nature: Discourses on the Boundaries of East and West in Curtis Carter’s Concern over Contemporary Chinese Art." AM Journal of Art and Media Studies 22 (2020): 43-53. doi: 10.25038/am.v0i22.383


Keywords


nature; globalization; traditional landscape painting; Chinese gardens; aesthetic experience; contemporary ink art.

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References


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Carter, Curtis. “Globalization and Chinese Contemporary Art: West to East, East to West.” In Unsettled Boundaries: Philosophy, Art, Ethics. East/West, edited by Curtis Carter, 113–28. Milwaukee: Marquette University Press, 2017.

Carter, Curtis. “Globalization, Modernity and the Place of Nature in Chinese Art.” Unpublished paper, typescript.

Coleman, Earle Jerome. Philosophy of Painting by Shih-t’ao: A Translation and Exposition of His Hua-p’u (Treatise on the Philosophy of Painting). Hawaii: University of Hawaii, 1971.

Hay, Jonathan S. Shitao: Painting and Modernity in Early Qing China. Cambridge: Cambridge University Press, 2001.

Sun, Xiaofeng. “Note on the Contemporary Chinese Ink Experiment.” In Infiltration-Idylls and Visions, edited by Guangdong Museum of Art, 9–13. Shijiazhuang, China: Hebei Fine Arts Publishing House, 2007.

Tang, Chun I. Spiritual Values of Chinese Culture. Taiwan: Ching Chung Book Stores, 1978.




DOI: http://dx.doi.org/10.25038/am.v0i22.383

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