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Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions with Yin and Yang Message
Journalism and Mass Communication, January 2017, Vol. 7, No. 1, 53-62 doi: 10.17265/2160-6579/2017.01.006 D DAVID PUBLISHING Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions With Yin and Yang Message Shu Hwa Lin, C J Duarte University of Hawaii at Manoa, Honolulu HI, USA The design themes of three Qing dynasty imperial dragon robes from the University of Hawaii at Manoa Costume Collection act as carriers of the Chinese yin-yang philosophy. The information shared by these imperial dragon robes are discussed through a cultural and technological analysis of the symbolic motifs and fabric structures of these garments to reveal the cultural and social impact of yin-yang on Qing imperial costume design. Keywords: Dragon robe, Yin and Yang, imperial/court costume Introduction Since the Qing dynasty (1644-1911), the yin-yang philosophy has been utilized in Chinese court dress (Lin, 2015). The influence of yin-yang on Chinese costume design can be observed in the surviving artifacts of the Qing dynasty (Cheng, 2008; Camman, 1952). The University of Hawaii at Manoa (UHM) Costume Collection (UHMCC) houses three kosse robes (i.e., tapestry) and one embroidery dragon robes from the Qing dynasty which provide representations of the yin-yang philosophy through the motifs and color patterns of its design. These important robes were selected to exhibit during special days such as year of dragon, UHM 100 years, and UHMCC 50 year’s anniversary. There are four categories of court dress: gunfu, chaofu, jifu, changfu (Zhoa, 1989; Zhou & Gao, 1988). Three dragon robes from the UHM Costume Collection are classified as jifu, or semi-formal court robe (Vollmer, 1977a). -
Identification of Asian Garments in Small Museums
AN ABSTRACTOF THE THESIS OF Alison E. Kondo for the degree ofMaster ofScience in Apparel Interiors, Housing and Merchandising presented on June 7, 2000. Title: Identification ofAsian Garments in Small Museums. Redacted for privacy Abstract approved: Elaine Pedersen The frequent misidentification ofAsian garments in small museum collections indicated the need for a garment identification system specifically for use in differentiating the various forms ofAsian clothing. The decision tree system proposed in this thesis is intended to provide an instrument to distinguish the clothing styles ofJapan, China, Korea, Tibet, and northern Nepal which are found most frequently in museum clothing collections. The first step ofthe decision tree uses the shape ofthe neckline to distinguish the garment's country oforigin. The second step ofthe decision tree uses the sleeve shape to determine factors such as the gender and marital status ofthe wearer, and the formality level ofthe garment. The decision tree instrument was tested with a sample population of 10 undergraduates representing volunteer docents and 4 graduate students representing curators ofa small museum. The subjects were asked to determine the country oforigin, the original wearer's gender and marital status, and the garment's formality and function, as appropriate. The test was successful in identifying the country oforigin ofall 12 Asian garments and had less successful results for the remaining variables. Copyright by Alison E. Kondo June 7, 2000 All rights Reserved Identification ofAsian Garments in Small Museums by Alison E. Kondo A THESIS submitted to Oregon State University In partial fulfillment of the requirements for the degree of Master ofScience Presented June 7, 2000 Commencement June 2001 Master of Science thesis ofAlison E. -
Hanfu Elements in Modern Fashion Design and Innovation
