DOCSLIB.ORG

The Chinese Painting Research Society of Republican Beijing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Chinese Painting Research Society of Republican Beijing ABSTRACT Title of Dissertation: TRADITION REVITALIZED: THE CHINESE PAINTING RESEARCH SOCIETY OF REPUBLICAN BEIJING Jingmin Zhang, Doctor of Philosophy, 2014 Directed By: Professor Jason Kuo Department of Art History and Archaeology In 1920 a group of traditional artists in Beijing formed the Chinese Painting Research Society, an art institution that enormously influenced Chinese art in the twentieth century. This dissertation locates this society within contemporary social, historical, and cultural trends and argues that its use of traditional Chinese art, antiquities, and even archaeology to counter Western art influence was part of a larger search for national and cultural identity. The first part of the dissertation focuses on the historical and theoretical foundations of the society. The second part sets the artistic activities of the group, including their exhibitions and journals, against contemporary cultural backdrops. The study accomplishes a number of goals. First, it sorts out the historical facts of this overlooked society in a way that reintroduces it to art historical scholarship. Second, it demonstrates that the seemingly conservative stance of the society was just a way to secure its standing and guard its goals. Third, it establishes the group’s importance to the field of modern Chinese art. Finally, by thoroughly examining the society and its accomplishments, this dissertation shows that the traditional artistic approach championed by the society is worth scholarly attention, and that the modernization of Chinese painting occurred not only in Chinese-Western synthesis. Innovation within tradition was equally viable. TRADITION REVITALIZED: THE CHINESE PAINTING RESEARCH SOCIETY OF REPUBLICAN BEIJING By Jingmin Zhang Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2014 Advisory Committee: Professor Jason Kuo, Chair Professor Anthony Colantuono Professor Steven Mansbach Professor Marlene J. Mayo Dr. Marilyn Wong-Gleysteen © Copyright by Jingmin Zhang 2014 The dissertation document that follows has had referenced material removed in respect for the owner's copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park's library collection. To my father and my son ii Acknowledgments I would like to take this opportunity to thank everybody that has lent a helping hand in the completion of this dissertation. I am greatly indebted to my advisor, Dr. Jason Kuo. He has provided me endless help and support during my years of study with him. This dissertation would not have been possible without his continuous guidance and encouragement. I would like to thank those who served on my dissertation committee, Dr. Anthony Colantuono, Dr. Steven Mansbach, Dr. Marlene J. Mayo, and Dr. Marilyn Wong- Gleysteen. I have benefited greatly from their insightful comments and suggestions. The community around the Art History department at the University of Maryland, College Park provided an enjoyable and scholarly atmosphere. I thank Dr. Elizabeth Marlowe, Dr. Joshua A. Shannon, Dr. Yui Suzuki, Dr. Alicia Volk, and Dr. Arthur K. Wheelock for their instructive and stimulating courses. I thank Dr. Quint Gregory and Dr. Lauree Sails for making my graduate study a joyful and memorable experience. I thank Deborah Down, Theresa Morse, and Ania Waller for helping me with all the administrative details required by the graduate school. I also thank my colleagues Madeline Gent, Suzie Kim, Marie Ladino, Sophia Lee, Jenyu Wang, and Xingkui Wang for their companionship and support. I was privileged not only to have had a museum fellowship and internship at the Smithsonian’s Freer and Sackler Galleries of Art, but to have worked with such outstanding curators as Keith Wilson and Stephen Alley. I have greatly benefited from their knowledge and expertise. In addition, Weina Tray helped me with iii administrative details, and Shu Yue provided me useful research materials. Special thanks go to Yan Yong of the Beijing Palace Museum and Ling Lizhong of the Shanghai Museum for offering me valuable thoughts and ideas. I thank the Library of Congress for the Florence Tan Moeson Fellowship, through which I was able to acquire a critical part of my research materials. I especially thank Zhang Jianjing and Song Yuwu for making my research more efficient and productive. I also would like to thank my editor Joel Kalvesmaki. His patient and professional proofreading and copy-editing was a big help in the completion of this dissertation. I am deeply grateful to many family members. I would never have fulfilled this long journey without their love and constant support. I owe special thanks to my husband Yi Zhao for his love and patience. I thank my son Brandon Zhao, whose coming was a decisive factor for the timely accomplishment of this dissertation. I thank my parents for their loving and unconditional support. I specially dedicate this dissertation to my father, now resting in heaven, who had been looking forward to the completion of this project. iv TABLE OF CONTENTS List of Figures ............................................................................................................. vi Introduction ................................................................................................................. 