[
    {
        "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": 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
    }
]