Whose hobbyhorse now?: A revised Foreword for Chinese Landscape Painting as Western Art History1

Abstract

This article constitutes a new Foreword for James Elkins’s Chinese Landscape Painting as Western Art History. Reflecting on this work a decade after it was first published, this Foreword seeks to position Elkins’s text with respect to current debates about appropriation, decolonization, race, whiteness, privilege and a problematic, colonialist, EuroAmerican notion of ‘the global’. Now the questions I asked ten years ago in response to Elkins’s text are more pressing than ever: how can the history of the art of non-western cultures be figured in their own terms, and how might such a project operate without transposing the object of inquiry entirely into western epistemological frameworks and strategies of academic inquiry? This article seeks to consider how Elkins’s text both de- and re-centres the discipline of art history so that the western tradition alone no longer dominates its master narrative and serves as sole source of its conceptual lexicon. Moreover, this article posits that from Elkins’s text we might contemplate a future in which the western tradition might become marginal within the discipline of art history, its established terms, discourses and practices incommensurate with newly centred analogues drawn from non-western cultures.

Temporal Design of Art Painting Landscape Based on Ant Colony Optimization Algorithm

“…As a product of human spiritual civilization, painting is an important way for people to express their emotions and convey their destiny. With the improvement of social civilization and the improvement of scientific and technological level, people's living habits have also undergone earth-shaking changes [10]. According to Maslow's Hierarchy of Needs theory, after human beings have gone through the basic stages of survival, they will begin to want to satisfy their spiritual longings, so culture and art were born.…”

Comparison and Evaluation Methods of the Differences between Chinese and Western Art from the Perspective of Big Data

“…The colors of traditional Chinese and Western paintings have their own origins, form their own systems, and their differences are huge, which fully reflects the differences in aesthetic concepts and expression methods of traditional Chinese and Western painting colors [2] [6]. Further in-depth analysis and research on the color characteristics and expression methods of traditional Chinese and Western paintings, deepen the understanding of different regions and different national painting forms, and therefore understand the complementarity of traditional Chinese and Western painting colors due to various differences, which will benefit us Reference and innovation in artistic practice [4] [5].…”

Influencing Factors of Art Painting Based on Computer Vision Technology

“…D Avia payed special attention to the integration of modernization, nationalism, and national construction embodied in the art of painting [5]. Purtle, J believed that Chinese landscape painting was a historical foreword to Western art [6]. Akdeniz, D believed that the formation and evolution of traditional dining venues were related to the art of painting [7].…”