"This study considers theoretical texts written par Chinese and European painters in the 18th century. Their comparison should clarify the differences and similarities between two very developed artistic traditions that have grown very differently. The first part is dedicated to the study and contextualization of these texts within the history of painting and the history of art theory of the time. The second part is dedicated to the following comparative themes : Language : translation problems ; Regional schools and national culture ; Who writes for whom ? Themes of painting ; Literature and painting ; Corpses and monsters ; Eroticism and nude ; Landscape ; Brush ; Portrait and figures ; History and relationship with the past ; Beauty, Taste, and Sublime ; Artist and Craftsman, Parergon. The general conclusion is an attempt to clarify the epistemological circumstances that have allowed Chinese court painters in the 18th century to adopt ideas to their own episteme."
"Cette analyse des textes théoriques sur la peinture s'est faite en trois temps : une brève étude comparative diachronique des traités européens dans leur contexte pictural et théorique ; le même travail comparatif, mais plus ample, pour la théorie chinoise ; enfin, un travail comparatif superposant les deux premiers et permettant de voir les correspondances et les différences."
"Cette étude porte sur les textes théoriques écrits par des peintres chinois et européens au 18ème siècle. Leur comparaison devrait illustrer les différences et les similarités entre deux traditions artistiques très développées et qui ont grandi différemment. La première partie est consacrée à l'étude et à la mise en contexte de ces textes dans l'histoire de la peinture et l'histoire de la théorie de l'art de cette époque. La seconde partie est consacrée aux thèmes comparatifs suivants : Langage : problème de traduction ; Ecole régionales et culture nationale ; Qui écrit et pour qui ; Thèmes de la peinture ; Littérature et peinture ; Cadavres et monstres ; Erotisme et nu ; Paysage ; Pinceau ; Portrait et personnage ; Histoire et relation au passé ; Beauté, Goût et Sublime ; Artiste et Artisan ; Parergon. La conclusion générale essaie d'éclaircir les circonstances épistémologiques qui ont permis aux peintres de cour chinois du 18ème siècle d'adopter des idées étrangères à leur épistémè."
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Peintres Chine 18e siècle Thèses et écrits académiques.
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Peintres Occident 18e siècle Thèses et écrits académiques.
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Peinture Chine 1368-1912 (Dynastie des Ming et dynastie Mandchoue)
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Peinture Chine 1368-1912 (Dynastie des Ming et dynastie Mandchoue) 18e siècle.
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Peinture Chine 1368-1912 (Dynastie des Ming et dynastie Mandchoue) 18e siècle Thèses et écrits académiques.
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Peinture chinoise 1368-1912 (Dynastie des Ming et dynastie mandchoue)
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Peinture chinoise Philosophie Histoire 18e siècle.
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Peinture Esthétique Chine Thèses et écrits académiques.
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Peinture européenne Philosophie Histoire 18e siècle.
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Peinture Occident 18e siècle Thèses et écrits académiques.
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