Asian Social Science; Vol. 10, No. 13; 2014 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Hanfu Elements in Modern Fashion Design and Innovation Shaoying Hu1 1 College of Textiles & Garments, Southwest University, Chongqing, China Correspondence: Shaoying Hu, College of Textiles & Garments, Southwest University, Chongqing, China. Tel: 86-138-8347-8114. E-mail: [email protected] Received: March 30, 2014 Accepted: April 25, 2014 Online Published: June 25, 2014 doi:10.5539/ass.v10n13p89 URL: http://dx.doi.org/10.5539/ass.v10n13p89 Abstract Combining with Chinese traditional Han costumes and modern fashion, this paper expounds the relationship from the aspects of fashion styles, garment structure, patterns, fabrics, etc. And with different concrete examples, every aspect was made a detail analysis to discuss how Hanfu elements are used in modern fashion design, and we may come to a conclusion that traditional Chinese costume culture is an important source of modern fashion design. Accordingly, we carried on a research on modern fashion design, with having important cultural inheritance value and design significance for modern dress. Keywords: Han costume, elements, modern fashion design, features 1. Introduction Hanfu, also known as "Hanzhuang" or "Huafu", is namely national costume of Han Chinese people. The concept of Hanfu is distinguished from the broader concept of traditional Chinese clothing. The ancient Chinese called Hanfu as Yiguan. As the ancient Hu people’s traditional costume to be known as "Hufu", the Han Chinese traditional dress is referred to as "Hanfu". The succession of Hanfu elements in fashion is called as the fashion localization with Hanfu elements, also known as modern Han-style fashion. -
ASIAN ART Monday 8 and Tuesday 9 May 2017 Knightsbridge, London
ASIAN ART Monday 8 and Tuesday 9 May 2017 Knightsbridge, London INTERNATIONAL CHINESE CERAMICS AND WORKS OF ART TEAM Colin Sheaf Dessa Goddard Asaph Hyman ASIA AND AUSTRALIA Xibo Wang Gigi Yu John Chong Edward Wilkinson* Yvett Klein Hong Kong Hong Kong Hong Kong Hong Kong Sydney EUROPE Benedetta Mottino Sing Yan Choy Edward Luper Rachel Hyman Rosangela Assennato Ben Law Smith Ian Glennie Asha Edwards London, London, London, London, London, London, Edinburgh Edinburgh New Bond Street New Bond Street New Bond Street Knightsbridge Knightsbridge Knightsbridge USA Bruce MacLaren Nicholas Rice Ming Hua Harold Yeo Mark Rasmussen* Doris Jin Huang* New York New York New York New York New York New York Henry Kleinhenz Daniel Herskee Ling Shang San Francisco San Francisco San Francisco ASIA REPRESENTATIVES Summer Fang Bernadette Rankine Taipei Singapore Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Antony Bennett, Matthew Bradbury, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Lucinda Bredin, Simon Cottle, Andrew Currie, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Paul Davidson, Jean Ghika, Veronique Scorer, James Stratton, Ralph Taylor, +44 (0) 20 7393 3905 fax Jon Baddeley, Rupert Banner, Geoffrey Davies, Charles Graham-Campbell, Matthew Haley, Charlie Thomas, David Williams, Jonathan Fairhurst, Asaph Hyman, James Knight, Richard Harvey, Robin Hereford, David Johnson, Michael Wynell-Mayow, Suzannah Yip. -
Fine Asian Works of Art Asian Decorative Art San Francisco | June 25 and 26, 2019
Fine Asian Works of Art Asian Decorative Art San Francisco | June 25 and 26, 2019 Fine Asian Works of Art San Francisco | Tuesday June 25, 2019 at 10am Asian Decorative Works of Art San Francisco | Tuesday June 25, 2019 at 3pm, Lots 301 - 397 San Francisco | Wednesday June 26, 2019 at 10am, Lots 398 - 923 BONHAMS BIDS INQUIRIES New York 220 San Bruno Avenue +1 (800) 223 2854 San Francisco Bruce Maclaren, Senior Specialist San Francisco +1 (415) 861 8951 fax Dessa Goddard, US Head, Chinese Art bonhams.com Asian Works of Art, Director +1 (917) 206 1677 To bid via the internet please visit +1 (415) 503 3333 [email protected] PREVIEW www.bonhams.com/25518 [email protected] Friday June 21, 10am to 5pm Ming Hua, Junior Specialist Saturday June 22, 10am to 5pm www.bonhams.com/25519 Henry Kleinhenz, Consultant +1 (646) 837 8132 Sunday June 23, 10am to 5pm Please note that telephone bids +1 (415) 503 3336 [email protected] Monday June 24, 10am to 5pm must be submitted no later than 4pm on the day prior to [email protected] Harold Yeo, Consultant the auction. New bidders must Dan Herskee, Senior Specialist +1 (917) 206 1628 SALE NUMBER: 25518 also provide proof of identity +1 (415) 503 3271 [email protected] Lots 1 - 221 and address when submitting [email protected] bids. Telephone bidding is only SALE NUMBER: 25519 Los Angeles Lots 301 - 923 available for lots with a low Dick Lin, Junior Specialist Rachel Du, Specialist estimate in excess of $1,000. -
