PANG XUNQIN (1906-1985) - A CHINESE AVANT-GARDE'S METAMORPHOSIS, 1925-1946, AND QUESTIONS OF "AUTHENTICITY"

dc.contributor.advisorKuo, Jasonen_US
dc.contributor.authorZhu, Xiaoqingen_US
dc.contributor.departmentArt History and Archaeologyen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2010-02-19T06:50:16Z
dc.date.available2010-02-19T06:50:16Z
dc.date.issued2009en_US
dc.description.abstractThis dissertation has three goals. The first is to chart the artistic life of Pang Xunqin (1906-1985) and his art works from 1929 to 1946. Pang's metamorphosis from an aspiring young artist in Paris and Shanghai in the 1920s and 30s, into an artist in his own right, a graphic designer, an educator, and a scholar of the history of Chinese art and craft, while ceaselessly trying to renew himself - all this is a record that deserves an art historical recognition. The second goal is to locate Pang Xunqin in the historiography of Chinese modern art in an attempt to problematize issues of inclusion and exclusion in the historiography of the field. The third goal, which is closely tied to the second, is to utilize post-colonial inquiries to explore myriad issues of non-Western modernism embodied in Pang Xunqin's case. Such issues include the divisions among the "traditionalists," the "academic realists," and the "modernists," colonial cosmopolitanism in the Shanghai of the 30s, and the appropriation of "primitivism" in the 40s. Attention also focuses on the issues of authenticity and "hybridity," Western orientalization of the East and self-orientalization by the East in cross-cultural encounters, and identity politics and nationalistic agendas in the construct of the <italic>guohua<italic> (national painting) and <italic>xihua<italic> (Western painting) divide. The post-colonial methodology employed here helps raise questions regarding the binary construct of tradition vs. modernity, the East vs. the West, the center vs. the periphery, and the global vs. the local. By placing Pang Xunqin's case in its semi-colonial historical and transnational context and by engaging in dialogue with the recent rich scholarship on cultural and post-colonial critiques, in conjunction with a formal analysis of his paintings and designs, this dissertation offers not only a monographic study of Pang's artistic life but also a critical examination and reassessment of the established art historical narratives of Western-trained artists in the historiography of Chinese modern art.en_US
dc.identifier.urihttp://hdl.handle.net/1903/9904
dc.subject.pqcontrolledArt Historyen_US
dc.subject.pqcontrolledAsian Studiesen_US
dc.subject.pqcontrolledHistory, Modernen_US
dc.subject.pquncontrolledAvant-Gardeen_US
dc.subject.pquncontrolledChinaen_US
dc.subject.pquncontrolledHistoriographyen_US
dc.subject.pquncontrolledModernismen_US
dc.subject.pquncontrolledPang Xunqinen_US
dc.subject.pquncontrolledPost-colonialismen_US
dc.titlePANG XUNQIN (1906-1985) - A CHINESE AVANT-GARDE'S METAMORPHOSIS, 1925-1946, AND QUESTIONS OF "AUTHENTICITY"en_US
dc.typeDissertationen_US

Files

Original bundle
Now showing 1 - 1 of 1
Loading...
Thumbnail Image
Name:
Zhu_umd_0117E_10858.pdf
Size:
1.21 MB
Format:
Adobe Portable Document Format