R.I.P. to the courtyard tree

Life and prosperity, wisdom and stability—for all that trees have symbolized throughout the ages, it seems fitting that an institution as old and august as Princeton University Press would have its own. That tree has long been the unusually attractive one gracing the center of our distinctive, circular courtyard entryway on William street. Flanked by periwinkle and rosebushes, some thought it was cherry, others were sure it was a Siberian crab apple. Either way, it saw countless outdoor celebrations, greeting staff and visitors alike with its shower of petals that, though sparser with each passing spring, were never less welcoming. Though no one at the Press could recall when exactly the tree had been planted, we were sad to learn that in spite of heroic efforts to stave off our graceful friend’s fragile health, the case had been deemed too dire. On a sunny Friday morning, we arrived at work to the sound of chainsaws. Within the space of an hour, the tree was gone, mementos placed in the kitchen for long-time staff. They were claimed in minutes.

courtyard tree removed

A replacement will be planted in due time—this time Carpinus caroliniana—a beautiful variety with fluted, blue-gray bark, no petals, but leaves that offer, according to various arboretums, “a kaleidoscope of color throughout the year.” New things will grow.

But old things will be remembered for how lovely they were. Goodbye, old friend.

 

The Great Mother—Jackets throughout the years

Goddess, monster, gate, pillar, tree, moon, sun, vessel, and every animal from snakes to birds: the maternal has been represented throughout history as both nurturing and fearsome, a primordial image of the human psyche. In celebration of Mother’s Day, we dipped into the archives for a tour of the various covers of a landmark book, Erich Neumann’s The Great Mother.

Join us for TigerTalks in the City: Breakthrough Books

On Thursday, May 18, join @Princeton Entrepreneurship Council for TigerTalks in the City: “Breakthrough Books.” Faculty members Sir Angus Deaton, Dalton Conley, Nancy Malkiel and Alexander Todorov will discuss their recent Princeton University Press books.

The event begins at 6:30 p.m. and will be followed by a networking reception with the authors and Princeton students and alumni. Register here today!

In memory of William Baumol

Princeton University Press is saddened to learn of the passing of the great American economist, William Baumol. Baumol was the Harold Price Professor of Entrepreneurship and Academic Director of the Berkley Center for Entrepreneurship and Innovation in the Stern School of Business at New York University; senior economist and professor emeritus at Princeton University, and a prolific author. He will be remembered for his numerous contributions to the study of innovation and economic growth, including a famous theory known as Baumol’s cost disease, recalled here.

Everyone’s favorite genius takes the spotlight

Along with Einstein fans everywhere, we’re fairly excited to binge-watch National Geographic’s upcoming series, “Genius”, premiering Tuesday, April 25. The first episode shows a young Einstein (Johnny Flynn), poring over the nature of time, a concept well covered in our An Einstein Encyclopedia along with most any other topic that could interest an Einstein devotee, from fame, to family, to politics, to myths and misconceptions. In Genius, prepare to see a show-down between a feisty young Einstein and a particularly rigid teacher. Engrossing to watch—and bound to leave viewers wanting more. Not to worry: “Teachers, education and schools attended” are covered in depth in the Encyclopedia, as are “Rivals”.

Episode 2 of Genius promises to show Einstein embarking, after much head-butting, on a love affair with the determined Mileva Maric. Often remembered as the lone, eccentric, Princeton-based thinker, Einstein’s youthful relationship with Maric sometimes comes as a surprise even to Einstein fans. And yet in 1903, a young Albert Einstein married his confidante despite the objections of his parents. Her influence on his most creative years has given rise to much discussion—but theirs was only one of several romantic interests over the course of Einstein’s life that competed with his passion for physics. Einstein’s love life has been the subject of intense speculation over the years, but don’t believe everything you hear: “Romantic Interests: Actual, Probable, and Possible”, all included in the Encyclopedia, won’t leave you guessing.

Mileva Maric, first wife of Albert Einstein

 An Einstein Encyclopedia is the single most complete guide to Einstein’s life, perfect for browsing and research alike. Written by three leading Einstein scholars who draw on their combined wealth of expertise gained during their work on the Collected Papers of Albert Einstein, this accessible reference features more than one hundred entries and is divided into three parts covering the personal, scientific, and public spheres of Einstein’s life.

With science celebrated far and wide along with Earth Day this past weekend, what better time to get your dose of genius and #ReadUp.

