The role of physicality and materiality in Europeans' global sensibilities when responding to Chinese Painting and Calligraphy after 1600 and before 1860

The proposed paper traces the global sensibilities of the European reception of Chinese painting and calligraphy as expressed in English language texts published from 1613 to 1859 during which the physicality and materiality of art forms played a critical role. As a result, painting and calligraphy were little valued and understood, while certain other art forms like architecture, gardening, porcelain, silk, and mechanical arts (paper making and printing methods) were more highly valued as they had a more physical or material appeal. Even when writers did discuss these Chinese visual arts, they focused almost solely on the physical and material aspects of things related to these art forms – such as ‘the four treasures’ (paper, brush, ink, and ink stone) and writing manner. They also did not see the cultural importance of these physical and material features or their relationship to artistic practice; thus, no European writers in the those investigated writings were able to see beyond these physical characteristics and realize that these four objects were a big part of the elite culture among Chinese literati, known as ‘the four treasures of the literati’s study room’ since the 5th century. Examined texts are representatives and examples that were important, influential, or typical in the period. They include descriptions, interpretations, and analyses of these Chinese arts and material culture in books on China, in travel writings about China, and in encyclopedia entries about China and/or Chinese culture. This paper does not include unpublished letters or manuscripts, or writings in newspaper and magazines.