1 00:00:05,830 --> 00:00:11,050 Let me begin with two objects which do not fit. 2 00:00:11,050 --> 00:00:22,070 The first does not fit in a very obvious way. It is an anonymous early main Chinese painting crudites for the horse catalogue of its original context. 3 00:00:22,070 --> 00:00:26,650 Collaged into an album of drawings of various performances, categories. 4 00:00:26,650 --> 00:00:38,530 We would not call Islamic, European and Chinese assembled in Iran in fifteen thirty five for the president of the south of it, Shafak Moss. 5 00:00:38,530 --> 00:00:43,090 The fact of its insertion into a context for which it was not originally designed. 6 00:00:43,090 --> 00:00:50,590 This presented it to us visually in the way transgresses the frame of the page proves in the years spilling over 7 00:00:50,590 --> 00:00:57,880 the boundaries to jump awkwardly into the margins and Chinese hearts intruding into the calligraphic parallel, 8 00:00:57,880 --> 00:01:05,350 which reads these paintings or from the collection of verbs by the Chinese masters. 9 00:01:05,350 --> 00:01:09,940 The second does not fit to the mirror epistemological level. 10 00:01:09,940 --> 00:01:17,040 It comes from a collection of choreographic rubbings assembled in thirteen eighty nine by the Crown Prince of G. 11 00:01:17,040 --> 00:01:25,390 One of the apon ages of the Maberly House with its seat at the city of Tyre in north China's Shaanxi province. 12 00:01:25,390 --> 00:01:30,540 P. m. Tongji will faqir collection of calligraphic specimens assembled in the 13 00:01:30,540 --> 00:01:35,860 burial for pressuring Verde's isn't a desirable assemblage of such wrapping's, 14 00:01:35,860 --> 00:01:46,510 a project of canon formation of a tailor with which the politically perilous princes of the meaning Collateral Hose's, were particularly involved. 15 00:01:46,510 --> 00:01:51,460 The wrappings remain important points of reference in the ongoing project of Chinese calligraphy. 16 00:01:51,460 --> 00:01:56,260 Connoisseurship, a project for the history of well over a thousand years, 17 00:01:56,260 --> 00:02:01,030 which has itself generated an immense literature and a degree of sophistication, 18 00:02:01,030 --> 00:02:08,920 possibly unparalleled in any other form of the practise of visual discrimination in human history. 19 00:02:08,920 --> 00:02:14,560 The particular image I'm showing you, however, has no place in that ongoing practise. 20 00:02:14,560 --> 00:02:22,660 It purports to show in form that is in the reproduction of calligraphy on Stone, the writing of silence here, 21 00:02:22,660 --> 00:02:32,050 whose traditional beats put him around two thousand six hundred fifty B.C. historian of the other end of the possessor of four eyes, 22 00:02:32,050 --> 00:02:41,250 each with two pupils. He created the Chinese script inspired by the tracks left by birds and beasts in the mud here. 23 00:02:41,250 --> 00:02:44,950 Therefore, we have not just the first writing, but the first letter. 24 00:02:44,950 --> 00:02:54,180 A second paint of antigen for the many calligraphic masters whose work fills the twelve chapters of the Ferral for treasuring Wharton's collection. 25 00:02:54,180 --> 00:03:00,820 Except that it's not for Renesys from the 18th century and probably even for some other time. 26 00:03:00,820 --> 00:03:06,880 This sort of thing has the same status as we would know. Accord to a signed photograph of Shakespeare. 27 00:03:06,880 --> 00:03:14,230 Not so much a fake as an impossibility, a reproduction of something which never existed in the first place. 28 00:03:14,230 --> 00:03:19,610 It cannot fit into the history of calligraphy except as an example of the serve of certain. 29 00:03:19,610 --> 00:03:30,910 Rising sleepiness. Noticing is typical of these many princely collections, usable only if embarrassing elements like this are edited out. 30 00:03:30,910 --> 00:03:37,150 Now, in commencing with things which do not fit, I want to open out a larger theme. 31 00:03:37,150 --> 00:03:45,760 It might be imagined, as someone who's published work deals almost entirely with images and objects of Chinese permanence, that I can refer you to. 32 00:03:45,760 --> 00:03:51,730 Talk about the ways China and itself have not fitted into the discipline of art history and make a 33 00:03:51,730 --> 00:03:57,910 claim for the expansion of the movement of art history to take better account of the Chinese case. 34 00:03:57,910 --> 00:04:05,630 On the contrary, I went to argue that China has fitted early to well and if it is only reversal, 35 00:04:05,630 --> 00:04:12,850 reversing the process of putting China in its place, that we will get anywhere to do this. 36 00:04:12,850 --> 00:04:23,650 I want to take a detour through certain aspects of the history that placing before returning it lost to my two ill-fitting objects of study. 37 00:04:23,650 --> 00:04:33,680 Let me go back about one hundred years. One of the more intriguing tips of European art history emerges from the letters of 38 00:04:33,680 --> 00:04:39,460 the great connoisseur of the siege of Italian Renaissance Art Bernard Berenson, 39 00:04:39,460 --> 00:04:44,840 who wrote in a letter from his Tuscan sanctuary party in 1914. 40 00:04:44,840 --> 00:04:51,190 I went further with Zests to see what the dealers had of Chinese art to show me what I were young, 41 00:04:51,190 --> 00:05:01,990 or at least well, and I chuck everything to go to China. The family reiterated in another letter how I wish I were now starting out in life. 42 00:05:01,990 --> 00:05:06,720 I should devote myself to China as I have to Italy. 43 00:05:06,720 --> 00:05:13,140 My son was himself an enthusiastic supporter of Chinese up to the first real role in this collection. 44 00:05:13,140 --> 00:05:20,830 Or fairly typical mix for the period of interesting problems and highly optimistic early attributions remains in his Italian villa. 45 00:05:20,830 --> 00:05:23,290 To this day, 46 00:05:23,290 --> 00:05:32,080 the fact that he could have devoted himself to China had he really wanted to show shown by the parallel career of his Finnish contemporary and rival, 47 00:05:32,080 --> 00:05:39,880 as well as Savane, who in the very year of 1914 in which betterness and first expressed a longing for the East, 48 00:05:39,880 --> 00:05:45,820 turned his attention decisively from the art of the Italian renaissance to that of China. 49 00:05:45,820 --> 00:05:52,450 It is for his work. Chinese ulcerated is more remembered and consequently is remembered by many fewer in Europe. 