University of Glasgow, History of Art Department
Honours Subject Course
Academic Session 2000-2001
PATTERNS OF
COLLECTING AND CHANGING TASTE IN CHINESE ART
Course Description
This course is intended to
examine the position of art within traditional Chinese society, looking at its
changing role and status and the mechanisms which fuelled these changes. The
focus will be upon the arts produced by and for the elite within traditional
China: namely the literati, members of the Imperial Court and those who aspired
to literati status - the merchants. The course will begin by examining the
development of China’s art tradition based upon the twin arts of calligraphy
and painting, followed by the broader flowering of collecting and patronage during
the Song dynasty (AD 960-1279). Particular emphasis however will be placed upon
the arts of the late Ming period (16th and 17th centuries) and the middle Qing
period (17th and 18th centuries), when there was a huge demand for luxury goods
and art objects of every kind and where there was the greatest interplay of
influence by the literati elite, the merchant class and the Imperial Court.
Some themes to be explored
are: why did calligraphy and painting become the dominant arts in China? How
significant was the Court in influencing changes in taste? How important were
the merchant class and the literati in creating a market for art objects?
Attention will also be made to Chinese art and the Chinese art market during
the early part of the 20th century, when Chinese art collecting became
dominated by the needs of European collectors and museums.
Aims
The aims of the course are:
·
To examine the changing
role of artefacts within Chinese society and the mechanisms which fuelled these
changes, with a concentration on developments which took place during the late
Ming and Qing periods (16th-18th centuries).
·
To explore the
collecting trends which can be discerned in all periods from China’s Bronze Age
(1600 BC).
·
To discover the
influences, such as the court, the merchant class and the literati, which
fuelled changes in taste and patterns of collecting and which created the
market for art objects.
Objectives
By the end of the course, you
should be able to:
·
Understand the basic
ideas and aesthetics which traditionally govern the arts in China.
·
Understand the changes
in taste and the mechanisms of change which took place in Chinese art over a
long and continuous art collecting tradition.
·
Identify materials used
by Chinese artists and craftsmen and the dominant artistic styles of the
periods covered.
·
Organise and present in
a coherent way what you have learnt in both written and oral form.
Teaching Methods
The course will be taught by
lectures and by seminars. The lectures will flesh out topics and themes with
major elements being developed in the seminars. In many cases students will be
expected to present a short paper in the seminars on a subject of a previous
lecture. A list of these together with the appropriate materials will be made
available in advance. Some lectures/seminars will take place in The Burrell
Collection or Royal Museum of Scotland, where actual objects will be discussed
and examined.
Course Work & Assessment
Each student will write two
essays chosen from the attached list.
Timetable
Altogether each student will
receive 32 contact hours not including tutorials. Some lectures will extend to
one-and-a-half and occasionally two hours in duration, particularly where a
handling session is involved.
Lecture Subjects
Introduction: themes and
variations
·
The beginnings of a
Chinese art tradition.
·
The scholar-official and
the pre-eminence of Calligraphy.
·
From calligraphy to
painting.
·
Calligraphy and
painting: the problem of authenticity.
·
Collecting and
connoisseurship under the Song Dynasty.
·
Song archaeology and
antiquarianism: the link with the past.
·
Collecting and
connoisseurship under the Ming Dynasty.
·
Handling Session.
·
The widening art
tradition: Chinese taste during the 16th-17th century.
·
The art network in the
late Ming: patronage and inter-elite relationships.
·
Handling Session.
·
Art and Propaganda: the
Ming-Qing transition of the late 17th-early 18th century.
·
Imperial Collecting in
the 18th century: the Qianlong Emperor.
·
Collecting and
connoisseurship in the 18th century.
·
China and the
international art market in the 19th and 20th centuries.
Essay Titles
Choose any two of the topics
listed below and write two essays of about 2,500 words. Include
examples/illustrations where possible.
Trace the origins and early
development of China’s fine art tradition.
"...skilled calligraphy
was an essential ticket of admission to the scholar-official class; and the
scholar-officials then made their basic skill into an art by treating it as an
art. By extension, this also explains how painting became China's only other
major art." (Joseph Alsop: The Rare Art Traditions). Discuss this
statement in relation to the development of calligraphy and painting in China.
Explain why calligraphy and
later painting achieved their unrivalled status as the most important of art
forms in China.
