[
    {
        "id": 211265,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1987",
        "page_number": 326,
        "title": "RAS-1987",
        "content_text": "301\n\nI understand that Mr. Ching is contemplating a book about the major families of Hong Kong, descended from successful men who came here in the 19th century with little more than their wits. On the showing of his first historical work, I cannot think of a more suitable person to undertake this task than Mr. Ching, and I hope that, warts and all, he gets all the cooperation and understanding of the requirements of the job from the families concerned.\n\nFrom there, or in the process, he could perhaps take up the true history of families great and small during the years of the Japanese Occupation of the colony, where the same rules apply. The job needs to be done, because of the way in which leading families have shunned the very mention of these years. Shanghai was not the only place where, as Mr. Ching writes (p. 458), the returning authorities looked down on those who had lived under the Japanese as tainted.\n\nJAMES HAYES\n\nMind Landscapes: the Paintings of C. C. Wang, by Jerome Silbergeld, Henry Art Gallery, University of Washington Press (Seattle and London), 1987.\n\n132 pp. + plates, bibliography, index, US$40.00 (cloth); US$19.95 (paper).\n\nC. C. Wang is certainly one of the most intriguing Chinese artists in the later twentieth century. His life chronicles cataclysmic changes many Chinese have endured and his path — artist, collector, connoisseur, businessman and exile was rarely clear. He was called upon to continuously redefine his relationship with China and the West as he travelled, explored and matured.\n\nHaving been born into a Suzhou family of mandarins in Imperial China in 1907 and having had a traditional Chinese education till the age of 14 assured young Wang the basis for blossoming into a twentieth-century version of the literati. But young Wang longed for a Western-style education, into which he switched at age fourteen and from which he went on to study law in Shanghai at China's distinguished Suzhou Law School. But his art education, which started as he learned to read and write, was carried on simultaneously and ever more seriously. Over time he had many art teachers and, indeed, became a teacher himself at an early age.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
        "rank": 0
    },
    {
        "id": 211266,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1987",
        "page_number": 327,
        "title": "RAS-1987",
        "content_text": "302\n\nMind Landscapes enables C. C. Wang to describe the challenges he faced to see paintings in a land without public museums; \"There were no good museums in China at that time and you couldn't see the work of a contemporary painter in a museum or gallery. But since they had to be mounted or remounted, they could be seen in a mounter's shop. Suzhou was famous for its mounters. They would paste the paintings to be mounted on the walls of their shops, and if you walked around every few days, you could always see new paintings.” (p. 15).\n\nMr. Wang also talks about his teachers and how he was able to view various private collections: \"For me, as well as for painter-scholars of the past, friendships with other painters and collectors were extremely significant. Each new meeting meant a new collection to see. In those days private collectors were never publicly displayed. To see a particular painting you had to know the owner.” (p. 17).\n\nWhen the great Chinese Imperial Collection was being prepared for the London Exhibition at Burlington House in 1936, C. C. Wang was a consultant and had a chance to study all those great paintings another significant step in his development into a connoisseur-collector-painter.\n\nCollecting as well as creating paintings soon became young Mr. Wang's principal preoccupation. However, he supported his collecting and his family by some real estate ventures because he was not able to make enough money through the sale of his paintings.\n\nThe story of C. C. Wang's journey to the West (New York) and attending classes at the Art Students League, his explorations of modern Western art and his artistic evolution is marvelously told through well written prose of Jerome Silbergeld, Professor of Art History at the University of Washington in Seattle.\n\nProfessor Silbergeld comes to his subject with a deep knowledge and background in classical Chinese painting and provides a sinological, art historical perspective of C. C. Wang's work. But the author does not avoid his role as contemporary critic, analyzing the relationship of the artist and modern art. When C. C. Wang's breakthrough to his mature style comes in 1971-2, the author allows the events to unfold like high drama. Moreover, throughout the text, the artist is permitted to state his own views on the elements of his art such as line, color, composition, dots, texture,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
        "rank": 0
    },