50 00:05:52,450 --> 00:06:00,270 His name has none of bateson's battered but still potent. Although the marital of feminism is fairly men surrendered. 51 00:06:00,270 --> 00:06:08,590 Relative oblivion is now, or at least I hope not. But attention to Chinese is a way to languish in decent obscurity. 52 00:06:08,590 --> 00:06:17,260 Rather, it is that it is the way in which China is put in place within the discipline which matters. 53 00:06:17,260 --> 00:06:24,040 It means you're free. Already established as a feminine figure in the connoisseurship of Italian renaissance art, Bederson, 54 00:06:24,040 --> 00:06:32,650 published in the Bottom into magazine a two part article entitled A Sea Anees Painter of the Franciscan Legend. 55 00:06:32,650 --> 00:06:38,650 This is devoted to the work of Stefanou, the Dubon, better known as Societ, down several of his works. 56 00:06:38,650 --> 00:06:48,340 Bensen himself old in the heights and style which lend him so many admirers that wahat but which perhaps reads less smoothly and less confident. 57 00:06:48,340 --> 00:06:55,750 At times, Benson opens with an extended meditation, not an achievement, but on failure, 58 00:06:55,750 --> 00:07:01,270 the failure of European visual art to engage effectively with a spiritual world. 59 00:07:01,270 --> 00:07:10,640 By comparison to the effectiveness of literature in this regard, the body engages in a more daring Patison liberal arts, 60 00:07:10,640 --> 00:07:17,230 incapable of conveying a sense of things spiritual if conveying their attention to European art level. 61 00:07:17,230 --> 00:07:18,630 It would seem so. 62 00:07:18,630 --> 00:07:26,650 That painting is apparently powerless to get out of the human figure out more than an expression of heroism and of grandeur of the superhuman. 63 00:07:26,650 --> 00:07:30,130 There was something in the nature of the physically impressive. 64 00:07:30,130 --> 00:07:39,250 But if we turn to the extreme element, we find that there are lots of design to convey a sense of spiritual things. 65 00:07:39,250 --> 00:07:43,960 He goes on to drive this point home through a specific illustrated example, 66 00:07:43,960 --> 00:07:52,810 comparing Aggrey to do those woodcut of St. Gregory's say, mass to a Chinese painting of the 12th century. 67 00:07:52,810 --> 00:07:56,380 Significantly, they do it. Is an illustrated apartment to reader. 68 00:07:56,380 --> 00:08:07,300 Could be expected to look it up if not conjoint. But the Chinese painting is one of a celebrated group of paintings of Loha or Buddhist saints, 69 00:08:07,300 --> 00:08:15,580 which have been brought from Japan for exhibition in the Boston Museum of Fine Arts in 1894 and subsequently sold. 70 00:08:15,580 --> 00:08:19,560 The picture shows that balance and took to be Buddhist so. And bleed over to. 71 00:08:19,560 --> 00:08:28,270 He's in a cave adoring scriptures, which had literally raised the gradients after an extensive emphasis at the scene. 72 00:08:28,270 --> 00:08:33,360 Berentson launches the full force of his rhetoric here. 73 00:08:33,360 --> 00:08:40,850 We feel an ecstasy of devotion and vision. Here we go through the transubstantiation of Berbee into soul. 74 00:08:40,850 --> 00:08:46,140 We rarely have as much as a banishing glimpse in our own art beside this design. 75 00:08:46,140 --> 00:08:52,710 The most religious achievements of a do in a gross, sterile or commonplace, 76 00:08:52,710 --> 00:08:58,350 significantly burdensome raises the obvious and then widespread Orientalist explanation. 77 00:08:58,350 --> 00:09:10,110 But Oriental's are intrinsically more mystical and spiritual. Only to dismiss it for him, the felt is something integral to European art quote. 78 00:09:10,110 --> 00:09:15,020 Amongst the reasons there ought to be given for the great superiority is religious expression. 79 00:09:15,020 --> 00:09:23,940 Buddhists to Christian art. We must praise to the front the fact that Sino Japanese design is almost exclusively an art of contours, 80 00:09:23,940 --> 00:09:31,020 of values, of movement and in its own way, not ours, of space composition and ethnicity. 81 00:09:31,020 --> 00:09:35,730 So we are left to RELLENO of European Schools of design. 82 00:09:35,730 --> 00:09:46,500 That one, which approached early empl art closest in its means of expression, would not be most successful in conveying a sense of the spiritual. 83 00:09:46,500 --> 00:09:51,300 The language is convoluted, but the meaning soon becomes clear. 84 00:09:51,300 --> 00:09:56,010 The art of C.M.A. And within it. The Erva of subsector. 85 00:09:56,010 --> 00:10:03,450 And within that a painting which Berentson himself earned is precisely that European School of Design, 86 00:10:03,450 --> 00:10:11,910 which approaches Oriental art most closely in its means of expression, and hence is most successful in conveying a sense of the spiritual. 87 00:10:11,910 --> 00:10:15,420 To put it bluntly, he says of European schools of design, 88 00:10:15,420 --> 00:10:24,540 a man has come so close to those of the Far East as the School of CNN during the 14 Fidelma decades of the 15th centuries. 89 00:10:24,540 --> 00:10:35,070 However, Sienna's achievements in the field of spirituality are still seen as limited are still on the weaker end of his ongoing comparison. 90 00:10:35,070 --> 00:10:41,850 Far be it for me to claim for them that they have extracted out of the events presented earlier spiritual significance. 91 00:10:41,850 --> 00:10:50,610 A great Chinese master would have been murdered on arrival with a high inspiration of the subject to make Chinese master. 92 00:10:50,610 --> 00:10:57,960 Maybe great, but he is here still nameless, although in fact the paintings are sound and with terrific confidence in the language, 93 00:10:57,960 --> 00:11:08,610 can easily stop us from person to remember just how little Chinese or Japanese or someone like Berenson had actually seen in nineteen. 94 00:11:08,610 --> 00:11:15,230 The sweep of the larger financial hinders from paying attention to what Pattinson is saying here and significantly toward his mother, 95 00:11:15,230 --> 00:11:24,450 saying neither does he use a word which Michael Baxendale has taught art history to be wary of influence. 96 00:11:24,450 --> 00:11:30,540 Nowhere does he say that there is any causal connexion between CND and Oriental painting. 97 00:11:30,540 --> 00:11:39,030 He says something much more radical than that, which is that Chinese painting is just better in making a comparison here. 98 00:11:39,030 --> 00:11:45,630 He is making a judgement of quality in a ready engagement with the whole issue of that comparison, 99 00:11:45,630 --> 00:11:51,170 as the central firm of engagement with art has the effect of doing. 