Discuss the concept of
authenticity in Chinese calligraphy and painting.
To what extent did a
reverence for past styles and patterns of taste encourage copying and faking in
the arts of China?
Describe the kind of objects
that entered the art collecting fold during the Song dynasty (960-1279 AD) and
explain why you think these objects became desirable as works of art.
What does Zhang Zeduan's
(Chang Tse-tuan) painting: Going Up River During the Qing- Ming Festival, tell
you about the art market during the Song dynasty (960-1279 AD)?
What do you understand by the
concept of "archaism" in Chinese art? Did it encourage faking and
forgery?
Describe the kind of objects
that entered the art collecting fold during the Ming dynasty (1368-1644 AD) and
explain why you think these objects became desirable as works of art.
What kind of objects could be
found in the art collections of the wealthy connoisseur at the end of the Ming
dynasty in the mid 17th century and why were they considered worthy of
inclusion?
Discuss the role of objects
as conveyors of meaning, status and gender during the 17th and 18th centuries
in particular.
"The literati regard
inner virtue and moral character as the most valuable assets. On the other
hand, it is better to have fewer rather than more skills. Skills could not only
lead to a life of servitude but could also hurt a man's moral standing."
(Li Rihua, 1565-1635 AD). What does this statement tell you about the nature of
literati painting and calligraphy?
Discuss the Chinese
literati’s preoccupation with exclusivity in connoisseurship during the late
Ming, illustrating your argument with writings of the period.
What was the iconography and
decorative repertoire used on porcelains of the Transitional (mid-17th century)
and Kangxi periods (1662-1722 AD)? Why did it develop and did it have a social
and political function?
What objects could be found
in a typical Chinese art collection during the reign of the Qianlong emperor
(1736-95 AD)?
Explain the position of art
as a symbol of status and political legitimacy in imperial China.
What was the significance of
the imperial collections, particularly those established during the 18th
century by Qianlong?
Describe the impact of the
international art market on what was collected in China during the late
19th-early 20th centuries.
To what extent if any did
European intervention in China from the mid-19th to the early 20th centuries
effect the pattern and nature of collecting Chinese art?
READING LIST
Introductory reading for Lecture topics 1 and 2:
KERR, Rose (ed): Chinese Art and Design, V&A, London,
1991. See especially chapter entitled: "Collecting".
ALSOP, Joseph: The Rare Art Traditions: The History of Art
Collecting and its Linked Phenomena. Princeton, 1982. Chapter VIII
"The Pattern Repeats", p.p. 213-251.
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966. Introduction and
chapters "In Search of the Past" and "The Soul of the
Dragon".
BUSH, Susan and MURCK,
Christian (eds): Theories of the Arts in
China. Princeton, 1983.
CLUNAS, Craig: Art in China, Oxford 1997.
Lecture topics 3-5: Calligraphy and Painting
Specific reading:
RAWSON, Jessica (ed): The British Museum Book of Chinese Art.
London, 1992. Chapter 2: "Calligraphy and Painting for Official
Life", p.p. 84-133.
ALSOP, Joseph: The Rare Art Traditions: The History of Art
Collecting and its Linked Phenomena. Princeton, 1982. Chapter VIII "The
Pattern Repeats", pp. 213-251.
FONG, Wen C: Beyond Representation: Chinese Painting and
Calligraphy, 8th-14th century. Yale, 1992.
HARRIST, Robert E and FONG,
Wen C: The Embodied Image: Chinese
Calligraphy from the John B. Elliott Collection. Princeton, 1999. See
especially Introductory Essays by Wen Fong: ‘Chinese Calligraphy: Theory and
History’ and Robert Harrist: ‘Reading Chinese Calligraphy’ and the Essay by
Robert Harrist: ‘A Letter from Wang Hsi-chih and the Culture of Chinese
Calligraphy’, pp.241-59.
VAN GULIK, R. H.: Chinese Pictorial Art as Viewed by the
Connoisseur. Serie Orientale Roma 19, Rome, 1958. Second Part, Chapter 1
"The Judging of Antique Scrolls", pp. 339-415.
DAVID, Percival: Chinese Connoisseurship: The Ko Ku Yao Lun.
London, 1971. Sections: "On Ancient Paintings" and "On Ancient
Calligraphy", pp. 13-38.
