Chia-Ling Yang is Professor of History of Art and Personal Chair of Chinese Art at The University of Edinburgh, UK. She received her PhD in Chinese Art from SOAS, University of London, UK. She has worked with the V&A and the British Museum on a range of exhibition projects.

Appropriating Antiquity for Modern Chinese Art is full of new information and important discussions that should have been properly investigated a long time ago. The author takes the readers on a journey into the rich world of jinshi painting which is set within a complicated international network as well as an intricate historical context. It is a must-read for those of us who study the art and history of China at the turn of the 20th century.

• AcknowledgementsList of PlatesList of FiguresPart One: .Introduction: Jinshi in Modern ContextPart Two: From Evidential Learning to Antiquarian Art 2.1 Jinshixue and Cultural Landscape in the Lower Yangtze River2.2 Illustrated Records of Investigating Steles 2.3 The Stele School and Re-evaluation of Bafenshu 2.4 A Revival of Pre-Tang Scripts and its Impact on Art Part Three: Rubbing into Painting: Transmedia Appropriation of New Scholarly Painting 3.1 New Look of Collectors’ Accumulated Antiquities 3.2 Dashou and Composite Rubbing 3.3 Intertextual and Transmedia Approaches 3.4 From Evidential Learning to Festive Offering 3.5 Prelude to Jinshi Art Part Four: From Deification to Quotidian: Jinshiqi and the Four Accomplishments 4.1 Dimension of Mobility in Wartime 4.2 Life of Jinshi Objects after the Taiping Rebellions 4.3 Antiquarian Approaches to Seal Carving 4.4 New Brush Mode Derived from Northern Wei Calligraphy 4.5 Jinshi Characteristics in Painting 4.6 Archaeological Elements in Commercial Art and Popular CulturePart Five: Nature as Culture: Historicizing of Antiquity and Translated Modernity5.1 Evidential Learning and the Culture of Investigating Nature: From Bogu to Bowu5.2 Tradition of Miscellaneous Painting5.3 Illustrations of Local Resources5.4 Natural History Paintings Made in China5.5 Historification of Translated Modernity5.6 Translating Bowu into National EssencePart Six: Cultural Orthodoxy in the New Nation: A Political Use of Jinshi6.1 Another Role of Jinshi Society: Shanghai Tijinguan Epigraphy, Calligraphy and Painting Society (1911–26)6.2 Defining Literati Painting Through Jinshi: Society of the Virtuous (1912–42)6.3 Reclaiming Cultural Identity: Society of Cang Jie Study (1916–c. 1941)6.4 Jinshi Society as Museum or Art Market?6.5 Political Use of Jinshi: Re-writing History with Archaic ModelsConclusion: Multiplicity and ModernityNotesSelect Bibliography Index

Chia-Ling Yang is Professor of History of Art and Personal Chair of Chinese Art at The University of Edinburgh, UK. She received her PhD in Chinese Art from SOAS, University of London, UK. She has worked with the V&A and the British Museum on a range of exhibition projects.

Appropriating Antiquity for Modern Chinese Art is full of new information and important discussions that should have been properly investigated a long time ago. The author takes the readers on a journey into the rich world of jinshi painting which is set within a complicated international network as well as an intricate historical context. It is a must-read for those of us who study the art and history of China at the turn of the 20th century.

• AcknowledgementsList of PlatesList of FiguresPart One: .Introduction: Jinshi in Modern ContextPart Two: From Evidential Learning to Antiquarian Art 2.1 Jinshixue and Cultural Landscape in the Lower Yangtze River2.2 Illustrated Records of Investigating Steles 2.3 The Stele School and Re-evaluation of Bafenshu 2.4 A Revival of Pre-Tang Scripts and its Impact on Art Part Three: Rubbing into Painting: Transmedia Appropriation of New Scholarly Painting 3.1 New Look of Collectors’ Accumulated Antiquities 3.2 Dashou and Composite Rubbing 3.3 Intertextual and Transmedia Approaches 3.4 From Evidential Learning to Festive Offering 3.5 Prelude to Jinshi Art Part Four: From Deification to Quotidian: Jinshiqi and the Four Accomplishments 4.1 Dimension of Mobility in Wartime 4.2 Life of Jinshi Objects after the Taiping Rebellions 4.3 Antiquarian Approaches to Seal Carving 4.4 New Brush Mode Derived from Northern Wei Calligraphy 4.5 Jinshi Characteristics in Painting 4.6 Archaeological Elements in Commercial Art and Popular CulturePart Five: Nature as Culture: Historicizing of Antiquity and Translated Modernity5.1 Evidential Learning and the Culture of Investigating Nature: From Bogu to Bowu5.2 Tradition of Miscellaneous Painting5.3 Illustrations of Local Resources5.4 Natural History Paintings Made in China5.5 Historification of Translated Modernity5.6 Translating Bowu into National EssencePart Six: Cultural Orthodoxy in the New Nation: A Political Use of Jinshi6.1 Another Role of Jinshi Society: Shanghai Tijinguan Epigraphy, Calligraphy and Painting Society (1911–26)6.2 Defining Literati Painting Through Jinshi: Society of the Virtuous (1912–42)6.3 Reclaiming Cultural Identity: Society of Cang Jie Study (1916–c. 1941)6.4 Jinshi Society as Museum or Art Market?6.5 Political Use of Jinshi: Re-writing History with Archaic ModelsConclusion: Multiplicity and ModernityNotesSelect Bibliography Index