 

 

Horses of the World – Free downloadable poster!

We’re excited to introduce Horses of the World, a comprehensive, large-format overview of 570 breeds of domestic and extant wild horses, including hybrids between the two and between domestic breeds and other equids, such as zebras. Written by avid equestrian Élise Rousseau and encompassing every horse breed in existence, this beautifully illustrated and detailed guide covers the origins of modern horses, anatomy and physiology, variation in breeds, and modern equestrian practices. To celebrate the release of this monumental work, we’re making available a free download of a full color poster featuring a gorgeous selection of breeds.

The book, a must-have for all who are interested in horses, provides a treatment of breeds organized by country within broader geographical regions—from Eurasia through Australasia and to the Americas. Each account provides measurements (weight and height), distribution, origins and history, character and attributes, uses, and current status. Every breed is accompanied by superb color drawings—600 in total.

Download the poster here, and check this space each Tuesday for our new “Tuesday’s Trot” series.

 

A sneak peek at BIG PACIFIC, companion to upcoming PBS series

The companion five-part series on PBS: Big Pacific will air Wednesdays on PBS, June 21-July 19, 2017

The Pacific Ocean covers one-third of Earth’s surface—more than all of the planet’s landmasses combined. It contains half of the world’s water, hides its deepest places, and is home to some of the most dazzling creatures known to science. The companion book to the spectacular five-part series on PBS produced by Natural History New Zealand, Big Pacific by Rebecca Tansley breaks the boundaries between land and sea to present the Pacific Ocean and its inhabitants as you have never seen them before.

Illustrated in full color throughout, Big Pacific blends a wealth of stunning Ultra HD images with spellbinding storytelling to take you into a realm teeming with exotic life rarely witnessed up close—until now. Providing an unparalleled look at a diverse range of species, locations, and natural phenomena, Big Pacific is truly an epic excursion to one of the world’s last great frontiers. Take a sneak peek here:

 

 

PUP champions scientific research with March for Science

Princeton University Press’s mission is to bring scholarly ideas to the world. We publish books that connect authors and readers across spheres of knowledge to advance and enrich the human conversation. We embrace the highest standards in our publishing as embodied in the work of our authors from Albert Einstein in our earliest years to the present.

In keeping with our commitment to serve the nation and the world with top-notch science publishing, we’re excited to announce that we will be partnering with The March for Science on April 22 in Washington, DC. PUP’s Physical and Computer Science editor, Eric Henney, will participate in a morning Teach-in on the National Mall, focusing on the social value of direct and engaging scientific communication with the public. Stay tuned for details.

From the March for Science mission statement:

The March for Science champions robustly funded and publicly communicated science as a pillar of human freedom and prosperity. We unite as a diverse, nonpartisan group to call for science that upholds the common good and for political leaders and policy makers to enact evidence based policies in the public interest.

The March for Science is a celebration of science.  It’s not only about scientists and politicians; it is about the very real role that science plays in each of our lives and the need to respect and encourage research that gives us insight into the world.


Read the full statement here.

In our politicized world, the application of science to policy is not a partisan issue. Like the March for Science, Princeton University Press is proud to support engagement with scientific research through education, communication, and ties of mutual respect between scientists and their communities. Hope you’ll join us on Earth Day in DC.

Oscar E. Fernandez on The Calculus of Happiness

FernandezIf you think math has little to do with finding a soulmate or any other “real world” preoccupations, Oscar Fernandez says guess again. According to his new book, The Calculus of Happiness, math offers powerful insights into health, wealth, and love, from choosing the best diet, to finding simple “all weather” investment portfolios with great returns. Using only high-school-level math (precalculus with a dash of calculus), Fernandez guides readers through the surprising results. He recently took the time to answer a few questions about the book and how empowering mathematics can be.

The title is intriguing. Can you tell us what calculus has to do with happiness?

Sure. The title is actually a play on words. While there is a sprinkling of calculus in the book (the vast majority of the math is precalculus-level), the title was more meant to convey the main idea of the book: happiness can be calculated, and therefore optimized.

How do you optimize happiness?

Good question. First you have to quantify happiness. We know from a variety of research that good health, healthy finances, and meaningful social relationships are the top contributors to happiness. So, a simplistic “happiness equation” is: health + wealth + love = happiness. This book then does what any good applied mathematician would do (I’m an applied mathematician): quantify each of the “happiness components” on the left-hand side of the equation (health, wealth, and love), and then use math to extract valuable insights and results, like how to optimize each component.