CAHILL, James: The Painter's Practice: How Artists Lived
and Worked in Traditional China. Columbia, New York, 1994.
CLUNAS, Craig: Arts in China, Oxford 1997, especially
Chapter 4
On copies and forgeries in painting and calligraphy:
JONES, Mark, (ed): Fake? The Art of Deception. British
Museum, London, 1990. Chapter 4: "Faking in the Far East", pp.
99-107.
FONG, Wen: "The Problems
of Forgeries in Chinese Painting". In: Artibus
Asiae, vol. xxv, 1962, pp. 95-140.
FU, Shen and Marilyn: Studies in Connoisseurship: Chinese
Paintings from the Arthur M. Sackler Collections in New York, Princeton and
Washington DC, Princeton 1973. Chapters 2 and 3.
FU, Shen: "Chang
Dai-chien's The Three Worthies of Wu and His Practice of Forging Ancient
Art". In: Orientations,
September 1989, pp.56-72.
XU Bangda:
"Connoisseurship in Chinese painting and calligraphy: some copies and
forgeries". In: Orientations,
March 1988, pp. 54-62.
LEDDEROSE, Lothar:
"Chinese Calligraphy: Its Aesthetic Dimension and Social Function."
In: Orientations, October 1986,
pp.35-50.
BAI, Qianshen: "Chinese
Letters: Private Words Made Public". In: HARRIST, Robert E and FONG, Wen
C: The Embodied Image: Chinese
Calligraphy from the John B. Elliott Collection. Princeton, 1999.
STANLEY-BAKER, Joan:
"Forgeries in Chinese Painting". In: Oriental Art, 32, Spring 1986, p.p.54-66. (Photocopy with Marion
Lawson in Class Library)
ZÜRCHER, E: "Imitation
and Forgery in Ancient Chinese Painting and Calligraphy". In: Oriental Art, Winter 1955, pp.141-145.
(Photocopy with Marion Lawson in Class Library)
LOEHR, Max: "Theme and
Variations: A Winter Landscape in The Freer Gallery and Related Versions".
In: Ars Orientalis, Vol IX, 1973,
131-136. (Photocopy with Marion Lawson in Class Library)
CAHILL, James: The Painter's Practice: How Artists Lived
and Worked in Traditional China. Columbia, New York, 1994, Chapter 3.
General reading:
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966.
BUSH, Susan: The Chinese Literati on Painting: Su Shih
(1037-1101) to Tung Ch'i-ch'ang (1555-1636). Harvard-Yenching Institute
Studies 27, Cambridge Mass, 1971.
BUSH, Susan and SHIH,
Hsio-yen: Early Chinese Texts on Painting.
Cambridge, Mass and London, 1985.
SPEISER, Werner, GOEPPER,
Roger and FRIBOURG, Jean: Chinese Art -
Painting, Calligraphy, Stone Rubbings and Wood Engraving. London, 1964.
FARRER, Anne: The Brush Dances and the Ink Sings: Chinese
Painting and Calligraphy from the British Museum. London, 1990.
LI, Chu-tsing (ed): Artists and Patrons: Some Social and
Economic Aspects of Chinese Painting. Lawrence, Kansas, 1989.
WILKINSON, Jane & PEARCE,
Nick: Harmony and Contrast: A Journey
Through East Asian Art, Edinburgh, 1996
CAHILL, James: Chinese Painting. Lausanne, 1960.
SIREN, Osvald: Chinese
Painting: Leading Masters and Principles. 7 volumes, London, 1956-58.
FONG, Wen: Images of the Mind. Princeton, 1984.
Lecture topics 6 & 7: Song collecting and
archaeology
RAWSON, Jessica (ed): The British Museum Book of Chinese Art.
London, 1992. Chapter 1: "Jades and Bronzes for Ritual", pp. 44-83.
CLUNAS, Craig: Art in China, Oxford, 1997. Especially
Chapters 1, 2, 4 & 5
DAVID, Percival: Chinese Connoisseurship: The Ko Ku Yao Lun.
London, 1971. Section: "On Ancient Bronzes", pp. 9-13.
KERR, Rose: Later Chinese Bronzes. V&A, London,
1990. Especially chapters on: "Sources for the Study of Chinese
Bronzes", and "Fakes and Forgeries".
