Author Description

The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. "This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork." -Michèle Pirazzoli-t'Serstevens, formerly Curator of Far Eastern Art of the Musée Guimet, Paris, currently Directeur d'études, École Pratique des Hautes Études, Paris, author of La Civilisation du Royaume de Dian à l'époque Han, La Chine des Han: histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte à la Cour de Chine, and editor of Storia Universale dell'Arte: La Cina. "These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows." -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. "Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist's oeuvre, or even art