100 00:11:51,170 --> 00:11:58,560 Michael Ball has written that it quickly becomes a ground for relative judgement and establishing hierarchies, 101 00:11:58,560 --> 00:12:09,330 and it distracts from looking for some strategy of comparison is never more evident than the ways in which parents and being a prime example. 102 00:12:09,330 --> 00:12:16,780 The art of China and India will have been spoken of together, whether explicitly or implicitly. 103 00:12:16,780 --> 00:12:21,660 It may be hard now to think ourselves into the decade before the First World War, 104 00:12:21,660 --> 00:12:31,710 but it still makes sense to publish in the Burlington Magazine an unashamed paean to the Chinese master who was a better artist than I do it. 105 00:12:31,710 --> 00:12:39,400 Never mind. But such types of comparison had even found a global reach. 106 00:12:39,400 --> 00:12:48,330 The year after Berenson wrote his in Nigeria for his slightly older contemporary politician and thinker Come Your Way! 107 00:12:48,330 --> 00:12:54,060 Made his first visit to Italy and wrote extensively in his diary of the art you were seeing there. 108 00:12:54,060 --> 00:13:05,280 For the first time, Fab.com preoccupied as he was with images of China's decline and its threatened position in the face of rampant imperialism. 109 00:13:05,280 --> 00:13:10,380 Schema of global comparison came naturally to mind. 110 00:13:10,380 --> 00:13:19,530 In a manner which would have dragon his heart, he divided the history of Western painting into a stiff, lifeless before. 111 00:13:19,530 --> 00:13:29,260 Vital after which is both realistic and more importantly, scientific, based on the laws of perspective. 112 00:13:29,260 --> 00:13:35,310 Now may well have a bit more about the history of painting in Europe and balance add about in China. 113 00:13:35,310 --> 00:13:44,610 But he share that confidence. They shared a confidence in their own understanding, which made sweeping pronouncements all too easy from a low place. 114 00:13:44,610 --> 00:13:51,340 The turning point at Rafael, for whom the first great European master in front of his achievements, 115 00:13:51,340 --> 00:13:59,220 he was moved to explain the painting of our country is shallow and desultory, far inferior to his. 116 00:13:59,220 --> 00:14:04,510 It must be reformed, perhaps, of China's failure. 117 00:14:04,510 --> 00:14:13,050 Well, sort of serves about reform and revival. Carney believed that both ballistic representation and the technique of oil painting 118 00:14:13,050 --> 00:14:19,590 themselves Chinese inventions transmitted to Europe from East Asia by Michael Pearl. 119 00:14:19,590 --> 00:14:24,870 Chinese had to do then was to return to its own moral mirch past. 120 00:14:24,870 --> 00:14:36,830 It was certainly in your own periods. Are you prior to the 14th century when it had been far superior to the then stiff and lifeless art of Europe? 121 00:14:36,830 --> 00:14:44,560 In 1910, six years after Calaway stood in front of a Rafael and planned a resurgence of Chinese art balance 122 00:14:44,560 --> 00:14:52,620 and republished his lengthy societal article in book form as a CND painter of the Franciscan legend. 123 00:14:52,620 --> 00:15:02,070 In the preface to this, he alludes vaguely to controversy generated by his arguments, stating they gave rise to certain misunderstandings, 124 00:15:02,070 --> 00:15:04,350 which are probably due in the first place, 125 00:15:04,350 --> 00:15:11,220 to the fact that they touch too rapidly upon too many things and in the second place or question of emphasis. 126 00:15:11,220 --> 00:15:19,650 I had hoped to clear my meaning that I had in three other essays collaborating, but I had to say about the religious paintings of China and Japan. 127 00:15:19,650 --> 00:15:26,050 But I've found no time for this. In the six years, that past eight years after that, 128 00:15:26,050 --> 00:15:33,450 Anderson was still teasing the readers of his essays in the study of CND painting by the inclusion 129 00:15:33,450 --> 00:15:39,330 of a discussion of the relationships between Sydney's art and the arts of the Far East. 130 00:15:39,330 --> 00:15:43,180 I was presumably prevented from completing it in time for this film. 131 00:15:43,180 --> 00:15:49,080 Much as I regret it in one way in another. I'm not altogether sorry. 132 00:15:49,080 --> 00:15:55,410 In fact, the normal completion of this essay goes hand in hand with a footnote which casts the relationship 133 00:15:55,410 --> 00:16:02,430 between Siena and East Asia in a completely different light from that which he had essayed in 1993. 134 00:16:02,430 --> 00:16:10,190 The note reads in part, This is manifest in Pietro Ludden's at his frescoes at San Francesco in Siena. 135 00:16:10,190 --> 00:16:17,940 That's about this time the arts and crafts of the contemporary Orient were beginning to invade Italy. 136 00:16:17,940 --> 00:16:21,590 Here, the juxtaposition is quite different from that of 1993. 137 00:16:21,590 --> 00:16:31,530 Well, what was being said was not what series art is in any way due to Chinese painting, but that it is like it's still inferior to Chinese painting. 138 00:16:31,530 --> 00:16:39,990 And some deeper sense of this notion of an Oriental influx was ultimately to prove a fantasy. 139 00:16:39,990 --> 00:16:45,030 It was not one unique to Battlezone after coming your way. 140 00:16:45,030 --> 00:16:49,710 It fits into a wider fantasy of the extra European sources of art. 141 00:16:49,710 --> 00:16:53,040 Sometimes to be feared and sometimes to be embraced. 142 00:16:53,040 --> 00:16:58,650 But it was through the 20th century, I would argue, necessary for the sustenance of the discipline of art. 143 00:16:58,650 --> 00:17:09,810 History had quite profound levels, choosing what to know and what not to know about the non Western Afraid Students noise band in the classroom. 144 00:17:09,810 --> 00:17:18,840 Which I shall use just this once. This has always been not a marginal concern, but a central one became, I think, serious, 145 00:17:18,840 --> 00:17:23,850 considering the ways in which the issue of early undue influence has played out. 146 00:17:23,850 --> 00:17:32,910 A process in which so misreadings of Bensons early enthusiasm for the spirituality of Chinese art have played a crucial role. 147 00:17:32,910 --> 00:17:41,390 But before looking at things, it's worth considering the wider intellectual currents in which balance and sweeping comparison can be situated. 