Influence of global aesthetics on Chinese aesthetics: The adaptation of moxie and the case of Dafen Cun

Kit Wah Eva Man

Research output: Contribution to journalArticlepeer-review

Abstract

This article examines the practice of moxie or imitation in art in Chinese aesthetics, compares it with the Platonic notion of mimesis, and explicates its original meaning. I then trace its development from traditional painting to the late Qing export paintings in which traditional Chinese aesthetics was combined with Western perspectives to satisfy Western tastes. The discussion extends to the contemporary development of moxie in China by considering the case of Dafen Cun, an art village in Shenzhen that is famous for its copycat art practices. It explores how Dafen Cun has become a major exporter of copies of Western and Chinese paintings and how its artists achieve techniques comparable to the traditional methods of moxie while losing its original spirit. The final section reviews how global consumerism has exerted influences on moxie, which can only be justifiably approached in respective cultural and historical contexts.
Original languageEnglish
Number of pages13
JournalContemporary Aesthetics
Volume11
Publication statusPublished - 2013

User-Defined Keywords

  • artistic self-nurturance
  • copying
  • export paintings
  • global aesthetics
  • global manufacturing
  • linmo
  • mimesis
  • moxie

Fingerprint

Dive into the research topics of 'Influence of global aesthetics on Chinese aesthetics: The adaptation of moxie and the case of Dafen Cun'. Together they form a unique fingerprint.

Cite this