Whose hobbyhorse now?: A revised Foreword for Chinese Landscape Painting as Western Art History1

This article constitutes a new Foreword for James Elkins’s Chinese Landscape Painting as Western Art History. Reflecting on this work a decade after it was first published, this Foreword seeks to position Elkins’s text with respect to current debates about appropriation, decolonization, race, whiteness, privilege and a problematic, colonialist, EuroAmerican notion of ‘the global’. Now the questions I asked ten years ago in response to Elkins’s text are more pressing than ever: how can the history of the art of non-western cultures be figured in their own terms, and how might such a project operate without transposing the object of inquiry entirely into western epistemological frameworks and strategies of academic inquiry? This article seeks to consider how Elkins’s text both de- and re-centres the discipline of art history so that the western tradition alone no longer dominates its master narrative and serves as sole source of its conceptual lexicon. Moreover, this article posits that from Elkins’s text we might contemplate a future in which the western tradition might become marginal within the discipline of art history, its established terms, discourses and practices incommensurate with newly centred analogues drawn from non-western cultures.