October 2000, Vol. 15 FEATURE ARTICLES the National Academy of Chinese Fine Art
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On the Research Status of the Storm Society
International Journal of Science Vol.2 No.12 2015 ISSN: 1813-4890 On the Research Status of the Storm Society Hao Xing School of history, Hebei University, Baoding 071002, China [email protected] Abstract The Storm Society is the first well-organized art association, which consciously absorb the western modern art achievements in Chinese modern art history. Based on the historical materials, this paper describes the basic facts of the Storm Society, and analyze the research status and weakness of this organization, and summarizes its historical and practical significance in the transformation of Chinese art from traditional form to modern form. Keywords the Storm Society, Art Magazine, research status. 1. The Basic Facts of the Storm Society The Storm Society is brewed in 1930. Its predecessor is "moss Mongolia", which is a painting group organized by Xunqin Pang, but it is soon seized. Xunqin Pang says,”I feel deeply distressed that the spirit of Chinese art and literature is decaying and corrupting, but my shallow knowledge and ability is not enough to pull the decadent a little. So I decide to gather some comrades to strive for the hope of making some contribution to the world together. This is the origin of the Storm Society.” The Storm Society is established in Nanjing in 1931, aiming at probing and developing China’s oil painting art. The main sponsors of the group are Xunqin Pang,Yide Ni , Jiyuan Wang , Zhentai Zhou , Ping Duan , Xian Zhang , Taiyang Yang , Qiuren Yang , Di Qiu , et al. The so-called "storm" means that this organization attempts to break the old barrier of traditional art, and sets off a raging tide of new art. -
Research and Education in the Contemporary Context of Art History from the Vision to the Art
3rd International Conference on Education, Management and Computing Technology (ICEMCT 2016) Research and Education in the Contemporary Context of Art History From the Vision to the Art Weikun Hao Hebei Institute of Fine Art, Shijiazhuang Hebei, 050700, China Keywords: Oil painting Techniques; Digital Image; Teaching Abstract. As is known to all, today's art education, its function has been far beyond the scope of training professional art talents. And from the perspective of the status quo of higher art education and skill training compared with history research, history research obviously in a weak position. From the Angle of art, art history is one of the important part of human art and culture, several conclusions show that for the study of art history and also learn the meaning of the obvious, such as improve the level of the fine arts disciplines, from the pure skills subject ascended to the status of the humanities; For today calls a "visual arts" or "visual culture" study, art history research is necessary; In carrying forward traditional culture today, the study of art history and learning will make human have more opportunity to participate in the fine arts with the human, and life, and emotion, contact with politics and history, for more understanding of cultural phenomenon. Introduction Plays a role in history of art history, art history research in the history of the grand is indispensable in the background, the history and culture is the concept of two inseparable. Obviously, for art history research to let a person produce both witness the massiness of history, and to experience the many things like the ramifications of fine arts. -
The Storm Society Primary Sources in Translation from Shanghai Modern
The Storm Society Primary sources in translation from Shanghai Modern The Storm Society. Guan Liang. Mount Xiqiao. 1935. Oil on canvas; 50.5 x 57 cm. National Art Museum of China, Beijing. Guan Liang. Seated Nude. 1930. Oil on canvas; 60.5 x 45.5 cm. Private Collection. (Shanghai Modern, p. 183). Chen Baoyi. Scenery of West Shanghai. 1944. Oil on canvas; 44 x 52 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 184) Yan Wenliang. Red Sea. 1928. Oil on paperboard; 179 x 25.7 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 185). Ni Yide. Portrait of a Lady. 1950s. Watercolor on paper; 31.5 x 275 cm. China Academy of Art, Hangzhou. Situ Qiao. Lassoing Horses. 1944. Oil on canvas; 59 x 99 cm. National Art Museum of China, Beijing (Shanghai Modern, p. 188). Chen Qiucao. Sawing Wood. 1936. Oil on canvas; 67 x 67 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 189). Chen Qiucao. Flowers in the Trenches. 1940. Oil on canvas; 45.6 c 61 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 191) LEFT: Pang Xunqin. Winter. 1931. Oil on canvas; 47 x 36 cm. Private Collection. RIGHT: Qiu Ti, Shanghai View. 1947. Oil on canvasl 46 x 38 cm. Artist’s family. (Shanghai Modern, pp. 194-95). Chen Chengbo. Beach of the Putuo Mountain. 1930. Oil on canvas; 60 x 72 cm. (Shanghai Modern, p. 199). Liu Haisu (1896-1994). Girl Draped in Fox Fur. 1919. Oil on canvas; 60 cm x 45.5 cm. -