WATSON, William: "On
Some Categories of Archaism in Chinese Bronzes." In: Ars Orientalis, Vol IX, 1973, pp.2-13.
JENYNS, Soame and WATSON,
William: Chinese Art II. (Rev. ed),
London, 1980. Chapter on "Bronzes, Iron and Pewter".
MOSS, Paul: Documentary Chinese Works of Art In Scholar's
Taste. London, 1983. Especially essay: "Later Chinese Bronzes",
by Ulrich Hausmann, pp. 230-238.
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966.
JONES, Mark, Ed: Fake? The Art of Deception. British
Museum, London, 1990. Chapter 4: "Faking in the Far East", pp.
99-107.
ALSOP, Joseph: The Rare Art Traditions: The History of Art
Collecting and its Linked Phenomena. Princeton, 1982. Chapter VIII The
Pattern Repeats, pp. 213-251.
WATT, James C.Y. ‘Huizong in
the Material Palace Museum’. In: Orientations,
March 1996 pp. 54-58.
Lecture topics 8-12: Ming collecting and
connoisseurship
Socio-political background:
HANDLIN, Joanna: Action in Late Ming Thought: The
Reorientation of Lu K'un and other Scholar Officials. London, 1983.
DE BARY, Theodore (ed): Self and Society in Ming Thought. New
York and London, 1970.
BROOK, Timothy: "The
Merchant Network in 16th Century China". In: Journal of the Economic and Social History of the Orient, 24, 1981,
pp. 165-214.
CHIN, Sandi and HSÜ,
Cheng-chi: "Anhui Merchant Culture and Patronage". In: James Cahill
(ed), Shadows of Mt Huang: Chinese
Painting and Printing of the Anhui School, Berkeley, 1981.
YANG, Lien-Sheng:
"Economic Justification for Spending - An Uncommon Idea in Traditional
China". In: Harvard Journal of
Asiatic Studies, XX (1957), pp.36-52.
CLUNAS, Craig: Art in China, Oxford, 1997. Chapter 4
& 5.
Specific reading: Objects and Interiors
DAVID, Percival: Chinese Connoisseurship: The Ko Ku Yao Lun.
London, 1971. As well as the sections already covered, see: "On Ancient
Zithers", "On Precious Objects", "On Ancient
Porcelain" and "Studio Objects".
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966. Chapters from
"The Ming Court", to "Chang Ying-wen, Art Historian", pp.
110-134.
CLUNAS, Craig: "Gifts
and Giving in Chinese Art." In: Transactions
of the Oriental Ceramic Society, Vol.62, 1997-98, London 1999, pp.1-18.
CLUNAS, Craig: "The Art
of Social Climbing in Sixteenth-Century China." In: The Burlington Magazine, June, 1991, pp. 368-375.
CLUNAS, Craig: Superfluous Things - Material Culture and
Social Status in Early Modern China. Cambridge, 1991.
CLUNAS, Craig: "Books
and Things; Ming Literary Culture and Material Culture". In: Chinese Studies. British Library Occasional Papers 10, London, 1988, p.p. 136-43.
CLUNAS, Craig: "Ming
Jade Carvers and their Customers". In: Transactions
of the Oriental Ceramic Society, 50, 1985-86, p.p. 69-85.
CLUNAS, Craig: "The Cost
of Ceramics and the Cost of Collecting Ceramics in the Ming Period." In: Bulletin of the Oriental Ceramic Society of
Hong Kong, No.8, 1986-88, Hong Kong, 1991.
CLUNAS, Craig: Pictures and Visuality in Early Modern China,
London 1997.
CLUNAS, Craig: Chinese Furniture. V&A, London,
1988.
HANDLER, Sarah:
"Alluring Furnishings in a Chinese Woman’s Dominion". In: Orientations, January 2000, pp.22-31.
BERLINER, Nancy: Beyond the Screen: Chinese Furniture of the
16th and 17th centuries, Boston 1996.
LI, Chu-tsing and WATT, James
C.Y. (eds): The Chinese Scholar's Studio:
Artistic Life in the Late Ming Period. New York, 1987.
MOSS, Paul: Documentary Chinese Works of Art In
Scholar's Taste. London, 1983.
TSANG, Gerard & MOSS,
Hugh: Arts from the Scholar's Studio.
Oriental Ceramic Society of Hong Kong, 1986.
