Appropriating Antiquity for Modern Chinese Painting

Acknowledgements
List of Plates
List of Figures

Part One: .Introduction: Jinshi in Modern Context

Part Two: From Evidential Learning to Antiquarian Art
2.1 Jinshixue and Cultural Landscape in the Lower Yangtze River
2.2 Illustrated Records of Investigating Steles
2.3 The Stele School and Re-evaluation of Bafenshu
2.4 A Revival of Pre-Tang Scripts and its Impact on Art

Part Three: Rubbing into Painting: Transmedia Appropriation of New Scholarly Painting
3.1 New Look of Collectors' Accumulated Antiquities
3.2 Dashou and Composite Rubbing
3.3 Intertextual and Transmedia Approaches
3.4 From Evidential Learning to Festive Offering
3.5 Prelude to Jinshi Art

Part Four: From Deification to Quotidian: Jinshiqi and the Four Accomplishments
4.1 Dimension of Mobility in Wartime
4.2 Life of Jinshi Objects after the Taiping Rebellions
4.3 Antiquarian Approaches to Seal Carving
4.4 New Brush Mode Derived from Northern Wei Calligraphy
4.5 Jinshi Characteristics in Painting
4.6 Archaeological Elements in Commercial Art and Popular Culture

Part Five: Nature as Culture: Historicizing of Antiquity and Translated Modernity
5.1 Evidential Learning and the Culture of Investigating Nature: From Bogu to Bowu
5.2 Tradition of Miscellaneous Painting
5.3 Illustrations of Local Resources
5.4 Natural History Paintings Made in China
5.5 Historification of Translated Modernity
5.6 Translating Bowu into National Essence

Part Six: Cultural Orthodoxy in the New Nation: A Political Use of Jinshi
6.1 Another Role of Jinshi Society: Shanghai Tijinguan Epigraphy, Calligraphy and Painting Society (1911-26)
6.2 Defining Literati Painting Through Jinshi: Society of the Virtuous (1912-42)
6.3 Reclaiming Cultural Identity: Society of Cang Jie Study (1916-c. 1941)
6.4 Jinshi Society as Museum or Art Market?
6.5 Political Use of Jinshi: Re-writing History with Archaic Models

Conclusion: Multiplicity and Modernity

Notes
Select Bibliography
Index