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Women of Chinese Modern Art
This chapter is in the book Women of Chinese Modern Art
BibliographyAndrews, Julia F. (An Yalan).“Luotihua lunzheng ji xiandai Zhongguo meishushi de jiangou [The nudepainting controversy and the construction of modern Chinese art history].”InHaipai huihua yanjiuwenji[Collected essays on the research of the Shanghai School of painting]. Shanghai: Shanghaishuhua chubanshe, 2001.Andrews, Julia F.“Pictorial Shanghai(Shanghai Huabao, 1925–1933) and Creation of Shanghai’s ModernVisual Culture.”Yishuxue yanjiu, no. 12 (September 2013): 43–128.Andrews, Julia F.“Persuading with Pictures: Cover Art andThe Ladies’Journal(1915–1931).”InWomen andthe Periodical Press in China’s Long Twentieth Century: A Space of Their Own?, edited by Michel Hockx,Joan Judge, and Barbara Mittler, 21–56. Cambridge, UK: Cambridge University Press, 2018.Andrews, Julia F.“Women Artists in Twentieth-Century China: A Prehistory of the Contemporary.”positions:asia critique28, no. 1 (2020): 19–64.Andrews, Julia F., and Kuiyi Shen.The Art of Modern China. Berkeley: University of California Press, 2012.Andrews, Julia F., and Kuiyi Shen.“Traditionalism as a Modern Stance: The Chinese Women’s Calligraphyand Painting Society.”Modern Chinese Literature and Culture11, no. 1 (April 1, 1999): 1–29.Ausstellung Chinesische Malerei der Gegenwart[Exhibition of Chinese contemporary painting]. Berlin, 1934.Bailey, Paul J.Gender and Education in China: Gender Discourses and Women’s Schooling in the Early TwentiethCentury. London; New York: Routledge, 2007.Bao Mingxin.“Ershi shiji shangbanye de Haipai qipao”[Shanghai-styleqipaoin the first half of thetwentieth century].Yishu sheji shuangyuekan[Art and design bi-monthly], no. 97 (May 2000): 11–12.Bao Mingxin.Haishang guixiu[Women artists in old Shanghai]. Shanghai: Donghua Daxue Chubanshe,2006.Bao Mingxin and Li Meng.“Zhongguo nüzi shuhuahui shishikao”[Historical facts about the ChineseWomen’s Society of Calligraphy and Painting].Minguo dang’an[Republican documents],no. 2 (2006): 135.Bao Tianxiao.Chuanyinglou huiyilu[Reminiscences of the Chuanying Chamber]. Hong Kong: DaihuaChubanshe, 1971.Bao Yong’an, ed.Nanyang quanyehui baogao[Reports of the Nanyang Industrial Exposition]. Shanghai:Jiaotong Daxue Chubanshe, 2010.Bao Yong’an, ed.Nanyang quanyehui tushuo[Images and annotations of the Nanyang IndustrialExposition]. Shanghai: Jiaotong Daxue Chubanshe, 2010.Barish, Daniel.“Empress Dowager Cixi’s Imperial Pedagogy: The School for Female Nobles and NewVisions of Authority in Early Twentieth Century China.”NAN NÜ20, no. 2 (2019): 256–84.Barnes, Laurie.“Curator Conversation, The Other Half of the Sky: Twentieth-Century Chinese WomenPainters.”Webinar, Norton Museum of Art, October 8, 2021.Barnhart, Richard M., Yang Xin, Nie Chongzheng, James Cahill, Lang Shaojun, and Wu Hung.ThreeThousand Years of Chinese Painting. New Haven: Yale University Press, 1997.Berkeley Daily Gazette.“Bentley Club Will Hear Chinese Artist.”Evening edition, April 2, 1940, 6.Berkeley Daily Gazette.“City Club to Hear Talk by Ling Fu Yang.”Evening edition, July 14, 1937, 6.Bray, Francesca.Technology and Gender: Fabrics of Power in Late Imperial China. Berkeley: University ofCalifornia Press, 1997.Bu Yuan.Bainian Shenxiu[One hundred years of Shen-style embroidery]. Hong Kong: Zhongguo KexueYishu Chubanshe, 2014.Burnett, Katharine P.“Inventing a New‘Old Tradition’: Chinese Art at the Panama-Pacific InternationalExposition.”InMeishu shi yu guannian shi / History of Art and History of Ideas, edited by Fan Jingzhong,Cao Yiqiang, and Liu She, 17–57. Nanjing: Nanjing Shifan Daxue Chubanshe, 2010.Burnett, Katharine P.Shaping Chinese Art History: Pang Yuanji and His Painting Collection. Amherst,New York: Cambria Press, 2020.https://doi.org/10.1515/9783110798920-015
© 2023 Walter de Gruyter GmbH, Berlin/Boston

