By Jonathan Goldstein, Jerry Israel, Hilary Conroy
This paintings analyzes various photographs of China together with media corresponding to released and unpublished travelogues, newspaper bills, artifacts, pictures, legit diplomatic studies in addition to perceptions via artwork, trade, and missionaries. Illustrated.
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Additional resources for America views China: American images of China then and now
And he finds that while Macauley's superior attitude toward Indian culture was indeed insulting, this angered the real British scholars of India, the true Orientalists, a fact that Nehru himself, dedicated nationalist though he was, knew and appreciated. "9 Later on in the symposium, Richard H. " He is considerably more appreciative of Said's approach than Kopf and indeed finds that three leading Western scholars of Japan of successive generations from the 1890s to the presentBasil Hall Chamberlain, George B.
17 "Through the medium of the Chinese written language," according to Professor E. G. "18 The esthetic quality of Chinese calligraphy had a great appeal even when the meaning of the characters was not known. The almost infinite variety of the various scripts permitted the calligrapher considerable latitude in self expression, and work of the masters was readily acknowledged and easily recognized. D. 20 But the enthusiastic reception of Indian and Chinese art by other Asian countries, and the consequent impact on relations among them, was not repeated by Westerners.
Most Europeans were contemptuous of the native cultures of Asia, for the art did not meet their esthetic standards. "21 Much of the Asian subject matter, usually representing "heathen" religious concepts, was repugnant to Europeans. The erotic Hindu sculptures, especially those of the Shiva "cult," offended Western sensibilities. The sexual act as a manifestation of ecstatic religious experience, as portrayed in Tantric Buddhism as well as in Hinduism, violated Christian precepts and, to Westerners, seemed to reveal a depraved, almost subhuman nature.