This process sounds very much like the subtitle, how a mathematical approach to life adds up to health, wealth, and love. But just to be sure, can you elaborate on the subtitle?

That’s exactly right. Often we feel like various aspects of our lives are beyond our control. But in fact, many aspects of our lives, including some of the most important ones (like health, wealth, and love), follow mathematical rules. And by studying the equations that emerge from these rules you can quickly learn how to manipulate those equations in your favor. That’s what I do in the book for health, wealth, and love.

Can you give us some examples/applications?

I can actually give you about 30 of them, roughly the number discussed in the book. But let me focus on my three favorite ones. The first is what I called the “rational food choice” function (Chapter 2). It’s a simple formula: divide 100 calories by the weight (say, in grams) of a particular food. This yields a number whose units are calories per gram, the units of “energy density.” Something remarkable then happens when you plot the energy densities of various foods on a graph: the energy densities of nearly all the healthy foods (like fruits and vegetables) are at most about 2 calories per gram. This simple mathematical insight, therefore, helps you instantly make healthier food choices. And following its advice, as I discuss at length in the book, eventually translates to lower risk for developing heart disease and diabetes, weight loss, and even an increase in your life span! The second example comes from Chapter 3; it’s a formula for calculating how many more years you have to work for before you can retire. Among the formula’s many insights is that, in the simplest case, this magic number depends entirely on the ratio of how much you save each year to how much you spend. And the formula, being a formula, tells you exactly how changing that ratio affects your time until retirement. The last example is based on astronomer Frank Drake’s equation for estimating the number of intelligent civilizations in our galaxy (Chapter 5). It turns out that this alien-searching equation can also be used to estimate the number of possible compatible partners that live near you! That sort of equates a good date with an intelligent alien, and I suppose I can see some similarities (like how rare they are to find).

The examples you’ve mentioned have direct relevance to our lives. Is that a feature of the other examples too?

Absolutely. And it’s more than just relevance—the examples and applications I chose are all meant to highlight how empowering mathematics can be. Indeed, the entire book is designed to empower the reader—via math—with concrete, math-backed and science-backed strategies for improving their health, wealth, and love life. This is a sampling of the broader principle embodied in the subtitle: taking a mathematical approach to life can help you optimize nearly every aspect of your life.

Will I need to know calculus to enjoy the book?

Not at all. Most of the math discussed is precalculus-level. Therefore, I expect that nearly every reader will have studied the math used in the book at some point in their K-12 education. Nonetheless, I guide the reader through the math as each chapter progresses. And once we get to an important equation, you’ll see a little computer icon next to it in the margin. These indicate that there are online interactive demonstrations and calculators I created that go along with the formula. The online calculators make it possible to customize the most important formulas in the book, so even if the math leading up to them gets tough, you can still use the online resources to help you optimize various aspects of health, wealth, and love.

Finally, you mention a few other features of the book in the preface. Can you tell us about some of those?

Sure, I’ll mention two particular important ones. Firstly, at least 1/3 of the book is dedicated to personal finance. I wrote that part of the book to explicitly address the low financial literacy in this country. You’ll find understandable discussions of everything from taxes to investing to retirement (in addition to the various formulas derived that will help you optimize those aspects of your financial life). Finally, I organized the book to follow the sequence of math topics covered in a typical precalculus textbook. So if you’re a precalculus student, or giving this book to someone who is, this book will complement their course well. (I also included the mathematical derivations of the equations presented in the chapter appendixes.) This way the youngest readers among us can read about how empowering and applicable mathematics can be. It’s my hope that this will encourage them to continue studying math beyond high school.

Oscar E. Fernandez is assistant professor of mathematics at Wellesley College and the author of Everyday Calculus: Discovering the Hidden Math All around Us and The Calculus of Happiness: How a Mathematical Approach to Life Adds Up to Health, Wealth, and Love.