BibliographyAndrews, Julia F. (An Yalan).“Luotihua lunzheng ji xiandai Zhongguo meishushi de jiangou [The nudepainting controversy and the construction of modern Chinese art history].”InHaipai huihua yanjiuwenji[Collected essays on the research of the Shanghai School of painting]. Shanghai: Shanghaishuhua chubanshe, 2001.Andrews, Julia F.“Pictorial Shanghai(Shanghai Huabao, 1925–1933) and Creation of Shanghai’s ModernVisual Culture.”Yishuxue yanjiu, no. 12 (September 2013): 43–128.Andrews, Julia F.“Persuading with Pictures: Cover Art andThe Ladies’Journal(1915–1931).”InWomen andthe Periodical Press in China’s Long Twentieth Century: A Space of Their Own?, edited by Michel Hockx,Joan Judge, and Barbara Mittler, 21–56. Cambridge, UK: Cambridge University Press, 2018.Andrews, Julia F.“Women Artists in Twentieth-Century China: A Prehistory of the Contemporary.”positions:asia critique28, no. 1 (2020): 19–64.Andrews, Julia F., and Kuiyi Shen.The Art of Modern China. Berkeley: University of California Press, 2012.Andrews, Julia F., and Kuiyi Shen.“Traditionalism as a Modern Stance: The Chinese Women’s Calligraphyand Painting Society.”Modern Chinese Literature and Culture11, no. 1 (April 1, 1999): 1–29.Ausstellung Chinesische Malerei der Gegenwart[Exhibition of Chinese contemporary painting]. Berlin, 1934.Bailey, Paul J.Gender and Education in China: Gender Discourses and Women’s Schooling in the Early TwentiethCentury. London; New York: Routledge, 2007.Bao Mingxin.“Ershi shiji shangbanye de Haipai qipao”[Shanghai-styleqipaoin the first half of thetwentieth century].Yishu sheji shuangyuekan[Art and design bi-monthly], no. 97 (May 2000): 11–12.Bao Mingxin.Haishang guixiu[Women artists in old Shanghai]. Shanghai: Donghua Daxue Chubanshe,2006.Bao Mingxin and Li Meng.“Zhongguo nüzi shuhuahui shishikao”[Historical facts about the ChineseWomen’s Society of Calligraphy and Painting].Minguo dang’an[Republican documents],no. 2 (2006): 135.Bao Tianxiao.Chuanyinglou huiyilu[Reminiscences of the Chuanying Chamber]. Hong Kong: DaihuaChubanshe, 1971.Bao Yong’an, ed.Nanyang quanyehui baogao[Reports of the Nanyang Industrial Exposition]. Shanghai:Jiaotong Daxue Chubanshe, 2010.Bao Yong’an, ed.Nanyang quanyehui tushuo[Images and annotations of the Nanyang IndustrialExposition]. Shanghai: Jiaotong Daxue Chubanshe, 2010.Barish, Daniel.“Empress Dowager Cixi’s Imperial Pedagogy: The School for Female Nobles and NewVisions of Authority in Early Twentieth Century China.”NAN NÜ20, no. 2 (2019): 256–84.Barnes, Laurie.“Curator Conversation, The Other Half of the Sky: Twentieth-Century Chinese WomenPainters.”Webinar, Norton Museum of Art, October 8, 2021.Barnhart, Richard M., Yang Xin, Nie Chongzheng, James Cahill, Lang Shaojun, and Wu Hung.ThreeThousand Years of Chinese Painting. New Haven: Yale University Press, 1997.Berkeley Daily Gazette.“Bentley Club Will Hear Chinese Artist.”Evening edition, April 2, 1940, 6.Berkeley Daily Gazette.“City Club to Hear Talk by Ling Fu Yang.”Evening edition, July 14, 1937, 6.Bray, Francesca.Technology and Gender: Fabrics of Power in Late Imperial China. Berkeley: University ofCalifornia Press, 1997.Bu Yuan.Bainian Shenxiu[One hundred years of Shen-style embroidery]. Hong Kong: Zhongguo KexueYishu Chubanshe, 2014.Burnett, Katharine P.“Inventing a New‘Old Tradition’: Chinese Art at the Panama-Pacific InternationalExposition.”InMeishu shi yu guannian shi / History of Art and History of Ideas, edited by Fan Jingzhong,Cao Yiqiang, and Liu She, 17–57. Nanjing: Nanjing Shifan Daxue Chubanshe, 2010.Burnett, Katharine P.Shaping Chinese Art History: Pang Yuanji and His Painting Collection. Amherst,New York: Cambria Press, 2020.https://doi.org/10.1515/9783110798920-015
© 2023 Walter de Gruyter GmbH, Berlin/Boston

