[
    {
        "id": 211267,
        "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": 328,
        "title": "RAS-1987",
        "content_text": "303\n\ncultivation 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 not only with 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.\n\nMind Landscapes has been laid out with great beauty and intelligence. It would have been impossible to produce such an outstanding volume without financial support. This was provided through grants from the Henry Art Gallery Association, PONCHO, the University of Washington Press, and the J. Paul Getty Trust. Yet it is rare to have such a thoughtful and handsome product even if one has the resources. Kudos are also due to the designer, Douglas Wadden.\n\nThe publication of Mind Landscapes coincides with a major retrospective of C. C. Wang's work and serves as a catalogue to it. This book is a fitting climax to Mr. Wang's career and sets a standard of excellence in its field. Let us hope that young scholars in Asia and the West will take note.\n\nJOAN LEBOLD COHEN*\n\n* Joan Lebold Cohen, art historian and photographer, is a lecturer at Tufts University and the School of the Museum of Fine Arts, Boston. Her most recent books discuss various aspects of contemporary Chinese painting: The New Chinese Painting, 1949-1986 (1987) and Yunnan School, a Renaissance in Chinese Painting (1988).",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1987.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/rx919b522",
        "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
    },
    {
        "id": 212670,
        "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-1991",
        "page_number": 224,
        "title": "RAS-1991",
        "content_text": "BOOK REVIEWS \n\n205 \n\nAnn Paludan. Chinese Tomb Figurines, Hong Kong: Oxford University Press Images of Asia series, 1994, 66 pages. Illustrations. Chronology. Bibliography. Index. HK$95 \n\nIt is always a joy to behold a book by Ann Paludan, whether as a scholarly study or for general reading. Her smaller work, The Ming Tombs (Images of Asia 1991), possesses the same high quality of meticulous attention to scholarship as The Imperial Ming Tombs (Yale 1981), an academic publication. The book under consideration here, Chinese Tomb Figurines, is a smaller rendition of her The Chinese Spirit Road: The Classical Tradition of Stone Tomb Statuary (Yale 1991). \n\nThere is no need to have a trained eye or any knowledge of Chinese aesthetics to appreciate tomb figurines as they are shown by Paludan. She describes two types of figurines found in ancient tombs from the pre-Han era to the end of the Tang dynasty in chronological order - those made of clay and those made of stone. Despite their ‘ambivalent' attitude towards objects specifically made for tomb use, the Chinese 'dead were provided with replicas of worldly goods or talismans to help them' in their life in the nether world. Among the figurines reproduced in the book are mounted horsemen; acrobats and musicians; jesters and storytellers; houses for humans and a sty for pigs; and, above all, the ubiquitous 'fat lady' of the Tang dynasty. \n\nIt is wondrous indeed to wander into the countryside of ancient China through the figurines, not unlike perusing Egyptian relics at the Metropolitan Museum for the first time. Readers will encounter colour, pageantry, glorious ceremonies and mundane everyday happenings; and, above all, 'there are no representations of death, illness, mutilation, or violence.' There is, on the other hand, a great deal of humour for readers to savour. \n\nWEI PEH TI",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1991.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/k356gt84j",
        "rank": 0
    }
]