A peek inside The Art of Philosophy

Delving into the intersections between artistic images and philosophical knowledge in Europe from the late sixteenth to the early eighteenth centuries, The Art of Philosophy shows that the making and study of visual art functioned as important methods of philosophical thinking and instruction. From frontispieces of books to monumental prints created by philosophers in collaboration with renowned artists, Susanna Berger examines visual representations of philosophy and overturns prevailing assumptions about the limited function of the visual in European intellectual history. Take a peek inside:

Jan C. Jansen and Jürgen Osterhammel on Decolonization

DecolonizationThe end of colonial rule in Asia, Africa, and the Caribbean was one of the most important and dramatic developments of the twentieth century. In the decades after World War II, dozens of new states emerged as actors in global politics. Long-established imperial regimes collapsed, some more or less peacefully, others amid mass violence. Decolonization by Jan C. Jansen and Jürgen Osterhammel takes an incisive look at decolonization and its long-term consequences, revealing it to be a coherent yet multidimensional process at the heart of modern history. Recently, the authors answered some questions about their new book:

You describe the dissolution of colonial empires as a major process of the twentieth century. What makes decolonization important?

In a way, decolonization is both among the most overrated and underrated historical processes of the twentieth century. On the one hand, many contemporaries pinned high expectations to the end of colonial rule: a new age of social and international equality, post-racism, peace, empowerment of the South, economic redistribution, cultural self-determination, democracy, technological progress, etc. Many of these expectations did not, or only partially, materialize. Hierarchies and inequality continue to shape the relations between formally independent states. It is thus only natural that many see decolonization through the prism of historical disappointment and disillusion. They regard decolonization as a failure. Yet we also have to see what decolonization did change: It dramatically altered the norms that govern the word-wide relations between nations and peoples. While in the late 1930s large parts of the world population still lived in territories that were under alien rule, this has become an anomaly in the present time. Racial hierarchy is no longer an accepted structuring principle of world order. This fundamental normative change is a major dimension—and yes, also an achievement—of the decolonization era. In general, it is important to go beyond these narratives of failure and success and to understand decolonization as a fundamental restructuring—and geopolitical fragmentation—of the international system. This is a perspective we put forward in the book.

How do you explain this international sea change?

This is a question that many contemporaries and witnesses of decolonization were already debating, and today’s historians and political scientists have inherited several ways of explaining the end of colonial rule: that the colonial powers simply could not stem against the rising tide of national liberation movements, that the new postwar international scene of the Cold War and international organizations forced Europe’s colonial powers to give up colonial rule, or that the colonial powers, in association with influential big business interests, realized that they could pursue their interests in more cost-effective ways than colonial rule, the classical “neo-colonialism” theory. In our book, in line with today’s excellent scholarship, we try to avoid overtly simplified models. Decolonization was a multifaceted and complex historical process, and its sheer geographical breadth should caution us against one-factor-theories. The book seeks to provide an analytical grid that takes into account various levels of historical action (local, imperial, international) and time frames. This grid may be used by our readers to analyze and describe specific cases, and may also help to explain decolonization in comparative perspective.

How irreversible is this process, in light of the current international scene? Are there no clear signs that the international order marked by decolonization is coming to an end?

Decolonization never did away with power structures between nations and peoples. Rather, it changed the ways in which these hierarchies are arranged and exercised. The formally sovereign nation-state—and no longer the empire—has become the basis of the international system. Despite the current renaissance of “spheres of interest” and “interventions,” as worrisome as these tendencies are, we do not see the reemergence of internationally codified hierarchies between “metropoles” and “colonies.” To be sure, the post-1989 international order has been under great pressure. Yet, there are no historical precedents for the reappearance of once collapsed empires. If current talk of a “Greater Russia” really leads to Russian “re-imperialization” remains to be seen. In that case, Russian ambitions will eventually clash with a self-confident China, ironically its old Asian rival, which, by the way, has never really ceased to be an empire. Elsewhere, the rise of xenophobic and racist movements throughout the Western world hardly seems to be inspired by the desire to be again at the pinnacle of a diverse and multi-ethnic empire. These movements want to minimize interaction with what they conceive as the inferior and dangerous other (be they Syrians, Eastern Europeans, or Mexicans); their new symbol is “the Wall.” Colonial re-expansion would necessarily go in a different direction.

You also argue that decolonization marked “a crucial phase in West European nation-building.” What do you mean by this?