    {
        "id": 212021,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 436,
        "title": "RAS-1989",
        "content_text": "411\n\nJerome Silbergeld, Mind Landscapes: The Paintings of C.C. Wang, Henry Art Gallery, University of Washington Press (Seattle and London), 1987. 132 pp. + plates, bibliography, index.\n\nC.C. Wang is certainly one of the most intriguing Chinese artists of the later twentieth century. His life chronicles cataclysmic changes many Chinese have endured and his path - artist, collector, connoisseur, businessman, and exile - was rarely clear. He was continuously called upon to redefine his relationship with China and the West as he traveled, explored, and matured.\n\nHaving been born into a Suzhou family of mandarins in Imperial China in 1907 and having had a traditional Chinese education till the age of 14 assured young Wang the basis for blossoming into a twentieth-century version of the literati. But young Wang longed for a Western-style education, into which he switched at age fourteen, and from which he went on to study law in Shanghai at China's distinguished Suzhou Law School. But his art education, which started as he learned to read and write, was carried on simultaneously and ever more seriously. Over time, he had many art teachers and, indeed, became a teacher himself at an early age.\n\nMind Landscapes enables C.C. Wang to describe the challenges he faced in seeing paintings in a land without public museums: \"There were no good museums in China at that time, and you couldn't see the work of a contemporary painter in a museum or gallery. But since they had to be mounted or remounted, they could be seen in a mounter's shop. Suzhou was famous for its mounters. They would paste the paintings to be mounted on the walls of their shops, and if you walked around every few days, you could always see new paintings,\" (p. 15).\n\nMr. Wang also talks about his teachers and how he was able to view various private collections: \"For me, as well as for painter-scholars of the past, friendships with other painters and collectors were extremely significant. Each new meeting meant a new collection to see. In those days, private collections were never publicly displayed. To see a particular painting, you had to know the owner,\" (p. 17).\n\nWhen the great Chinese Imperial Collection was being prepared for the London Exhibition at Burlington House in 1936, C.C. Wang was a consultant and had a chance to study all those great paintings — another",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 212022,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 437,
        "title": "RAS-1989",
        "content_text": "412\n\nsignificant step in his development into a connoisseur—collector-painter.\n\nCollecting as well as creating paintings soon became young Mr. Wang's principal preoccupation. However, he supported his collecting and his family by some real estate ventures because he was not able to make enough money through the sale of his paintings.\n\nThe story of C.C. Wang's journey to the West (New York) and attending classes at the Art Students League, his explorations of modern Western art and his artistic evolution is marvelously told through the well-written prose of Jerome Silbergeld, Professor of Art History at the University of Washington in Seattle.\n\nProfessor Silbergeld comes to his subject with a deep knowledge and background in classical Chinese painting and provides a sinological, art historical perspective of C.C. Wang's work. But the author does not avoid his role as contemporary critic, analyzing the relationship of the artist and modern art. When C.C. Wang's breakthrough to his mature style comes in 1971-2, the author allows the events to unfold like high drama. Moreover, throughout the text, the artist is permitted to state his own views on the elements of his art such as line, colour, composition, dots, texture, cultivation of controlled accidents, synthesis of East and West: \"Chinese brushwork is really individual, like Western color. Good brushwork is so beautiful. It can make you look at it many times... It's just like with voice when I hear one song, if the voice is good I want to hear another song. It's the same voice, but each time it's a little bit different: that attracts me so much. . .', (p. 42).\n\nOther notable scholars and critics who have written about artist-collector-connoisseur Wang have also been allowed to speak with their own voices, which gives the story a clarity and authenticity rarely achieved in a scholarly book. Moreover, the book is lavishly illustrated with not only Mr. Wang's works of all periods but also with the paintings that were most influential in building his style.\n\nIn addition, Professor Silbergeld recounts the long history of C.C. Wang as collector, and how he has been a central figure in influencing the growth of major collections of Chinese art in the West, notably that of the Metropolitan Museum of Art, through the sale of his own collections.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]