Chapters in this book

  1. Frontmatter I
  2. Contents VII
  3. List of Illustrations XI
  4. Acknowledgements XV
  5. Notes on Names and Translation XVII
  6. Introduction: Locating the Woman Artist 1
  7. Part One: The Artist-Embroiderer
  8. Chapter 1 A Female Embroiderer in the Qing Court 27
  9. Chapter 2 From Nantong to the World 53
  10. Chapter 3 Discourses on Embroidery 66
  11. Part Two: The New Female Scholar-Painters
  12. Chapter 4 Family, Lineage, and Learning 85
  13. Chapter 5 Art and Scholarship 103
  14. Chapter 6 Professional Networks and Global Experience 138
  15. Part Three: The New Talented Women
  16. Chapter 7 An All-Women Collective 171
  17. Chapter 8 Exhibitions and Critiques 189
  18. Chapter 9 Artists, Philanthropists, and Educators 209
  19. Conclusion 232
  20. Appendix A Chinese and Japanese Characters for Names and Terms 255
  21. Appendix B Relations of Key Figures 267
  22. Appendix C Jin Family Lineage Chart 269
  23. Bibliography 271
  24. Index 285
Readers are also interested in:
https://doi.org/10.1515/9783110798920-015

Chapters in this book

  1. Frontmatter I
  2. Contents VII
  3. List of Illustrations XI
  4. Acknowledgements XV
  5. Notes on Names and Translation XVII
  6. Introduction: Locating the Woman Artist 1
  7. Part One: The Artist-Embroiderer
  8. Chapter 1 A Female Embroiderer in the Qing Court 27
  9. Chapter 2 From Nantong to the World 53
  10. Chapter 3 Discourses on Embroidery 66
  11. Part Two: The New Female Scholar-Painters
  12. Chapter 4 Family, Lineage, and Learning 85
  13. Chapter 5 Art and Scholarship 103
  14. Chapter 6 Professional Networks and Global Experience 138
  15. Part Three: The New Talented Women
  16. Chapter 7 An All-Women Collective 171
  17. Chapter 8 Exhibitions and Critiques 189
  18. Chapter 9 Artists, Philanthropists, and Educators 209
  19. Conclusion 232
  20. Appendix A Chinese and Japanese Characters for Names and Terms 255
  21. Appendix B Relations of Key Figures 267
  22. Appendix C Jin Family Lineage Chart 269
  23. Bibliography 271
  24. Index 285
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