教學大綱 Syllabus

Andrews, Julia F., and Kuiyi Shen. A Century in Crisis: Modernity and Tradition in the Art of Twentieth-Century China. New York: Guggenheim Museum, 1998.

Andrews, Julia F., and Kuiyi Shen. The Art of Modern China. Berkeley: University of California Press, 2013.

Benjamin, Walter. The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Edited by Michael W. Jennings, Brigid Doherty, and Thomas Y. Levin ; Translated by Edmund Jephcott ... [et al.]. Cambridge, Mass: Belknap Press of Harvard University Press, 2008.

Berger, John. Ways of Seeing. London: Penguin, 1977.

Chan, Pedith Pui. The Making of A Modern Art World: Institutionalisation And Legitimatisation of Guohua In Republican Shanghai. Boston: Brill, 2017.

Clunas, Craig. “Oriental Antiquities/Far Eastern Art,” positions: asia critique (1994) 2 (2): 318–355.

Clunas, Craig. Art in China, Oxford: Oxford University Press, 1997.

Clunas, Craig. Chinese Painting And Its Audiences. Princeton, New Jersey: Princeton University Press, 2017.

Fong, Wen C. Between Two Cultures: Late-Nineteenth- and- Early-Twentieth-Century Chinese Painting from the Robert H. Ellsworth Collection. New York: Metropolitan Museum of Art, 2001.

Gu, Yi. “Photography and Its Chinese Origins,” in Tanya Sheehan and Andres Zervigon, eds., Photography and Its Origins (London: Routledge, 2014), pp. 157-170.

Gu, Yi. “What's in a Name? Photography and the Reinvention of Visual Truth in China, 1840-1911,” The Art Bulletin (Mar 2013): 120-138

Gu, Yi. Chinese Ways of Seeing and Open-Air Painting. Cambridge: Harvard University Asia Center, 2020.

Hearn, Maxwell K., and Judith G. Smith, eds. Chinese Art: Modern Expressions. New York: Metropolitan Museum of Art, 2001.

Hung, Wu. Zooming in: Histories of Photography in China. London: Reaktion Books Ltd, 2016.

Kuo, Jason, ed. Visual Culture in Shanghai, 1850s–1930s. Washington, D.C.: New Academia, 2007.

Lee, Leo Ou-fan. Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge, Mass.: Harvard University Press, 1999.

Liu, Lydia. Translingual Practice: Literature, National Culture and Translated Modernity - China, 1900-37. Stanford: Stanford University Press, 1995.

Liu, Yu-jen. "The Concept of Art in the Meishu Congshu: From Foreign Loan to National Tradition." In East Asian Art History in A Transcultural Context, edited by Eriko Tomizawa-kay and Toshio Watanabe, 227-243. New York and London: Routledge, 2019.

Liu, Yu-jen. “Stealing Words, Transplanting Images: Stephen Bushell and the Intercultural Articulation of ‘Chinese Art’”, Archives of Asian Art 68.2 (October 2018), 191-214.

Michael, Sullivan. Art and Artists of Twentieth-century China. Berkeley: University of California Press, 1996.

Nelson, Robert S., and Richard. Shiff, eds. Critical Terms for Art History. Chicago: University of Chicago Press, 2003.

Nochlin, Linda. “Why Have There Been No Great Women Artists,” in Women, Art, and Power and Other Essays (Boulder: Westview Press, 1999), pp. 145-193.

Said, Edward W. “Introduction,”Orientalism. New York: Vintage Books, c1994.

Teo, Phyllis. Rewriting Modernism: Three Women Artists in Twentieth-Century China: Pan Yuliang, Nie Ou and Yin Xiuzhen. Amsterdam: Leiden University Press, 2016.

Tomizawa-kay, Eriko., and Toshio Watanabe, eds. East Asian Art History in A Transcultural Context. New York and London: Routledge, 2019.

Wang, Cheng-hua. “Rediscovering Song Painting for the Nation: Artistic Discursive Practice in Early Twentieth Century China”, Artibus Asiae (2011) 71(2):  221-46.

Weidner, Marsha Smith. Views from Jade Terrace: Chinese Women Artists, 1300-1912. Indianapolis, Ind: Indianapolis Museum of Art, 1988.

Wong, Aida Y. Parting the Mists: Discovering Japan and the Rise of National-Style Painting in Modern China. Honolulu: University of Hawai'i Press, 2006.

Wue, Roberta. “Essentially Chinese: The Chinese Portrait Subject in Nineteenth-Century Photography,” in Wu Hung and Katherine R. Tsiang, eds., Body and Face in Chinese Visual Culture (Cambridge, MA: Harvard University Asia Center, 2005), 257-280.

Wue, Roberta. “The Profits of Philanthropy: Relief Aid, Shenbao, and the Art World in Later Nineteenth-Century Shanghai,” Late Imperial China, XXV/1 (June 2004): 187-211.

Wue, Roberta. Art Worlds: Artists, Images, and Audiences in Late Nineteenth-Century Shanghai. Honolulu: University of Hawaiʻi Press and HKU Press, 2014.

上海書畫出版社編，《海派繪畫硏究文集》，上海：上海書畫出版社，2001。

王中秀、茅子良、陳輝編，《近現代金石書畫家潤例》（上海：上海畫報， 2004）。

吳方正，〈裸的理由──二十世紀初期中國人體寫生問題的討論〉，《新史學》，15卷2期（2004年6月），頁55-113。

李超，《中國現代油畫史》（上海：上海書畫出版社，2007）。

李鑄晉、萬靑力，《中國現代繪畫史‧民初之部(1912-1949)，臺北市：石頭出版社，2008。

李鑄晉、萬靑力，《中國現代繪畫史‧晚淸之部(1840-1911)》，臺北市：石頭出版社，2005。

唐宏峰，《透明──中國視覺現代性（1872-1911）》，北京：三聯書店，2022。

黃猷欽，〈台灣偉人塑像的興與衰－以1949-1985年的《中央日報》為例〉，《近代肖像意義的論辯》（台北市：遠流），頁192-233。

萬青力，《並非衰落的百年：十九世紀中國繪畫史》，臺北市：雄獅圖書公司，2005。

萬青屴、史彬士等，《世變‧形象‧流風：中國近代繪畫1796-1949》，高雄市：高市美術舘，2007。

劉宇珍，〈照相複製年代裡的中國美術：《神州國光集》的複製態度與文化表述〉，《國立台灣大學美術史研究集刊，35期（2013年9月)，頁185-244。

魯道夫‧ G. 華格納〈進入全球想像圖像：上海的《點石齋》畫報〉，《中國學術》第八輯（2001.04），北京：商務印書館，頁1-96。

賴毓芝，〈清末石印的興起與上海日本畫譜類書籍的流通：以《點石齋叢畫》為中心〉，《中央研究院近代史研究所集刊》（2014年9月），85期，頁57-127。

賴毓芝、高彥頤、阮圓編，《看見與觸碰性別：近現代中國藝術史新視野》，臺北市：石頭出版社，2020。