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Article Dans Une Revue Transtext(e)s Transcultures : Journal of Global Cultural Studies Année : 2007

The Spectacle of Representation

Résumé

Martha Huang examines how the Westernized pictorial gaze was, at times painfully, assumed by China's cultural producers in the first half of the twentieth century.
Hang Zhiying 杭穉英 (1900-1947) trained at the Commercial Press in Shanghai, but left in the early 1920's to open his own atelier, the Zhiying Studios. Specializing in promotional art and packaging, the Studios, with their stable of talented artists,soon held a large share of the commercial art market2. Their range of posters ran from the most expensive, with calendar (sometimes including both Western and lunar dates), decorative frames, optional smaller landscape insets above or below the main image, poetic inscriptions, reproductions of the product advertised, and
sometimes an overlay of gilt; to the cheapest-- a "hanger", in which the design of a pretty girl was printed on a plain background with a thin metal strip attached at the top for hanging. Such prints advertised nothing except perhaps a certain aesthetic, but were popular as a cheap form of interior decoration.
Martha Huang examine comment la vision artistique occidentale fut adoptée, parfois difficilement, par les producteurs artistiques chinois du début du vingtième siècle.
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Origine : Accord explicite pour ce dépôt
Format : Figure, Image

Dates et versions

halshs-00188591 , version 1 (18-11-2007)

Identifiants

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Martha Huang. The Spectacle of Representation: Calendar Girls, the Gaze and the Atelier. Transtext(e)s Transcultures : Journal of Global Cultural Studies, 2007, 2, pp.85-131. ⟨10.4000/transtexts.87⟩. ⟨halshs-00188591⟩
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