Abstract

This paper examines Lang Jingshan's landscape photography in its historical and political contexts. Tracing Lang's oeuvre from Shanghai to Chongqing to Taiwan, it also studies how the pictures were commissioned, made, and perceived. I argue that Lang's photographic art, often considered to be unoriginal and conservative or utopian escapism removed from reality, has in fact engaged with the political and historical turmoil of the times.

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