148 00:17:41,390 --> 00:17:50,280 One obvious point of reference study perceptively by Yashiro is No one is in the writings of the of three Gorsky. 149 00:17:50,280 --> 00:17:58,530 In 1931, two years before balance in world of European schools of design, you come so close to those of the Far East. 150 00:17:58,530 --> 00:18:06,270 At the School of Siena story, Baffsky published his book, The End, or the Whole Audience orwill, 151 00:18:06,270 --> 00:18:11,970 with its trenchant exposition of no Mediteranean indeed easten points of origin 152 00:18:11,970 --> 00:18:17,940 for the art and architecture of late antique and early mediaeval Europe. 153 00:18:17,940 --> 00:18:24,530 However, intellectually. Mendelssohn was probably closer to three girls, his great rival, always regal, 154 00:18:24,530 --> 00:18:32,270 and it would be banal to suggest any direct causal connexion, not least because of three golf skis, notorious anti-Semitism. 155 00:18:32,270 --> 00:18:37,580 Benson did have Orient a home in his library. At the least, 156 00:18:37,580 --> 00:18:43,160 these two very different men shared a willingness to see significant developments 157 00:18:43,160 --> 00:18:49,310 in European art as having not entirely autochthonous points of reference. 158 00:18:49,310 --> 00:18:56,450 Perhaps more important is the wider tendency within the humanities and social sciences in the early of the late 19th and early 20th 159 00:18:56,450 --> 00:19:05,270 century for what has been called an especially ambitious kind of generalised historical comparison in the search for a single, 160 00:19:05,270 --> 00:19:14,330 intelligible global process. Managements of this world history would include once random names like we would read, 161 00:19:14,330 --> 00:19:23,060 author of The Martyrdom of Man, as well as H.G. Wells, Oswald, Spangler, Toynbee and, of course, Marx. 162 00:19:23,060 --> 00:19:29,180 The 1930s and 1940s have been proposed as the high point of this highly relativist, 163 00:19:29,180 --> 00:19:38,570 comparative cross-cultural models of history, seen perhaps largely under the impact of Marxism as scientific. 164 00:19:38,570 --> 00:19:45,020 But it's worth considering whether, just as art history was arguably the first term of cultural history. 165 00:19:45,020 --> 00:19:54,410 It is an art history well before the 1930s that some of these global competitive constructions were first given their fullest forms. 166 00:19:54,410 --> 00:20:01,430 Although perhaps now discredited amongst professional historians who have grown suspicious of the unity of history, 167 00:20:01,430 --> 00:20:06,210 that the new discipline of global history seems to me to be something else altogether. 168 00:20:06,210 --> 00:20:15,900 The phantasm of war or studies is anything but extinct, and attempts to write total global histories of art have persisted from Ernst Gonn, 169 00:20:15,900 --> 00:20:27,890 which is 1950s story of art to Julian Bailes 2007 Medal of the World in the middle of the 1930s that appeared abroad, 170 00:20:27,890 --> 00:20:32,760 which shares some of the features of Barentu Benson's Comparative East Enterprise. 171 00:20:32,760 --> 00:20:42,050 Bonaly author, who shares none of his fame. Ivy Posner is not a name to conjure with. 172 00:20:42,050 --> 00:20:44,420 And there's a new breed of Russian historians. 173 00:20:44,420 --> 00:20:56,570 1935 book Lashing Litany in a dibutyl of any sense is a forgotten curiosity retrieved for me from a remote Bergland Sturbridge by the Communists, 174 00:20:56,570 --> 00:21:03,980 a player health novel off the title China, Italy and The Beginnings of a Renaissance. 175 00:21:03,980 --> 00:21:07,130 Charles, you really need to know about this curious world, 176 00:21:07,130 --> 00:21:12,140 which is the most consistent and certainly the most lengthy attempt to argue for an East Asian 177 00:21:12,140 --> 00:21:19,160 point of origin from developments in European painting in the 14th and early 15th centuries. 178 00:21:19,160 --> 00:21:26,690 Given the importance of these developments centring on the canonical means of Jeter and the Cheal two accounts of Western art. 179 00:21:26,690 --> 00:21:35,800 The hypothesis is a third one. To put it bluntly, felt prisoner Chinese influence Paul's renaissance art. 180 00:21:35,800 --> 00:21:41,630 But significantly, this is not claimed by him as an original idea, rather as an earned topic. 181 00:21:41,630 --> 00:21:45,950 No being given a fuller treatment quote. 182 00:21:45,950 --> 00:21:52,530 The question of the influence of Chinese painting on the painters of the Trade Centre has often been discussed in the literature, 183 00:21:52,530 --> 00:21:57,560 but it has never been the object of a dedicated study. 184 00:21:57,560 --> 00:22:07,040 He immediately cites Berenson in his 1983 article as the first to compare the religious art of the S.L used to Chinese art. 185 00:22:07,040 --> 00:22:15,290 It was a feather in the work of Satta that he noticed a far eastern air of such an explanation of the art of society. 186 00:22:15,290 --> 00:22:21,230 His pure intuition and balance since part for which you declines to give a justification. 187 00:22:21,230 --> 00:22:27,890 Now we should parece here to remember that Bensons comparison as he made it in 1983. 188 00:22:27,890 --> 00:22:35,780 In fact, the way verbals any agency of East Asia as an explanation of the work of society, 189 00:22:35,780 --> 00:22:40,790 rather the comparison operates at the level of a vague homology. 190 00:22:40,790 --> 00:22:49,510 Only in 1918 had balance and began to speak of the arts and crafts of the contemporary Orient invading Italy. 191 00:22:49,510 --> 00:22:52,660 In the text, which Ferrers pusing drones, 192 00:22:52,660 --> 00:23:03,950 a full historical exposition of Catholic and particularly Italian missions to the more Yuan Dynasty ruling in China done 2068 to a series of lists 193 00:23:03,950 --> 00:23:14,030 comparisons between the Tyronne painting and Chinese painting that arrives at the conclusion that caught at the beginning of the 15th century, 194 00:23:14,030 --> 00:23:18,510 a number of artistic innovations appeared in Italian painting. 195 00:23:18,510 --> 00:23:24,760 These are. Coincide with a traditional art of Chinese painters of the same period. 196 00:23:24,760 --> 00:23:34,390 In his final sentences, he is unequivocal. Chinese culture was imitated by the Italians of the 14th century. 197 00:23:34,390 --> 00:23:37,930 It's still exercised its influence at the beginning of the 15th century. 