Of course, decolonization did not bring about new European nation-states. This happened in the global South. Yet, it did have a considerable impact on the European metropoles, and also on Japan, which had built up its own colonial empire in Asia from the late nineteenth century on. These metropoles were closely tied to their overseas possessions, and it is one of the paradoxes of the decolonization era that such ties intensified at the very moment of imperial demise. After the Second World War, Great Britain and France, the two leading colonial powers, sought to facilitate mobility within their imperial spheres and set up, by today’s standards, relatively liberal citizenship laws for people from their respective empires. Decolonization, in this context, came as no less than a rupture in longstanding geopolitical orientations. It set off a new phase in European nation-building, a sort of nation-building by way of contraction. The metropoles had to dissolve or redefine the many—economic, political, social, also mental—ties to their respective empires. In light of increased immigration from their former colonial territories, they also had to redefine what it meant to be British, French, or Dutch. Though not produced by the end of empire, European supranational integration became enmeshed in European decolonization: the postcolonial European nation-states started to focus on Europe and the European market, which more than made up for their losses in former imperial trade. Great Britain, marked by a long-standing ambivalence toward continental Europe, made its first attempt to join the European Common Market in 1961, after the disaster of the Suez crisis and at the apogee of African decolonization. In a way, the 2016 “Brexit” vote to drop out of the European Union concluded this period of postimperial British supra-nationalism.

How present is the history of decolonization today?

Remnants of the colonial past and the decolonization era are pervasive. They remind us that our current world was built out of the ruins of empire. For example, a large portion of international borders between states, including the conflicts they sometimes nourish, have been the result of colonial rule. Decolonization basically enshrined most of them as the borders between sovereign nation-states. Some of the most troubling conflicts in the world—such as the Israeli-Palestinian conflict or the conflict between Pakistan and India—can be traced back to the decolonization era. Yet, notwithstanding the many apparent links, assessing the long-term impact of decolonization and the colonial past remains a tricky operation. Postcolonial countries have taken very different trajectories, sometimes starting from the same colonial system. Consider the two Koreas which had been under Japanese rule and which took diverging paths. The Syrian civil war, to cite another case, can hardly be seen as the ineluctable result of Franco-British quasi-colonial rule in the Middle East during the interwar years.

While the impact of the colonial past and the decolonization process may be fading with time, memories relating to this period have experienced a boom over the past two decades. Certainly, many episodes of the decolonization period remain largely forgotten. Who remembers the bloody repression of a major insurrection in Madagascar in 1947–49? Yet, debates about the colonial past and its end have attracted a great deal of attention not only in formerly colonized countries, but also in Japan and in many European countries. These memories have even become a concern in the diplomatic world. Internationally concerted efforts at remembering the effects—and the many victims—of colonial rule, similar to what we have seen with regard to the Holocaust or the world wars, however, are still no more than a wild dream by some historians.

Why did you write this book?

Decolonization has become an important topic in international historical scholarship, a development not completely detached from the memory boom we just talked about. Over the past two decades, historians and social scientists around the world have worked at piecing together a complex picture of this process and its reverberations. In many cases they have unearthed new archival evidence, a lot of which has only recently become accessible. Decolonization is in the process of turning into a highly productive—and specialized—research field. The wealth of new empirical studies, however, has been rarely accompanied by attempts at synthesis or general interpretation. The book offers such a broader survey. We sought to write it in a clear, accessible prose which addresses students and scholars, but also readers from outside the historical profession who are interested in this process.

Jan C. Jansen is a research fellow at the German Historical Institute in Washington, DC. Jürgen Osterhammel is professor of modern and contemporary history at the University of Konstanz. He is a recipient of the Gottfried Wilhelm Leibniz Prize, Germany’s most prestigious academic award. His books include The Transformation of the World: A Global History of the Nineteenth Century (Princeton).

 

 

 

Craig Clunas on Chinese Painting and its Audiences

ClunasWhat is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Recently, Clunas took the time to answer some questions about the book.

There are lots of books about Chinese art, what’s the particular scope of this one?

CC: This book isn’t about the whole of Chinese art, but it looks at the important art of painting in China over the last five hundred years or so, from the Ming Dynasty (1368-1644) to the very recent past. It does it not from the point of view of the creation of Chinese painting but through a history of looking at it, and a history of the types of viewers who have formed the very diverse audiences for it over those centuries.

If I don’t know much about Chinese culture, will I be able to understand this book?

CC: I hope anybody interested in art can get something from this book. It has its origins in a lecture series, the A. W. Mellon Lectures in the Fine Arts, held regularly at the National Gallery of Art in Washington, DC, since 1953. In 2012 I gave these lectures (with the same title as the book); that’s only the second time in over sixty years that art from China has been the focus of a Mellon Lecture series. So I was very conscious of addressing a non-specialist audience, of people with an interest in the visual arts generally but without any specific expertise, and I’ve tried to keep the technicalities to a minimum in the main text, while still providing the evidence for other scholars to judge the strength of my arguments. When people say, ‘I don’t know anything about Chinese art,’ they often in fact already have a strong set of preconceptions, and I want to dispel some of these by showing the actual variety of painting being produced over a long time span, including work made in China in the past which tends to get left out of the category called ‘Chinese painting’ today.

