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Human Bodies in Chinese and European Painting

An Economic Analysis

Bibliographic Data

ID7739482
AuthorsNachoem M Wijnberg (0000-0001-8070-8719, Erasmus University Rotterdam, corresponding author)
Year1999
Volume11
Issue1
Pages89-103
Publication date1999-03-01
Open AccessYes
TypeARTICLE
VenueCultural Dynamics (JOURNAL)
Journal identifiersISSN: 0921-3740 • E-ISSN: 1461-7048
PublisherSAGE Publications (PUBLISHER • US)
DOI10.1177/092137409901100105
OpenAlexW2067868040
LanguageEN
References cited20

The relative status of human bodies as subjects for paintings is very different in European painting since the Renaissance and in Chinese painting from the Yuan dynasty onwards. In Europe the body, and especially the nude body, was a necessary ingredient of the most highly valued type of painting, history painting. Landscape painting had a much lower status and value. In China, the hierarchy of subjects is almost completely the reverse. It is proposed that this state of affairs can be explained by the way in which the choice of subjectmatter by the most important artists, at the moment of the most important change in the selection system dominating art, was linked to the social role and status of the artist in the new selection system

Aesthetics · Art · Art history · China · Hierarchy · Landscape painting · Painting · Political science · The Renaissance · Art History and Market Analysis · Computer Science · Law

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Highly citedNo

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