WHERE AESTHETICS KNOWS NO BOUNDARIES

Long Museum in Shanghai’s Baoshan District is a nonprofit private art museum funded and operated by a company under the Dongming Home Furnishings Group. It is set within a classical Jiangnan-style garden complex, a setting that already makes a visit worthwhile before one even steps inside. The main building encompasses 12,000 square meters over four floors: the first floor houses the exhibition galleries, while the second through fourth floors form the “Wenchang Pavilion.” Bo

Located at 201 Renmin Avenue in Huangpu District, Shanghai Museum has a total exhibition area of 12,000 square meters and opened to the public in 1996. According to the museum’s official introduction, the first floor originally housed the Gallery of Ancient Chinese Bronzes, the Gallery of Ancient Chinese Sculpture, and a temporary exhibition hall; the second floor featured the Gallery of Ancient Chinese Ceramics, the Zande Lou Collection of Ceramics, and another exhibition ha

Edited interview transcript 5 If, in tracing the path from the Song, Yuan, Ming, and Qing dynasties, we saw Chinese painting continually recalibrating its spiritual center in response to different historical moments, then in the modern and contemporary period the question becomes even more complex. On the one hand, Chinese painting continues its own internal lineage; on the other, it must confront the reality of meeting Western art head-on within a globalized context. Followi

Edited Interview Transcript 4 If, in the previous section on the Ming, Professor Luo Yanzi and I discussed how Shen Zhou reassembled the traditions of the Song and Yuan and gave literati painting in the Ming a more rounded, more everyday, and more socially inclusive revival, then the next question arose naturally: by the Qing, why did literati painting once again assert “individuality” so forcefully? How did this shift take place? With that in mind, I invited Professor Luo to