“Deceptive Simplicity” in Tang Poetry Aesthetics
Bond University Research Repository The Ultimate Taste is Bland: Exploring “Deceptive Simplicity” in Tang Poetry Aesthetics Chen, Yi Licence: Free to read Link to output in Bond University research repository. Recommended citation(APA): Chen, Y. (2016). The Ultimate Taste is Bland: Exploring “Deceptive Simplicity” in Tang Poetry Aesthetics. 10-11. Abstract from The 10th Annual Conference on Asian Studies, Olomouc, Czech Republic. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. For more information, or if you believe that this document breaches copyright, please contact the Bond University research repository coordinator. Download date: 02 Oct 2021 10th Annual Conference on Asian Studies: Connecting the Old with the New Book of Abstracts Olomouc, November 4, 2016 Key-note Speeches Daniel Berounský 3 Pascal Bourdeaux 3-4 Panels I. Between Inclusion and Exclusion: Contemporary Chinese Politics Konstantinos Tsimonis 5 Ksenia G. Muratshina 6 Julie Yu-Wen Chen 6-7 II. Cultural and Material Representation Yumei Chi 7-8 Helena Heroldová 8 Feng He 8-9 Olga Makshanova 9 III. Asian Linguistics and Literature Jiří Matela 9-10 Yi Chen 10-11 Antonio Leggieri 11 Joanna Wardega 12 IV. History and Anthropology and the Identity Search Xin Liu 12-13 Maksymilian Woch 13 Zuzana Kubovčáková 13-14 Tomáš Petrů 14-15 V. The Old and the New: Intellectual Traditions Jozsef Szakos 15 Olaf Günther 16 Publication possibilities for presenters Far East (Dálný východ) 17 Asian Ethnicity 18 2 Key-note Speeches: Daniel Berounský Charles University of Prague, Czech Republic FIERCE NATURAL ENVIRONMENT ECHOING FROM THE PAST OF TIBET: THE CASE OF NYEN BEINGS Tibetan areas of the People’s Republic of China (PRC) boast rapidly developing infrastructure, massive investments and increasing economic progress according to the data provided by the official places. -
The Dragon Robe As the Professional Dress of the Qing Dynasty Scholar-Official (The Náprstek Museum Collection)
ANNALS OF THE NÁPRSTEK MUSEUM 37/2 • 2016 • (pp. 49–72) THE DRAGON ROBE AS THE PROFESSIONAL DRESS OF THE QING DYNASTY SCHOLAR-OFFICIAL (THE NÁPRSTEK MUSEUM COLLECTION) Helena Heroldová1 ABSTRACT: Dragon robes were worn by scholar – officials who were members of bureacracy of the Qing dynasty in China (1644–1911). The cut and design of the robes were uniform, but the embellishment and motifs including religious symbols were individual and personal. Dragon robes as a garment with high homogeneity and visibility is compared to the “organisational dress” worn by members of contemporary Western organisations. The meaning of both garments is found to be similar, especially as they convey social roles within the organisation and society. KEY WORDS: China – Qing dynasty – dragon robes – anthropology of dress Dragon robes are common examples of Chinese clothing in many museums with Chinese collections. From the second half of the 19th century, dragon robes were given as gifts to notable foreigners by Qing dynasty authorities, while later they were even sold, and many visitors to China brought them back home as souvenirs. After the fall of the Qing Empire in 1911, dragon robes were easily available on the antiquities market in Europe. Foreigners were lured by dragon robes’ beauty and symbolism, evoking the splendour of Chinese imperial court. No wonder that since the early 20th century dragon robes had inspired luxurious Western fashion. Wealthy customers admired their exotic look, bold colours, precious materials and intriguing designs. From then on, dragon robes became an inspiration for artists and fashion designers, and still remain one today (Tam 2006: 7). -
Ming China: Courts and Contacts 1400–1450