198 00:23:37,930 --> 00:23:45,220 As we've just seen, this influence shows itself a better at the place where imitation does not require 199 00:23:45,220 --> 00:23:50,440 as a precondition and knowledge of the Chinese language or intellectual muleya. 200 00:23:50,440 --> 00:23:54,820 But this influence is not limited to the imitation of Chinese painting. 201 00:23:54,820 --> 00:24:05,890 It is much Rayder and disconfirms. Yet one more time or conviction of the influence of Chinese painting on the art of the trade agenda. 202 00:24:05,890 --> 00:24:09,540 Now, just a pause for a moment in case anyone was wondering. 203 00:24:09,540 --> 00:24:19,030 Putting his argument is nonsense, and his Chinese influence on preachin to painting is as fantastical as if more honestly argued, 204 00:24:19,030 --> 00:24:27,370 than the Chinese visitors to flowers in a more recent popular example of this sort of perfusionist bad history. 205 00:24:27,370 --> 00:24:35,020 Gavin Menzies. Fourteen forty. For the year, a Chinese fleet sailed to Italy and ignited the Renaissance. 206 00:24:35,020 --> 00:24:40,660 Everything neat at this point to be able to link prisoner back to a wider and 207 00:24:40,660 --> 00:24:45,940 significant intellectual current in his Russian emigre intellectual Melio. 208 00:24:45,940 --> 00:24:55,390 That's a Eurasian ism which, with echoes of Strogoff, Ski and Spangler, sought to dismiss the cultural exceptionalism of Western Europe. 209 00:24:55,390 --> 00:25:03,400 But I don't have the evidence to go there. But I do want to stress is that we're not talking about a lone eccentric. 210 00:25:03,400 --> 00:25:05,200 However, by the time he wrote, 211 00:25:05,200 --> 00:25:14,500 the tide was turning against the grand synthesising attempts to link the art of East and West as they universally sceptical have some respect for. 212 00:25:14,500 --> 00:25:25,420 Of his book show, for example, the historian of science George Sartin, demand from his central line of reasoning to establish this argument must, 213 00:25:25,420 --> 00:25:30,040 at the very least, prove the existence of a Chinese pictures in Italy at this period. 214 00:25:30,040 --> 00:25:40,360 And I do not know of a single example of this type. Leonardo H.T. began in a 1934 article by accepting that, quote, 215 00:25:40,360 --> 00:25:48,130 The only age influence of Italian art of the Middle Ages and Renaissance has been frequently discussed during the last decades. 216 00:25:48,130 --> 00:25:57,880 However, naming and shaming Posner and his successors, the reason for that fanciful hypotheses, hasty conclusions, 217 00:25:57,880 --> 00:26:06,550 systematically demolishing early examples they provided before stressing in a possible allusion to balancing the vague conformity 218 00:26:06,550 --> 00:26:14,680 of some stylistic aspects of early in paintings to Chinese art of the European period and a few scattered easy attic tapes, 219 00:26:14,680 --> 00:26:19,880 occasionally represented by Italian painters, cannot compare to the primordial, 220 00:26:19,880 --> 00:26:27,040 an uninterrupted flow of cultural and artistic ideas from the north east into the Mediterranean sphere. 221 00:26:27,040 --> 00:26:33,840 He attacks bands and more directly when he gets to one of the prime examples of supposed Oriental influence 222 00:26:33,840 --> 00:26:42,430 brought or on set his fresco of the martyrdom of Francheska Franciscan friars at Kutta in San Francesco C.M.A. 223 00:26:42,430 --> 00:26:49,840 Much discussed on the grounds of what we're seen as East Asian costume and facial features of background figures. 224 00:26:49,840 --> 00:27:00,280 This is the very same festival mentioned in Bensons 1918 footnote as indicating the invasion of Italy by the arts and crafts of the old. 225 00:27:00,280 --> 00:27:09,100 Belski will most certainly correctly finds an explanation for Asian facial features in Italian painting, not to the import of Chinese art, 226 00:27:09,100 --> 00:27:17,470 for which there remains to this day no evidence of terrorism and will return with sketches of Italian serger Maus in China, 227 00:27:17,470 --> 00:27:21,270 a similarly unsubstantiated claim. But instead, 228 00:27:21,270 --> 00:27:29,410 the ethnic diversity of maybe even literally and in the presence of large numbers of Asian slaves that his 229 00:27:29,410 --> 00:27:36,070 article has often been cited in seems to have largely killed the issue of Chinese influence in Renaissance art, 230 00:27:36,070 --> 00:27:41,050 at least in respectable art historical circles. This one is hotly debated. 231 00:27:41,050 --> 00:27:45,250 Topic has lost its claim on the attentions of the wider field. 232 00:27:45,250 --> 00:27:53,620 No one cares. It may be felt that a distinctive turn in the discipline of art history over the past 233 00:27:53,620 --> 00:27:59,830 few decades has been an increasing attention toward from outside the European canon. 234 00:27:59,830 --> 00:28:08,020 Indeed, it might be felt that my presence here, as someone whose entire career to date has been addressed to China, is a symptom of that development. 235 00:28:08,020 --> 00:28:17,440 And perhaps it is. But I would wish to argue that counterintuitively, China has always had a place in the history. 236 00:28:17,440 --> 00:28:19,210 Indeed, putting China in its. 237 00:28:19,210 --> 00:28:28,750 Place has always been one of the acts that made the constitution of a history of art, particularly a singular history of art, possible. 238 00:28:28,750 --> 00:28:35,280 And I would argue that this goes back a long way over 60 years ago now, 239 00:28:35,280 --> 00:28:40,460 a piece by Michael Sullivan, the dry arm of Chinese art studies in this country, 240 00:28:40,460 --> 00:28:48,770 by his presence here tonight and very own, it drew attention to the place of Chinese art in one of the foundational texts of Latin. 241 00:28:48,770 --> 00:28:56,470 Italian writing in Europe came from some art 16 75 teacher academy Dumbo built 242 00:28:56,470 --> 00:29:03,000 tomorrow like Kunst here it was first European description of Chinese painting. 243 00:29:03,000 --> 00:29:09,320 Sound art principally does two things for the first time, but certainly not for the last. 244 00:29:09,320 --> 00:29:15,560 He tells a strict Chinese painting is. And he tells us how it compares with European war. 245 00:29:15,560 --> 00:29:21,670 Quote, He says everything about a similarly and outline only without shadows or mobiling. 246 00:29:21,670 --> 00:29:29,210 WRVO simple with colours of their kinds. They do not know how to set or figures each according to its true quality, 247 00:29:29,210 --> 00:29:35,390 whether it be before or behind or how to observe such other aspects of naturalism. 