A peek inside The Art of Philosophy by Susanna Berger

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. Featuring previously unpublished prints and drawings from the early modern period and lavish gatefolds, The Art of Philosophy reveals the essential connections between visual commentary and philosophical thought. Watch the trailer to learn more:

The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment by Susanna Berger from Princeton University Press on Vimeo.

Susanna Berger is assistant professor of art history at the University of Southern California.

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:

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.

Asia Week New York: March 9–18

Asia Week New York is an annual event in which top-tier Asian art specialists, major auction houses, museums, and Asian cultural institutions collaborate to honor and promote Asian art in New York City. Since 2009, the Asia Week New York Association has focused its efforts on putting together an event-filled week that draws collectors and curators from across the globe. If you’re going to be in the area, be sure to make time for some of the exciting special sales, lectures, receptions, and tours taking place in NYC. Here at PUP, we’re thrilled to be publishing two books that celebrate Asian art this season—Chinese Painting and Its Audiences by Craig Clunas and Kanban by Alan Scott Pate—and to revisit a favorite backlist title—Preserving the Dharma by John M. Rosenfield. If you can’t attend the events, you can always join the conversation on social media using the hashtag #AsiaWeekNY.

Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.

Clunas

Providing a look into a unique, handmade world, Alan Scott Pate offers new insights into Japan’s commercial and artistic roots, the evolution of trade, the links between commerce and entertainment, and the emergence of mass consumer culture in Kanban: Traditional Shop Signs of Japan.

Kanban

In Preserving the Dharma: Hōzan Tankai and Japanese Buddhist Art of the Early Modern Era, eminent art historian John Rosenfield explores the life and art of the Japanese Buddhist monk Hozan Tankai (1629–1716).

Dharma

Featured image: The Art of Japan (Medina, WA) Torii Kotondo Beauty Combing her Hair 1933

Enemy painting and everyday life: stunning images from Bosch and Bruegel

KournerAt first glance, the works of Hieronymus Bosch and Pieter Bruegel seem to have little to do with each other. Bosch’s work is bizarre, diabolic, and outlandish. Bruegel depicted peasants in their every day life and realistic landscapes. On closer inspection, these two artists had more in common than one would think. They were both exploring the image as enemy; in Bosch’s work, everyday life is a trap set by an enemy of God, while in Bruegal the enemy is a humanly fabricated mask. In Bosch and Bruegel: From Enemy Painting to Everyday Life, Joseph Koerner sets these two masters in conversation with one another. This handsome edition is elegantly written and lavishly illustrated. In advance of its publication, here is a sampling of some of the book’s beautiful images.

 

This Halloween, a few books that won’t (shouldn’t!) die

If Halloween has you looking for a way to combine your love (or terror) of zombies and academic books, you’re in luck: Princeton University Press has quite a distinguished publishing history when it comes to the undead.

 

As you noticed if you follow us on Instagram, a few of our favorites have come back to haunt us this October morning. What is this motley crew of titles doing in a pile of withered leaves? Well, The Origins of Monsters offers a peek at the reasons behind the spread of monstrous imagery in ancient empires; Zombies and Calculus  features a veritable course on how to use higher math skills to survive the zombie apocalypse, and International Politics and Zombies invites you to ponder how well-known theories from international relations might be applied to a war with zombies. Is neuroscience your thing? Do Zombies Dream of Undead Sheep? shows how zombism can be understood in terms of current knowledge regarding how the brain works. Or of course, you can take a trip to the graveyard of economic ideology with Zombie Economics, which was probably off marauding when this photo was snapped.

If you’re feeling more ascetic, Black: The History of a Color tells the social history of the color black—archetypal color of darkness and death—but also, Michel Pastoureau tells us, monastic virtue. A strikingly designed choice:

In the beginning was black, Michel Pastoureau tells us in Black: A History of a Color

A post shared by Princeton University Press (@princetonupress) on

 

Happy Halloween, bookworms.

We Work in the Dark: The Child Labor Photography of Lewis Hine

In Soulmaker, Alexander Nemerov (Wartime Kiss) examines the work of photographer Lewis Hine. Working for the National Child Labor Committee, Hine travelled the United States for several years photographing children at work. From textile mills to coal mines, Hine’s images showed young children in arduous and dangerous working conditions. His work played an important role in the campaign for reform of child labor laws that ultimately resulted in the Fair Labor Standards Act of 1938.

Hine’s photographs are a close and disturbing window on the child labor system of the early 1900s. Beyond unvarnished documentary, these images are possessed of deep emotional resonance and an often eerie beauty. Nemerov highlights the fragility and ephemerality of the lives captured in Hine’s photographs. Here we present a selection from the photographs used in Soulmaker.

All images are courtesy the Library of Congress

The Arab Imago: A slideshow of portrait photography

The Arab Imago book coverThe dawn of photography coincided with the expansion of European imperialism; as a result, many of the oldest photographs from the Middle East come from the skewed colonial perspective of Europeans. In his forthcoming book, The Arab Imago: A Social History of Portrait Photography 1860-1910Stephen Sheehi offers an alternative history via numerous Arab and Armenian photographers who created their own images of Middle Eastern people. Sheehi seeks to define the past by these insider photographs, not the Orientalist pictures first circulated by foreign photographers. Many of the images come from posed studio portraits, showcasing the intricacy and clarity of the style, as well as the wide range of people who chose to be photographed.

This slideshow represents just a small selection of the early photographs featured in the book. Click on an image to enlarge and read the caption.