Ming China: Courts and Contacts 1400–1450 Edited by Craig Clunas, Jessica Harrison-Hall and Luk Yu-ping Publishers Research and publication supported by the Arts and The British Museum Humanities Research Council Great Russell Street London wc1b 3dg Series editor The Ming conference was generously supported by Sarah Faulks The Sir Percival David Foundation Percival David Foundation Ming China: Courts and Contacts 1400–1450 Edited by Craig Clunas, Jessica Harrison-Hall This publication is made possible in part by a grant from and Luk Yu-ping the James P. Geiss Foundation, a non-profit foundation that sponsors research on China’s Ming dynasty isbn 978 0 86159 205 0 (1368–1644) issn 1747 3640 Names of institutions appear according to the conventions of international copyright law and have no other significance. The names shown and the designations used on the map on pp. viii–ix do not imply official endorsement Research and publication supported by Eskenazi Ltd. or acceptance by the British Museum. London © The Trustees of the British Museum 2016 Text by British Museum staff © 2016 The Trustees of the British Museum 2016. All other text © 2016 individual This publication arises from research funded by the contributors as listed on pp. iii–v John Fell Oxford University Press (OUP) Research Fund Front cover: Gold pillow end, one of a pair, inlaid with jewels, 1425–35. British Museum, London (1949,1213.1) Pg. vi: Anonymous, The Lion and His Keeper, Ming dynasty, c. 1400–1500. Hanging scroll, ink and colours on silk. Image: height 163.4cm, width 100cm; with mount: height 254.2cm, width 108cm. -
The Meanings of Qipao As Traditional Dress: Chinese and Taiwanese Perspectives Chui Chu Yang Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 The meanings of qipao as traditional dress: Chinese and Taiwanese perspectives Chui Chu Yang Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Social and Cultural Anthropology Commons Recommended Citation Yang, Chui Chu, "The meanings of qipao as traditional dress: Chinese and Taiwanese perspectives" (2007). Retrospective Theses and Dissertations. 15604. https://lib.dr.iastate.edu/rtd/15604 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The meanings of qipao as traditional dress: Chinese and Taiwanese perspectives By Chui Chu Yang A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Susan J. Torntore, Co-major Professor Mary Lynn Damhorst, Co-major Professor Jean Parsons Lorna Michael Butler Shu Min Huang Iowa State University Ames, Iowa 2007 Copyright © Chui Chu Yang, 2007. All rights reserved. UMI Number: 3289410 UMI Microform 3289410 Copyright 2008 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii TABLE OF CONTENTS LIST OF TABLES …………………………….……………………………………………v LIST OF FIGURES…………………………….…………………………………………vii ABSTRACT ……………………………………………..…………………………………ix CHAPTER 1: INTRODUCTION......................................................................................... -
Sicilian Chinese Art Collections and Chinoiserie
ARCHITETTURA, ARTI E PIANIFICAZIONE DIPARTIMENTO DI ARCHITETTURA L-ART 04 – MUSEOLOGIA E CRITICA ARTISTICA E DEL RESTAURO SICILIAN CHINESE ART COLLECTIONS AND CHINOISERIE IL DOTTORE IL COORDINATORE Mei Xiaoxue Prof. Marco Rosario Nobile IL TUTOR CO TUTOR Prof. Pierfrancesco Palazzotto Dr. Alexander Auf der Heyde CICLO XXX 2018 ABSTRACT L'Europa ha creato uno stile unico di design decorativo nei secoli XVII-XVIII che è stato profondamente ispirato allo stile orientale di Cina, Giappone e India. Lo stile europeo è rimasto sconosciuto alla Cina in quel momento, ed è anche raramente menzionato nella storia dell'arte moderna e del design cinese. Tuttavia, la Chinoiserie ha rappresentato un tema ricorrente all'interno degli stili artistici europei, che non si presenta come una moda regionale, ma bensì come un movimento d'arte complesso e variabile in tutta Europa. La significativa ricerca sul design Chinoiserie è stata intrapresa nei XX-XXI secoli, con centinaia di monografie e articoli pubblicati in inglese, francese, tedesco e italiano, discutendo direttamente e indirettamente della Chinoiserie. La Sicilia, la più grande isola del Mediterraneo, ha un brillante patrimonio storico e culturale. Nella prima metà del XIX secolo, la Sicilia e il Regno di Napoli furono uniti nel Regno delle Due Sicilie dalla Casa di Borbone. La Chinoiserie fu introdotta in Sicilia un po' più tardi come stile decorativo ben sviluppato dopo essere stato influenzato in un certo grado negli altri paesi europei. Nonostante il numero limitato di prodotti orientali in Sicilia, le opere d'arte uniche qui sono encomiabili. Questa tesi interpreta la Chinoiserie Siciliana in quattro aspetti principali: le opere d‘arte tradizionali della Cina, i prodotti cinesi di esportazione, i prodotti mimetici dell‘Europa e la Chinoiserie siciliana all'interno del movimento d'arte europeo. -
