Abstract
In both modern and premodern critical writing, both “East and West,” the brushstroke eventually came to be characterized as a vehicle of personal expression in defiance of the stifling rules of naturalistic representation. By the mid-twentieth century, the image of the bohemian master flinging paint would have been familiar to both Chinese and European art lovers. It does not follow, however, that the seductive rhetoric of the brushstroke has been deconstructed or even understood, as demonstrated by the cultural politics of the brushstroke in debates between and among European, American, and Chinese intellectuals over a period of four centuries.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