248 00:29:35,390 --> 00:29:44,360 It is not a little it's been rendered art that such otherwise clever people have no knowledge whatsoever of the art perspective 249 00:29:44,360 --> 00:29:50,850 and somehow presume to tell us about four actual curious pictures which I have obtained from the Chinese themselves. 250 00:29:50,850 --> 00:29:57,800 This ridiculous or cared figures. No firm may not be a large number, and their authority is federal, 251 00:29:57,800 --> 00:30:03,580 diminished by the fact that what Sandrock was looking at my relative in Chinese paintings of Turl, 252 00:30:03,580 --> 00:30:09,410 but illustrations in the Valley was only China of Athanasius. Kill her and Dapo. 253 00:30:09,410 --> 00:30:14,300 But it is enough, however flimsy, the evidence base. 254 00:30:14,300 --> 00:30:19,790 Chinese art begins as a noble and coherent entity. 255 00:30:19,790 --> 00:30:26,020 And this remains, sir, whether we are talking about sandhog or Bellson and strongly for lists, 256 00:30:26,020 --> 00:30:32,330 some eccentrically chosen three Chinese painters in the story of art, a book which famously begins. 257 00:30:32,330 --> 00:30:36,860 There is no such thing as art. There are only artists. 258 00:30:36,860 --> 00:30:47,600 None of them were familiar with a pathetically small number of actual individuated works of Chinese art, and it has remained on countless occasions. 259 00:30:47,600 --> 00:30:53,720 Chinese art comes into play at the edge of our field of vision. 260 00:30:53,720 --> 00:31:00,800 One of the readings at the memorial service for the late Francis Haskell was the very moving passage in Proost, 261 00:31:00,800 --> 00:31:08,220 describing the death of the writer of that revolt who defies his director's orders to cheque for more detail in four meals. 262 00:31:08,220 --> 00:31:16,140 Rio's view of Delft proved so finely painted that it possessed, if considered in isolation, 263 00:31:16,140 --> 00:31:21,710 the self sufficient beauty of some precious Chinese work of art. 264 00:31:21,710 --> 00:31:29,240 Press critic is as unchanged as the precious Chinese walk a block, which means patch of world records. 265 00:31:29,240 --> 00:31:37,730 But neither of them needs to be in order for them to fulfil their role at the edge of a larger narrative. 266 00:31:37,730 --> 00:31:44,930 The problem then is left is I'm quite often still troubled by nervous students that we know nothing about Chinese art. 267 00:31:44,930 --> 00:31:48,470 The problem is that we already know everything about it. 268 00:31:48,470 --> 00:31:58,520 It is entirely an uncertainty, as the Macedonian writer Susanna M.F. Stress put it in the context of a debate on his art history. 269 00:31:58,520 --> 00:32:04,100 Bulbul quote. Perhaps the reason or history is not global now, 270 00:32:04,100 --> 00:32:10,540 and I believe it would be naive to think it is just one example of our art history which had earlier 271 00:32:10,540 --> 00:32:18,170 answers ready at hand before it was even written and was based on the limited of experience of its writers. 272 00:32:18,170 --> 00:32:28,280 And therein lies the central issue. Far from arguing for the inclusion in the art historical canon of hitherto neglected or disregarded material, 273 00:32:28,280 --> 00:32:34,580 I find myself first to propose that we need to forget the disciplines claim that 274 00:32:34,580 --> 00:32:40,680 we already know everything about Chinese art if we wish to learn anything at all. 275 00:32:40,680 --> 00:32:45,170 But I wish to take the conceit one time forward. 276 00:32:45,170 --> 00:32:52,250 I would argue that although Chinese art is fully in place as an object of art, to start with the knowledge it has been, 277 00:32:52,250 --> 00:33:00,950 one of the conditions of that knowledge is a possibility that it needs to forget that it's already knows everything about it. 278 00:33:00,950 --> 00:33:06,170 This is a process observable in writing from the second half of the 20th century, 279 00:33:06,170 --> 00:33:13,910 associated with the professionalisation of the discipline and strikingly visible in the person of Berentson himself. 280 00:33:13,910 --> 00:33:19,060 If we revisit the ancient Sage Bensen of 1950. 281 00:33:19,060 --> 00:33:28,050 Of China has shifted considerably from the one it held for him 50 years earlier in a show Garrison entitled Exotic Arts, 282 00:33:28,050 --> 00:33:35,430 that places the panda marginal home port compared with art of the last 60 centuries, 283 00:33:35,430 --> 00:33:40,200 with its endless variety of subject matter of material kind of eternity. 284 00:33:40,200 --> 00:33:44,850 Every other art, Chinese included, is limited. 285 00:33:44,850 --> 00:33:51,600 Even Chinese, the most valuable of early arts from beyond our pale, come offer students a visual representation, 286 00:33:51,600 --> 00:33:58,900 its landscape only as an achievement that our painters have not equalled or surpassed the exotic arts. 287 00:33:58,900 --> 00:34:06,780 Soon weirdy, as is the case with Yogi Philosophise Mass Dignon ism and similar appeals. 288 00:34:06,780 --> 00:34:14,230 It is craving for mere otherness that draws us to them rather than any unique superiority of their own. 289 00:34:14,230 --> 00:34:19,920 Can we devote ourselves with advantage to intensive study often? 290 00:34:19,920 --> 00:34:26,300 Well, that's certainly me put in my place. But rather than stepping from the podium, no, 291 00:34:26,300 --> 00:34:36,750 I would insist that it is hard not to see this purpose from enthusiasm to really disdain as a psychological process of repression. 292 00:34:36,750 --> 00:34:43,980 This process parallels the way proper art history came to be less open to the kind of grand competitive 293 00:34:43,980 --> 00:34:51,690 gesture which had seemed meaningful before 1949 as it became professional and specialised. 294 00:34:51,690 --> 00:34:58,410 The inclusion of Chinese avant archaeology in the syllabus of the Porterfield Institute from 1933 to the Second World War, 295 00:34:58,410 --> 00:35:02,890 for instance, and its consequent exclusion after that date is a fact. 296 00:35:02,890 --> 00:35:09,570 A little known and little acknowledged for most of the great figures of post-war art history. 