(Art history depends on Western conceptual schemata.) Perhaps the most surprising fact about worldwide practices of art history is that there may be no conceptually independent national or regional traditions of art historical writing. Chinese art history, for example, demands expertise in very different kinds of source materials and formal concepts, but its interpretive strategies remain very Western. Chinese art historians, both in China and in universities in the West, study Chinese art using the same repertoire of theoretical texts and sources — psychoanalysis, semiotics, iconography, structuralism, anthropology, identity theory. They frame and support their arguments in the same ways Western art historians do: with abstracts, archival evidence, summaries of … Continue reading James Elkins