WATSON, William, (ed): Chinese Ivories from the Shang to the Qing.
London, 1984.
JENYNS, Soame and WATSON,
William: Chinese Art III. (Rev. ed),
London, 1981. Chapters on "Carvings in Ivory and Rhinoceros Horn",
"Carvings in Hardstones" and Inkcakes and Inkstones".
JENYNS, Soame and WATSON,
William: Chinese Art II. (Rev. ed),
London, 1980. Chapters on "Lacquer", "Bronzes, Iron and
Pewter" and "Wood Carving with special reference to Bamboo".
KERR, Rose: Later Chinese Bronzes. V&A, London,
1990.
Specific Reading: Painting
HIRONOBU, Kohara: "Tung
Ch'i-ch'ang's Connoisseurship in T'ang and Sung Painting". In: Wai-kam Ho
(Ed): The Century of Tung Ch'i-ch'ang
1555-1636. Seattle and London, 1992, pp. 81-103.
BUSH, Susan: The Chinese Literati on Painting: Su Shih
(1037-1101) to Tung Ch'i-ch'ang (1555-1636). Harvard-Yenching Institute
Studies 27, Cambridge Mass, 1971.
CAHILL, James: Hills Beyond A River: Painting of the Yuan
Dynasty 1279-1368. New York, 1976.
CAHILL, James: Parting at the Shore: Chinese Painting of
the Early and Middle Ming Dynasty, 1368-1560. New York and Tokyo, 1978.
CAHILL, James: The Distant Mountains: Chinese Paintings of
the Late Ming Dynasty, 1570-1644. New York and Tokyo, 1982.
CAHILL, James: The Compelling Image: Nature and Style in
17th Century Chinese Painting. Cambridge, Mass, 1982.
CLAPP, Anne de Coursey:
"Wen Cheng-ming: The Ming Artist and Antiquity". In: Artibus Asiae Supplementum 34, Ascona,
1975.
CLAPP, Anne de Coursey: The Painting of T’ang Yin, Chicago and
London 1991.
Lecture topics 13: the Ming-Qing Transition
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966. Chapter:
"South of the Yangtse-kiang".
BUTLER, Michael, et al: Seventeenth Century Chinese Porcelain from
the Butler Family Collection. Virginia, 1990.
CURTIS, Julia B:
"Markets, Motifs and Seventeenth Century Porcelain from Jingdezhen".
In: Rosemary E Scott (Ed): The Porcelains
of Jingdezhen. Colloquies on Art and Archaeology in Asia No.16, London,
1993, pp. 123-149.
KILBURN, Richard S: Transitional Wares and their Forerunners.
The Oriental Ceramic Society of Hong Kong, 1981.
LITTLE, Stephen: Chinese Ceramics of the Transitional Period:
1620-83. New York, 1983.
CAHILL, James: The Distant Mountains: Chinese Paintings of
the Late Ming Dynasty, 1570-1644. New York and Tokyo, 1982.
Historical and social background:
SPENCE, Jonathan D: The Search for Modern China. London,
1990. See chapters 1-3 for a good brief introduction from the late Ming to the
Kangxi consolidation.
STRUVE, Lynn A:
"Ambivalence and Action: Some Frustrated Scholars of the K'ang-hsi
Period". In: Jonathan D Spence and John E Wills (eds): From Ming to Ch'ing: Conquest, Region and
Continuity in Seventeenth-Century China. New Haven,1979, pp. 323-365.
WAKEMAN, Frederic: The Great Enterprise: The Manchu
reconstruction of imperial order in seventeenth-century China. 2 vols,
California, 1985. An in-depth history of the subject.
Lecture topics 14-15: the 18th century
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966. Chapters:
"Ch'ien-lung, Maecenas and Collector", to "Prime Minister
Ho-k'un".
FU, Shen and Marilyn: Studies in Connoisseurship: Chinese
Paintings from the Arthur M. Sackler Collections in New York, Princeton and
Washington DC, Princeton 1973. Chapter 1.
CHOU, J and BROWN, C: The Elegant Brush: Chinese Painting under
the Qianlong Emperor, Phoenix 1992.
KERR, Rose (ed): Chinese Art and Design, V&A, London,
1991. See especially chapters on "Ruling" and "Collecting".
LAWTON, Thomas: "An
Imperial Legacy Revisited: Bronze Vessels from the Qing Palace
Collection". In: Asian Art, 1
(1987-88), pp.51-79.