297 00:35:09,570 --> 00:35:17,800 For Echo Event and Francis Haskell, China suddenly became that of which one did not speak conscious, perhaps, 298 00:35:17,800 --> 00:35:26,850 but to do so risk the kind of old Sterling Ghosh associated with the increasingly unacceptable Batten's certainly in the mode of aesthetic, 299 00:35:26,850 --> 00:35:36,530 waffling and professional discourse of Chinese art history developed, confined in Britain into the school of thought and from African studies. 300 00:35:36,530 --> 00:35:39,350 Too was heir to the kind of repression of which can speak, 301 00:35:39,350 --> 00:35:47,830 speaking careful to avoid the kind of fragile hypothesis of someone like the now totally forgotten Pewsey, 302 00:35:47,830 --> 00:35:57,140 not just placing of China over there in the story of art in the east towards which we look. 303 00:35:57,140 --> 00:36:02,700 Is an important final step in moving unsayable the kind of utterances about China, 304 00:36:02,700 --> 00:36:12,180 which the balance of nineteen eighty three felt so comfortable with, and the Baroness and of 1950 wished to forget he had ever said. 305 00:36:12,180 --> 00:36:17,940 However, other Chinese objects in the belated party collection remain about the e.g. berentson. 306 00:36:17,940 --> 00:36:25,530 They were not disposed, although they were never added to material memories of our letterforms of. 307 00:36:25,530 --> 00:36:30,150 Another great collector interested in universals, Sigmund Freud, 308 00:36:30,150 --> 00:36:36,270 did continue through the 1930s to buy Chinese works, but to choose not to speak of them. 309 00:36:36,270 --> 00:36:42,090 When he said in 1931, they have sacrificed a great deal for my collection of Greek, 310 00:36:42,090 --> 00:36:51,540 Roman and Egyptian antiquities and actually have read more archaeology than psychology than our large literature on Ferd as a collector, 311 00:36:51,540 --> 00:36:57,920 federal's him in its discussion principally of the Mediterranean aspects of his things. 312 00:36:57,920 --> 00:37:04,560 The Chinese art, which literally stared him in the face as he wrote, goes unmentioned. 313 00:37:04,560 --> 00:37:11,010 It's certainly true that Ference Library, especially those most treasured books he chose to bring with him from Vienna to London, 314 00:37:11,010 --> 00:37:15,400 contain almost none of the available literature of the day on Chinese art. 315 00:37:15,400 --> 00:37:26,610 And he preferred to address it at the level of the non-verbal. But I can not resist pointing out that his preferred breed of dog was the chow. 316 00:37:26,610 --> 00:37:34,870 Believe, I fancy, is to have Chinese urgence and that his favourite part is called Lin. 317 00:37:34,870 --> 00:37:41,940 Knowing his Chinese for theory, make it that what you will. 318 00:37:41,940 --> 00:37:52,520 As we all know, that much has been repressed, has a way of returning, this basic fact has been driven by the art historian Stanley Abbey, 319 00:37:52,520 --> 00:37:59,760 who is about and the ways in which it was necessary for the success of abstract impressionism in post-war America. 320 00:37:59,760 --> 00:38:06,880 But then Penacoli verifiable engagement on the part of several artists with what he calls an oriental mode, 321 00:38:06,880 --> 00:38:14,640 principally via the medium of calligraphy, be systematically denied and refused. 322 00:38:14,640 --> 00:38:18,810 He sees fantasy in its technical sense, not of a mystic, 323 00:38:18,810 --> 00:38:27,180 but as a failure to recognise which is fundamental to our subjectivity as well as the structuring of what we call reality. 324 00:38:27,180 --> 00:38:31,560 He sees this as central to the way in which the Chinese script and Chinese visual signs 325 00:38:31,560 --> 00:38:37,110 functioned as part of the conditions of possibility for modernist poetics and modernist art. 326 00:38:37,110 --> 00:38:44,190 In the mid 20th century, I'd see this fantasy that's constructed from the world and very long. 327 00:38:44,190 --> 00:38:54,750 If we go back to sound art history of repression expressed in the idea that China and by extension Chinese art are simultaneously utterly inscrutable, 328 00:38:54,750 --> 00:39:00,530 unknowable and at the same time totally normal. 329 00:39:00,530 --> 00:39:08,370 As we've seen, that knowledge has always provided the grounds for comparison more powerful than it's implicit or even denied. 330 00:39:08,370 --> 00:39:17,170 But does it have to be so? Merkabah as written off the possibility that all the other forms of comparison, 331 00:39:17,170 --> 00:39:27,420 not very on a logic of oppositional judgement comparison can be a tool for analysis as long as one of its terms is not established as normative. 332 00:39:27,420 --> 00:39:36,020 And she's argued that if this is found, quote, instead of an instrument of judgement, it becomes a source of differentiation. 333 00:39:36,020 --> 00:39:42,990 The project I found myself drawn to with a wistful, possibly utopian sense that this might actually be achievable. 334 00:39:42,990 --> 00:39:52,380 Is the exhibition lumpier of a.D.A Forbidden Empire Visions of the World of the Chinese and Flemish monsters. 335 00:39:52,380 --> 00:39:59,720 Have painted in those alien vessels and the Palace Museum in Beijing in February to September 2007. 336 00:39:59,720 --> 00:40:06,730 It was conceived by the Belgian painter. Look timeless and the Chinese art historian view hey and is perhaps better 337 00:40:06,730 --> 00:40:11,820 perched itself as an installation piece than an exhibition of descript works. 338 00:40:11,820 --> 00:40:16,080 Since here the sun is definitely different from the parts. 339 00:40:16,080 --> 00:40:24,510 The exhibition juxtaposes an equal number of Chinese and Flemish paintings from the 15th to the early 20th centuries. 340 00:40:24,510 --> 00:40:31,310 That brings me back to this catalogue. The exhibition was poorly advertised and I deeply regret not seeing it. 341 00:40:31,310 --> 00:40:36,340 That brought me back to the catalogue. Is there really much juxtaposition or comparison? 342 00:40:36,340 --> 00:40:40,910 Is here used to avoid seeing one kind of theory? 343 00:40:40,910 --> 00:40:43,250 To refuse the reality of a total lies? 344 00:40:43,250 --> 00:40:53,820 Did this with an equally tantalised that we get the paintings on a successive page pages such as Pan's Pervious Portraits of the Archduke's, 345 00:40:53,820 --> 00:40:59,340 Albert and Isabella with Tcheng Imperial images of the chairman and poorness consort, 346 00:40:59,340 --> 00:41:06,310 which function at an obvious level of subject contiguity for similarity is obvious. 347 00:41:06,310 --> 00:41:15,490 But I that, for example, Riley anti's landscape alongside John Giancarlo for Brooker's drawing of a monstrous foetus. 