Art of China
Art of China A Resource for Classroom Teachers Art of China A Resource for Classroom Teachers 02 Introduction 03 Acknowledgments 04 Comparative Timeline 06 The Silk Road 07 The Three Teachings 08 Connections to Educational Standards 10 Religion & Beliefs 12 Pillow with Confucian Scholar, Buddhist Monk, and Daoist Priest 14 Guanyin Seated in Royal Ease 16 Daoist Priest’s Robe 18 Belief in the Afterlife 20 Horse 22 Musicians on Horseback 24 Tomb Figure of a Bactrian Camel 26 Exchange & Globalization: China & the West 28 Architectural Tile from Xiudingsi Pagoda 30 Dish with Dragon 32 Enameled Saucer 34 Looking Inward: Nature & Self-Cultivation 36 Flower-Form Cup 38 Sixteen Flowers 40 Ordering the Universe: Auspiciousness & the Imperial Court 42 Reception Hall from the Palace of Duke Zhao (Zhaogongfu) 44 Lobed Cup Stand 46 Insignia Badge for an Imperial Noble or Military Officer 48 Emperor’s Dragon Robe CONTENTS 1 Introduction Acknowledgments The Philadelphia Museum of Art is home to one of the oldest collections of Art of China: A Resource for Classroom Teachers was developed by the Chinese art among public institutions in the United States. The founding of the Division of Education at the Philadelphia Museum of Art. We are grateful museum (as the Pennsylvania Museum and School of Industrial Art) coincided with to our colleagues who contributed their expertise, insight, and support the 1876 Centennial Exhibition in Philadelphia, where millions of Americans were to the creation of this teaching resource, especially Hiromi Kinoshita, the introduced to—and captivated by—the material culture of China. Twenty objects Hannah L. -
The Relationship Between Traditional Embroidery of Gubang Craft and Modern Fiber Art in Korea+
Journal of Fashion Business Vol. 8, No. 3, pp.20~33(2004) The Relationship between Traditional Embroidery of Gubang Craft and Modern Fiber Art in Korea+ Rhee, Soo-Cheol Professor, Department of Fiber Art Design College of Design Hanyang University Abstract The creative energy of the Korean women who pursued spiritual artistic practices under the limited situation of male-dominated confucian society in the Chosun Dynasty(AD 1392 - AD 1910) constituted the background for the development of Gubang Craft. Gubang Craft represented their artistic abilities, moral and family values, and the pursuit of self-esteem. Especially embroidery successfully showed four main elements of Gubang Craft such as embellishment, diversity, femininity, and craftsmanship. This paper is designed to explore how the traditional elements of embroidery works are restored and have influence on the modern Korean fiber art. Key words: Gubang Craft, Embroidery, Cultural Background, Modern Fiber Art I. Introduction consciousness, habits, moral, religion, philosophy, and culture of Koreans and to explain 1. The Purpose of Study to what extent these characteristics are expressed in contemporary Korean fabric art. It Korean Gubang art represents the traditional also aims to develop a systematic foundation of embroidery. The Gubang art is recognized as a traditional Korean embroidery art. traditional cultural legacy with high practicality and embellishment. Today, its artistic value is 2. The Scope and Method of Study also reevaluated in the fabric art. In the late 20th century, fabric art focused on its experimental The method of this study is to explore the model and artistic works. In the 21st century, historical development of traditional Korean fabric art began to incorporate technology and embroidery.