LEDDEROSE, Lothar: "Some
Observations on the Imperial Art Collection in China". In: Transactions of the Oriental Ceramic Society,
43, 1978-79, pp.33-46.
CHANG, Lin-Sheng: "The
Formation of the Collection of the National Palace Museum". In: Orientations, October, 1995, pp.50-57.
FONG, Wen C. and WATT, James
CY: Possessing the Past: Treasures from the National Palace Museum, Taipei
1996.
HUNG, Wu: The Double Screen: Medium and Representation
in Chinese Painting, London 1996 (Especially Ch.4).
KERR, Rose: "Jun Wares
and their Qing Dynasty Imitation at Jingdezhen." In: The Porcelains of Jingdezhen. Ed. Rosemary E. Scott. Colloquies on
Art and Archaeology in Asia, No.16, London, 1993, pp.151-164.
KERR, Rose: Chinese Ceramics: Porcelain of the Qing
Dynasty 1644-1911. London, V&A, 1986.
MOSS, Paul: Documentary Chinese Works of Art In
Scholar's Taste. London, 1983.
TSANG, Gerard & MOSS,
Hugh: Arts from the Scholar's Studio.
Oriental Ceramic Society of Hong Kong, 1986.
WATSON, William, ed: Chinese Ivories from the Shang to the Qing.
London, 1984.
JENYNS, Soame and WATSON,
William: Chinese Art III. (Rev. ed),
London, 1981. Chapters on "Carvings in Ivory and Rhinoceros Horn",
"Carvings in Hardstones", Inkcakes & Inkstones".
JENYNS, Soame and WATSON,
William: Chinese Art II. (Rev. ed),
London, 1980. Chapters on "Lacquer", "Bronzes, Iron and
Pewter" & "Wood Carving with special reference to Bamboo".
KERR, Rose: Later Chinese Bronzes. V&A, London,
1990.
CAO, Xueqin (trans. D. Hawkes
and J. Minford): The Story of the Stone.
5 volumes, London, 1973-86 (See especially volume 2).
WILSON, Verity:
"Identifying Women’s Things in the TT Tsui Gallery". In: Orientations, July 1991, pp.35-40.
HANDLER, Sarah:
"Alluring Furnishings in a Chinese Woman’s Dominion". In: Orientations, January 2000, p.p.22-31.
Lecture topic 16: China and the International art
market
KERR, Rose (ed): Chinese Art and Design, V&A, London,
1991. See especially chapter entitled: "Collecting".
BEURDELEY, Michel: The Chinese Collector Through the Centuries:
From Han to the 20th Century. Rutland, Vt and Tokyo, 1966. Chapters:
"The Chinese Connoisseur and the West" and "The Antiques Market
on the Eve of the Revolution".
KARLBECK, Orvar: Treasure Seeker in China. London, 1957.
CHANG, Lin-Sheng: "The
Formation of the Collection of the National Palace Museum". In: Orientations, October, 1995, pp.50-57.
GRAY, Basil: "The
Development of taste in Chinese Art in the West 1872 to 1972". In: Transactions of the Oriental Ceramic Society,
Vol.39, 1971-73, London 1974, pp.19-42.
LAWTON, Thomas: "An
Imperial Legacy Revisited: Bronze Vessels from the Qing Palace
Collection". In: Asian Art, 1
(1987-88), pp.51-79.
WILKINSON, Jane & PEARCE,
Nick: Harmony & Contrast: A Journey
Through East Asian Art, Edinburgh 1996 Especially Chapter 1: Journey &
the East.
STEPHEN, Barbara
‘Introduction to the Royal Ontario Museum Collections’. In: Royal Ontario Museum, Homage to Heaven,
Homage to Earth, Toronto, 1992 p.p.6-13 (Photocopy with Marion Lawson in
Class Library)
BABOT, Marie-Theriese: The
Museé Cernuschi in Paris’. In Orientations,
August, 1992 pp. 28-36
LAWTON, Thomas: ‘An Asian Art
Legacy’. In: Orientations, May 1993,
pp. 76-86
COHEN, Warren, I. East Asian Art & American Culture: A
Study in International Relations, New York & Oxford, 1992.