Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition

Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition Australian and New Zealand Journal of Art, 2021, vol. 21, no. 1, 133–151 https://doi.org/10.1080/14434318.2021.1934781 Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition Luise Guest* Introduction: Women Artists and the ‘Empire of Signs’ In the continuing re-examination of cultural history that inflects much contemporary art in the People’s Republic of China (PRC), there has to date been insufficient acknowledgement that powerful notions of filial duty, self-sacrifice and the equation of femininity with fragility, served to constrain women’s participation in the pursuits of the imperial scholar class such as calligraphy, painting and connoisseurship. Craig Clunas’ analysis of the ‘gendering of the act of spectatorship as male’ and ‘male anxieties around women and painting in the Ming period’ reveals that the act of looking at paintings by the literati was as important as the act of producing them. Similarly, with very few exceptions, women artists have been absent from avant- garde前卫 (qianwei) ink practices that developed in the late twentieth century, as has been their work from scholarly discourses around those practices. Specifically, in the genres of ‘unreadable’ calligraphy and performative applications of ink in canonical works such as Gu Wenda’s 1985 Mythos of Lost Dynasties series, Wu Shanzhuan’s 1986 Red http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Australian and New Zealand Journal of Art Taylor & Francis

Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition

Guest, Luise
Australian and New Zealand Journal of Art , Volume 21 (1): 19 – Jan 2, 2021
Download PDF

Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition

Abstract

Australian and New Zealand Journal of Art, 2021, vol. 21, no. 1, 133–151 https://doi.org/10.1080/14434318.2021.1934781 Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition Luise Guest* Introduction: Women Artists and the ‘Empire of Signs’ In the continuing re-examination of cultural history that inflects much contemporary art in the People’s Republic of China (PRC), there has to date been insufficient acknowledgement that powerful notions of filial...
Loading next page...
 
/lp/taylor-francis/reclaiming-silenced-voices-feminist-interventions-in-the-ink-tradition-e6azLEV4qI
Publisher
Taylor & Francis
Copyright
© 2021 The Art Association of Australia and New Zealand, Inc
ISSN
2203-1871
eISSN
1443-4318
DOI
10.1080/14434318.2021.1934781
Publisher site
See Article on Publisher Site

Abstract

Australian and New Zealand Journal of Art, 2021, vol. 21, no. 1, 133–151 https://doi.org/10.1080/14434318.2021.1934781 Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition Luise Guest* Introduction: Women Artists and the ‘Empire of Signs’ In the continuing re-examination of cultural history that inflects much contemporary art in the People’s Republic of China (PRC), there has to date been insufficient acknowledgement that powerful notions of filial duty, self-sacrifice and the equation of femininity with fragility, served to constrain women’s participation in the pursuits of the imperial scholar class such as calligraphy, painting and connoisseurship. Craig Clunas’ analysis of the ‘gendering of the act of spectatorship as male’ and ‘male anxieties around women and painting in the Ming period’ reveals that the act of looking at paintings by the literati was as important as the act of producing them. Similarly, with very few exceptions, women artists have been absent from avant- garde前卫 (qianwei) ink practices that developed in the late twentieth century, as has been their work from scholarly discourses around those practices. Specifically, in the genres of ‘unreadable’ calligraphy and performative applications of ink in canonical works such as Gu Wenda’s 1985 Mythos of Lost Dynasties series, Wu Shanzhuan’s 1986 Red

Journal

Australian and New Zealand Journal of Art – Taylor & Francis

Published: Jan 2, 2021

There are no references for this article.