How would you break down the main argument? 

CC: Obviously, back in the sixteenth century people in China who viewed a work by a famous painter of the day, or an old master from the past, didn’t think of what they were looking at as ‘Chinese painting.’ To them, it was just ‘painting.’ Today, whether in the Chinese-speaking world or outside it, the category ‘Chinese painting’ is the meaningful one we use to describe both historic painting and contemporary work of certain kinds. The book looks at how this came about, and shows how it was through the actions of viewers that this cultural category was formed, concentrating on certain kinds of pictures and marginalizing others. I’m claiming that the understanding of Chinese painting in some ways ran before it could walk, making big generalizations about the subject before much of the detailed work was done. These generalizations then fed into art history as a whole, where ‘Chinese painting’ stands as probably the major counter-example to the western tradition of art. I’m arguing here that the category ‘Chinese painting’ isn’t a timeless essence of Chinese culture, or an imposition on China from outside, but the result of a complex set of historical processes involving different types of audiences.

How does the book do this? 

CC: Firstly, by showing a fresh and broad set of images, you can’t write about pictures without showing them! The book is very heavily illustrated; it includes some familiar paintings which everybody already interested in the topic might recognize (though I hope they are talked about in a new way), but it also has lots of unfamiliar images, pictures which haven’t been widely reproduced before. I hope every reader will see something surprising and something beautiful. At the book’s heart are a sequence of what to me are really interesting paintings of different types of people – men and women, emperors and merchants, scholars and gallery-goers – looking at paintings. These pictures which take viewing as their subject can tell us a lot. They are at the core of a sequence of chapters which roughly speaking takes the topic from the fifteenth century to our own time, looking at a number of ideal audiences for Chinese painting; I’ve called these: the gentleman, the emperor, the merchant, the nation, the people. I’ve tried to balance analysis of the images themselves with the context in which they were produced, and to look at audiences both inside and outside China, which go back a lot longer than people might imagine. I’m obviously dependent on the specialist scholarship of other writers, and I’ve tried to pull together some of this work to give readers who might be interested in knowing more about a particular topic a sense of some of the great work being done now on Chinese painting. You can now read extensively in English about Chinese painting theory and criticism, and the lives of individual artists, over a broad time span. I’d be pleased if this book made people just a bit more aware of that great body of knowledge, and of the sheer scale of China’s artistic production.

How do you think this book might be received in China? 

CC: I’ve written other books on Chinese art, mostly of the Ming period, which have been translated into Chinese, and what I find interesting (and a bit surprising) is how some Chinese readers find contemporary resonances in books which I thought of when I wrote them as being ‘just’ about history. So I’ve come to accept that the history we write is never ‘just’ about the past. I’ve also learned (and this would be one of the main arguments of the book) that it’s wrong to imagine some homogeneous ‘Chinese view’ of painting or anything else, as if everybody in that huge country thought the same way. I hope some readers there might find it intriguing, and that even if they don’t like its way of arguing they would recognise the respect I feel for one of the world’s great bodies of art and human creativity.

How do you see the story of Chinese painting and its audiences developing in the future? 

CC: Painting, whether in brush and ink or oil on canvas, is only one of the practices of the visual arts in China today, but it remains an extremely important one. This is not least because the boom in the art market in China makes works of both past and present hugely valuable commodities. It seems pretty unlikely to me that the significant collections of Chinese painting outside China (whether in museums or in private hands) will grow very much in the future, the gravitational pull of the Chinese market is now just too strong. But the digital reproduction of artworks, which is proceeding now at a terrific pace, may mean that the physical location of paintings will matter less and less, their audiences will become more global and the composition of these audiences will get more and more diverse. That’s perhaps going to make it harder and harder for a restrictive definition of ‘Chinese painting’ to sustain itself, and maybe in time it will just be part of something called ‘painting’ again, or – who knows – even the dominant strand within it.

Craig Clunas is the Professor of History of Art of Oxford University in England. His books include Screen of Kings: Royal Art and Power in Ming China, Empire of Great Brightness: Visual and Material Culture and Social Status in Early Modern China, and Art in China.