348 00:41:15,490 --> 00:41:20,040 I at least found myself thinking about the ways in which in the two painting traditions, 349 00:41:20,040 --> 00:41:23,670 it is the human body and the contours of the earth respectively, 350 00:41:23,670 --> 00:41:31,710 which function as central subject matter, of which deviance and drama visually constructed in two different ways. 351 00:41:31,710 --> 00:41:40,710 We get a striking juxtaposition like Charles Perman Blossom with two panels off the memory, the scent from the cross since in tandem. 352 00:41:40,710 --> 00:41:54,720 At first glance, differences total the human body, the plant world on canvas inken cell, no formal colour, religious narrative, refusal of narrative. 353 00:41:54,720 --> 00:41:58,500 As I look at these in the context of the total exhibition I found, 354 00:41:58,500 --> 00:42:05,580 I'm forced to speculate what we meant to think formalistic clean about the role of the diagonal to 355 00:42:05,580 --> 00:42:10,320 reclaim the visual approach in which these things are embedded at the point of their creation. 356 00:42:10,320 --> 00:42:17,890 Each implicated with a vast textual record of plum blossom poetry no less than a devotional text. 357 00:42:17,890 --> 00:42:21,370 How valid might be my thought that the plum blossom, 358 00:42:21,370 --> 00:42:30,240 the rest of the flowering plants of the New Year stands in some hymnal just way too as an image of renewal, even of the resurrection? 359 00:42:30,240 --> 00:42:33,720 Probably not valid a turtle in a general sense, 360 00:42:33,720 --> 00:42:40,040 but I think the larger point being made of a range and quantity of comparisons in Forbidden Empire is that. 361 00:42:40,040 --> 00:42:47,090 No single tower of comparison will do the relationship between a range of diverse Chinese 362 00:42:47,090 --> 00:42:54,670 images and diverse Flemish ones cannot be reduced to a comparison of stable entities as well. 363 00:42:54,670 --> 00:43:05,750 For comparison, is the brands of differentiation rather than judgement has possibly been burst on the horizon, if not yet actually reached. 364 00:43:05,750 --> 00:43:11,090 Let me return in conclusion to the two things that do not fit what you asked, 365 00:43:11,090 --> 00:43:22,040 or at least cannot be put in place in the sense that the totally known Chinese art of coverage or berentson cannot occupy its sort of place. 366 00:43:22,040 --> 00:43:30,230 I mean, to say as clearly as I can that I do not think their exclusion from the canon is the result of some Orientalist plot, 367 00:43:30,230 --> 00:43:36,800 and that if only we could take the Chinese approach to art or would be where the anonymous 368 00:43:36,800 --> 00:43:41,930 professional painting of horses and grooms described as a good walk in Safavid, 369 00:43:41,930 --> 00:43:47,960 Iran, and the level of reproducing the calligraphy of the Demi urged summiteer are 370 00:43:47,960 --> 00:43:53,930 equally not in place in current accounts of old history written in Chinese. 371 00:43:53,930 --> 00:44:01,780 And the increasingly voiced call for a Chinese approach in the discipline seems to me nostalgic and regressive. 372 00:44:01,780 --> 00:44:12,120 And Beijing, in what has been described as a fair makela cosmopolitanism driven in fact, by concentration on the metropolitan culture of the West. 373 00:44:12,120 --> 00:44:20,960 But we don't need to know more about these things. Engage mirthful with a huge range of unstudied aspects of China's past. 374 00:44:20,960 --> 00:44:27,950 At the very least, acknowledge that the enormous variety and diversity of visual and material culture in 375 00:44:27,950 --> 00:44:38,060 China's past is ill served by deciding that this and only this is what Chinese art is about. 376 00:44:38,060 --> 00:44:43,220 This is so whether it be the Safavid artist Dost Muhammed telling us that the image of 377 00:44:43,220 --> 00:44:49,660 Groomes and Forces is one of a collection of outstanding works by the good Chinese masters, 378 00:44:49,660 --> 00:45:00,200 or balanced and informed Rich's emphasis on spirituality nanogram and had a looked at enough to form those judgements with any credibility. 379 00:45:00,200 --> 00:45:05,840 And neither have I. Neither has any of us what we have. 380 00:45:05,840 --> 00:45:11,840 It will not just be art in China, which looks different since, as I hope I have demonstrated, 381 00:45:11,840 --> 00:45:22,060 Chinese art has been an essential component in the construction of a larger story of art which has concerned us for a century or so. 382 00:45:22,060 --> 00:45:34,250 And what I am saying holds true for other equally constructed components to Islamic art, African art, Indian art, non Western art. 383 00:45:34,250 --> 00:45:40,910 Thankfully for Bassem, tongue calligraphy collection can never be part of a universal story of art, 384 00:45:40,910 --> 00:45:47,810 not least because what you see is too much of a reproduction or a projected scan of a photograph, 385 00:45:47,810 --> 00:45:56,820 of a rubbing, of a carving of something which never existed. Too much of a reproduction to be an authentic component of any moment. 386 00:45:56,820 --> 00:46:04,570 Locked narrative for Chinese pictures in an album in the 16th century alone. 387 00:46:04,570 --> 00:46:10,400 Well, I'm pleased to say early was in the wrong place as he played a plausible in 388 00:46:10,400 --> 00:46:16,930 Islamic art as the more problematic in a single unified field of Chinese art. 389 00:46:16,930 --> 00:46:23,510 Their presence in the rural close predates the invention of the right place 390 00:46:23,510 --> 00:46:29,210 for them to be in the nationalist narratives of the 19th and 20th centuries, 391 00:46:29,210 --> 00:46:39,650 and then shows us graphically. The insufficiency of those narratives for frame, which almost does not quite conform, 392 00:46:39,650 --> 00:46:48,920 can only recall the term analogy of framing devices which art history has constructed as its own conditions of possibility, 393 00:46:48,920 --> 00:46:56,090 and raised the possibility that by putting some stress on springs through more attention to the Ill-fitting, 394 00:46:56,090 --> 00:47:03,840 we might have an old history which relied less on a place for everything and everything in its place, 395 00:47:03,840 --> 00:47:09,680 and an unafraid engagement with the full range of historic human creativity, 396 00:47:09,680 --> 00:47:19,060 including the vast body of that creativity, which is too varied and too rich to be constrained, simply asked changes. 397 00:47:19,060 --> 00:47:29,076 Thank you.