Why, in China and Japan, a copy is just as good as an original | Aeon Essays

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A general view of the Terracotta Warriors photographed in 2017 in Xi’an, China. Photo by Ian Hitchcock/Getty by Byung-Chul Han + BIO A general view of the Terracotta Warriors photographed in 2017 in Xi’an, China. Photo by Ian Hitchcock/Getty is professor of philosophy and cultural studies at the Berlin University of the Arts. His latest book is Shanzai: Deconstruction in Chinese (2017), translated by Philippa Hurd. Edited byNigel Warburton Published in association with The MIT Press, an Aeon Strategic Partner In 1956, an exhibition of masterpieces of Chinese art took place in the museum of Asian art in Paris, the Musée Cernuschi. It soon emerged that these pictures were, in fact, forgeries. In this case, the sensitive issue was that the forger was none other than the most famous Chinese painter of the 20th century, Chang Dai-chien, whose works were being exhibited simultaneously at the Musée d’Art Moderne. He was considered the Pablo Picasso of China. And his meeting with Picasso that

In 1956, an exhibition of masterpieces of Chinese art took place in the museum of Asian art in Paris, the Musée Cernuschi. It soon emerged that these pictures were, in fact, forgeries. In this case, the sensitive issue was that the forger was none other than the most famous Chinese painter of the 20th century, Chang Dai-chien, whose works were being exhibited simultaneously at the Musée d’Art Moderne. He was considered the Pablo Picasso of China. And his meeting with Picasso that same year was celebrated as a summit between the masters of Western and Eastern art. Once it became known that…

Why, in China and Japan, a copy is just as good as an original | Aeon Essays

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