Biography of Ding Yanyong Mayching Kao Former Chair Professor, Department of Fine Arts the Chinese University of Hong Kong
Biography of Ding Yanyong Mayching Kao Former Chair Professor, Department of Fine Arts The Chinese University of Hong Kong 1902 Aged 1 Mr. Ding Yanyong was born on 15 April (the 8th day of the 3rd month in the 28th year of the reign of Guangxu) in Maopo Village, Xieji Town, Maoming County, Guangdong Province (present-day Gaozhou). Yanyong was his given name, to which style names Shudan and Jibo were added. His friends and students in Hong Kong addressed him as “Ding Gong”, meaning “the revered Mr. Ding”. Born in the zodiac year of the tiger (hu), he often used “Ding Hu” on his seals. His name in English is Ting Yin Yung. It is often romanized as Ting Yen-yung, but Ding Yanyong is in more common use nowadays. His oil paintings and sketches are signed “Y. Ting” and “Y. Y. Ting”. He came from a well-to-do family. His father, Ding Genci, was a cultivated man who enjoyed poetry and antiquities. At times he personally tutored his children in ancient poetry. Mr. Ding’s education began with a home tutor; he then attended a primary school in his home village, sponsored by his father. He was noted for his talents in painting and calligraphy as a child and his talents were much encouraged by his family and teachers. 1916 Aged 15 He attended Maoming County Middle School (present-day Gaozhou Secondary School). 1920 Aged 19 He graduated after four years of study. He went to Japan to study art under the auspices of the Guangdong provincial government. -
Modern Art 109
Modern Art 109 Fall 2018 Tu/Th 1:30-2:45 pm Kadema Hall 145 Professor: Elaine O'Brien, Ph.D. Office: Kadema Hall 190 Office Hours: T 6-7 PM, W 3-5 PM (and by appointment) [email protected] http://www.csus.edu/indiv/o/obriene/ https://twitter.com/eoarthistory Course description: This is a survey of avant-garde modern art from the late nineteenth century to the mid-twentieth century. The first half of the course will focus on the art of Western Europe and the United States. In the second half, we consider case studies of modern art in Africa, Asia, and Latin America. Taking a world perspective on Modern art, which was the first truly global visual language, we will see how the aesthetic of newness, originality, anti-academicism, and radical formal invention characteristic of avant-garde modernism was rooted in the universal societal transformation that was modernity: the rise to power of urban middle classes, secularism, positivism, faith in “progress,” individualism, and capitalism. Modern art was the product of the forces of modernization – industrialization, urbanization, colonialism – that transformed the entire world during the era we study. After defining “Modern” art and “Modernism,” the course begins with the Post Impressionism of Vincent van Gogh and Paul Gauguin and proceeds through the modern movements of Fauvism, Cubism, Expressionism, Constructivism, Dada, and Surrealism: movements that fundamentally reinvented the vocabulary of visual art. The first half of the course concludes with American Abstract Expressionism in the World War II decade that saw the end of the Age of Europe. -
UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Abstract Art in 1980s Shanghai / Permalink https://escholarship.org/uc/item/16g2v1dm Author Jung, Ha Yoon Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Abstract Art in 1980s Shanghai A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Ha Yoon Jung Committee in charge: Professor Kuiyi Shen, Chair Professor Norman Bryson Professor Todd Henry Professor Paul Pickowicz Professor Mariana Wardwell 2014 The Dissertation of Ha Yoon Jung is approved, and it is acceptable in quality and form for publication on microfilm and electronically. ____________________________________________________________________ ____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page ………………………………………………………………....……. iii Table of Contents ………………………………………………………….…...……. iv List of Illustrations …………………………………………………………………... v Vita ……………………………………………………………………….……….… vii Abstract ……………………………………………………….………………..……. xi Chapter 1 Introduction ……………………………………………………….……………….. 1 Chapter 2 Abstract -
Inventing Chinese Modernism: the Art and Design of Pang Xunqin
INVENTING CHINESE MODERNISM: THE ART AND DESIGN OF PANG XUNQIN (HIUNKIN PANG), 1930s-1940s by YINXUE CHEN A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2019 THESIS APPROVAL PAGE Student: Yinxue Chen Title: Inventing Chinese Modernism: The Art and Design of Pang Xunqin (Hiunkin Pang), 1930s-1940s This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Jenny Lin Chairperson Joyce Cheng Member Akiko Walley Member and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2019 ii © 2019 Yinxue Chen This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike (United States) License. iii THESIS ABSTRACT Yinxue Chen Master of Arts Department of the History of Art and Architecture June 2019 Title: Inventing Chinese Modernism: The Art and Design of Pang Xunqin (Hiunkin Pang), 1930s-1940s As one of the first Chinese modernist artists to study painting in Paris in the 1920s, Pang Xunqin’s art and design projects were profoundly influenced by both Western European and Chinese aesthetics. From the 1930s to 1940s, his output shifted from cosmopolitan Shanghai-based paintings to Guizhou Miao ethnic paintings to traditional Chinese and Art Deco-influenced industrial designs. Integrating historical context, Pang Xunqin’s biography, and stylistic analyses, this thesis interprets how the artist’s work transformed through particular social and political upheavals, including the Second Sino- Japanese War (1937-1945) and conflicts between vying political parties in China. -
2003 V02 04 Shen K P033.Pdf
The landscape painting (shanshui hua) has a long history in China. Chinese painters of the past used landscape (shanshui) as a way to express themselves: their look on the environment (mainly natural) carried their entire cultural background, and it was heavily symbolic. There were many layers of possible interpretation of their works, depending on the viewer’s knowledge and understanding. In 1935, the Shanghai Chinese Painting Society1 organized two special issues for their journal, Chinese Painting Monthly, on the aesthetics of Chinese and Western landscape painting. Many prominent scholars and artists participated in this discussion. Among them, Huang Binhong, He Tianjian, Zheng Wuchang, Yu Jianhua, and Xie Haiyan wrote essays on Chinese landscape painting. Ni Yide, Chen Baoyi, Li Baoquan, and Lu Danlin focused on Western landscape painting. Through reviewing the origins, history, and evolution of Chinese landscape painting, they tried to find the similarities and differences between Chinese shanshui hua and Western landscape painting.2 Although the discussion at the time did not reach any common ground, its importance should not be overlooked. By the nineteenth century, along with the decline of the imperial examination system, the social structure that supported the Confucian class was abolished. Chinese landscape painting, which was regarded as the highest form of art by scholar- gentle-official painters for more than a thousand years, also lost its glory. It was not just a category of painting, however, but a reflection of the attitude towards nature, a symbol of Chinese culture. The discussion at the time focused on styles, formats, and techniques and the discussants tried to use some styles and techniques of Western painting for Figure 1. -
UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Dreams and disillusionment in the City of Light : Chinese writers and artists travel to Paris, 1920s-1940s Permalink https://escholarship.org/uc/item/07g4g42m Authors Chau, Angie Christine Chau, Angie Christine Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Dreams and Disillusionment in the City of Light: Chinese Writers and Artists Travel to Paris, 1920s–1940s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Angie Christine Chau Committee in charge: Professor Yingjin Zhang, Chair Professor Larissa Heinrich Professor Paul Pickowicz Professor Meg Wesling Professor Winnie Woodhull Professor Wai-lim Yip 2012 Signature Page The Dissertation of Angie Christine Chau is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2012 iii TABLE OF CONTENTS Signature Page ...................................................................................................................iii Table of Contents............................................................................................................... iv List of Illustrations.............................................................................................................. v Acknowledgements........................................................................................................... -
Cultural Flows in the Digital and Beyond: the Potency of a Symbol in Mainland China
Cultural Flows in the Digital and Beyond: The Potency of a Symbol in Mainland China Justine Poplin A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) College of Arts and Education Creative Arts Victoria University Melbourne Australia Supervisor: Dr Sue Dodd Associate Supervisor: Associate Professor Dr Tom Clark 2017 Abstract In the twenty-first century, access to a fragmented global culture through online portals has created what Bauman (2011) calls a ‘liquid culture’. As screen-mediated ways of being grow and propagate through our art galleries, museums and online social media feeds, how are we to read this emergent visual grammar so that we can motivate, move or elevate our ways of knowing? This thesis explores the symbolism created in mainland China in 2009 through an emergent and retained set of subversive symbols: the Grass Mud Horse lexicon in Chinese visual culture and beyond. To date, theorists have focused predominantly on internet memes, independent of other multimodal forms generated and transitioned from symbolic online internet memes to offline symbolic use in art and design. I investigate ways of deciphering and articulating these visual gestures through accessing cultural keys. I claim that the new symbolism generated as a result of internet censorship in mainland China demonstrates a generational and ideological shift; it does so through the creation and propagation of new visual grammar in twenty-first century China. To scaffold my claims, I explore an overview of historical changes in the visual articulation of Chinese culture. The use of Mao Zedong as a symbol in art and design clearly illustrates a shift from veneration to subversion. -
A Conversation Between Chinese Artists and Mexican Painter David Alfaro Siqueiros Feng Xiangsheng
DOCUMENT A cOnVersAtiOn betWeen chinese Artists AnD MeXicAn PAinter DAViD ALfArO siQUeirOs feng Xiangsheng (Renowned Mexican artist David Alfaro Siqueiros was invited to come to China for an offi cial visit in October of this year. Last year, on a visit to the Soviet Union, he delivered “An Open Letter to Soviet Artists” that was later published in the US progressive publication The Masses and the Mainstream. On October 23, Siqueiros delivered a speech entitled “The Mexican Modern Painting Movement” to an audience of Chinese artists in Beijing. On the 24th and 30th, Chinese artists and Siqueiros engaged in two discussions concerning issues such as Siqueiros’s speech, his “Open Letter to Soviet Artists,” and his views on Chinese art. The participants of these conversations included: Ye Qianyu, Wu Zuoren, Cao Ruohong, Shao Yu, Ni Yide, Dong Xiwen, Wang Xun, Wang Qi, Zhang Wuzhen, Li Zongjin, Li Hua, Ye Fu, and others. Below is a brief summary of these two discussions for our read- ers’ reference. The speakers have not reviewed this article, and any misrepresentations of the discussion are solely the responsibility of the reporter.) OctOber 24, AfternOOn At the chinese Artists’ AssOciAtiOn Siqueiros began by expressing his hopes that the Chinese artists would honestly and frankly share their thoughts on his speech and open letter. He expressed willingness to continue to discuss Mexican painting, the 92 © 2020 arTMargins and the Massachusetts institute of Technology https://doi.org/10.1162/artm_a_00257 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/artm_a_00257 by guest on 30 September 2021 Paris school, Abstraction, the Soviet style, etc., in order to supplement the speech from the day before. -
Chapter Seven the Beiping Years
Chapter Seven The Beiping years: patronage and artistic experimentation Relatively few dated paintings from Huang Binhong’s early years in Beiping have been published.1 (Figure 7.1) In a letter to Huang Jusu, written in 1939, the artist indicated that he had few paintings in his possession. Many, he said, had been lost or stolen in his move from south to north and in the chaos that came with the Sino-Japanese war and the Japanese occupation.2 So deeply concerned was he about the preservation of his paintings, that in 1938 he deposited a group of important works in a temple in Jinhua, his birthplace.3 Of the published paintings, many that date from the 1940s were painted for Huang Jusu, Wu Ming 吳 鳴, and Liu Zuochou (劉 作 籌, Low Chuck-tiew, 1911-1993).4 At the time Huang Jusu was living in Hong Kong, Liu Zuochou in Singapore and Wu Liang in Macau. These three men were among Huang’s most important patrons. The many letters that they exchanged with Huang Binhong indicate a genuine and intense interest in his art and continuing financial support of his creative practice.5 Huang Binhong regularly sent them paintings, sometimes singly and at other times in bundles. Sometimes the paintings were intended for them, or were 1 See Huang Binhong xiansheng hua ji (Hong Kong: Da Gong Bao, 1961) plates 25-44 for the period 1937 to 1939; Chu, ed., Homage to Tradition, plate 16, for a 1938 album of Huangshan. 2 Huang Binhong, letter to Huang Jusu, [1939], Huang Binhong wenji, shuxin bian, p.230.