1 Chapter One: The Chinese Painting Research Society: Its Genesis and Inner Dynamics .................................................................................................................... 19 1.1 Social and Cultural Preparations .................................................................. 21 1.2 The Chinese Painting Research Society: A View from Within ................... 46 Chapter Two: Theoretical Foundations: Art and Theories of Leading Members of the Chinese Painting Research Society ............................... 56 2.1 Jin Cheng: “To Grasp Ancient Methods and Breed Novelties” ................... 57 2.2 Zhou Zhaoxiang: Diligent Advocate of Antiquities ..................................... 80 2.3 Chen Shizeng: The Steady Defender of Literati Tradition ........................... 85 Chapter Three: Institutional Outreach: Art Exhibitions of the Chinese Painting Research Society ...................................................................................... 100 3.1 Achievement Exhibitions ........................................................................... 101 3.2 Sino-Japanese Joint Exhibitions ................................................................. 115 3.3 The First National Exhibition of Fine Arts, 1929 ....................................... 126 3.4 State-Sponsored Exhibitions in Europe ...................................................... 130 Chapter Four: Echoing the Past and Conforming to the Present: Periodicals of the Chinese Painting Research Society in the Nationalist Ferment ................... 143 4.1 Art Publication in China ............................................................................. 143 4.2 Xunkan and Yuekan: Publication Strategy and Objective .......................... 146 4.3 Xunkan and Yuekan: Content Analysis ....................................................... 150 4.4 Redefinition of Antiquities, Archaeological Fever, and Nationalist Agitation .................................................................................. 164 Conclusion ............................................................................................................... 178 Figures ...................................................................................................................... 182 Bibliography ............................................................................................................ 326 v List of Figures Fig. 1. Jin Cheng. Photograph from Zheng Gong, Yanjin yu yundong: Zhongguo meishu de xiandaihua [演进与运动：中国美术的现代化] (Nanning: Guangxi meishu chubanshe, 2002), 151. ...................................................... 183 Fig. 2. Chen Shizeng. Photograph from Yilin xunkan 2 (1928): 4. ........................... 184 Fig. 3. Zhou Zhaoxiang. Photograph from Yilin xunkan 1 (1928): 4. ....................... 185 Fig. 4. A view of Beijing from Coal Hill, directly behind the Forbidden City. Photo from the Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia, 1905. Photograph from http://www.google.com/culturalinstitute/asset- viewer/beijing/AgGfBWpyFKjpoQ?hl=en (accessed March 16, 2014). ...... 186 Fig. 5. Xu Beihong, Study of Female Figure, 1924. Charcoal on paper, 85 × 51 cm. Collection of the Xu Beihong Memorial Museum. Photograph from Lv, History of Art, 241. ....................................................................................... 187 Fig. 6. Gao Jianfu, Mountain Village in the Morning Rain, 1914. Color ink on paper, 71.5 × 104.5 cm. Collection of the Guangdong Provincial Museum. Photograph from Lv, History of Art, 199. ..................................................... 188 Fig. 7. Liu Haisu, Qianmen in Beijing, 1922. Oil on canvas, 79.8 × 64.4 cm. Collection of the Liu Haisu Art Museum, Shanghai. Photograph from Lv, History of Art, 267. ....................................................................................... 189 Fig. 8. Front cover of the first issue of Huixue zazhi. ............................................... 190 Fig. 9. Displays in the Siccawei Museum.
Load more

Recommended publications
  • INSCRIPTIONS on CHINESE PAINTINGS and SCHOLAR OBJECTS EXHIBITION DATES: SEPTEMBER 10 - 17, 2010 GALLERY HOURS: MONDAY – FRIDAY, 11 – 5 Or by APPOINTMENT
    CHINA 2 0 0 0 F I N E A R T LITERATI MUSING: INSCRIPTIONS ON CHINESE PAINTINGS AND SCHOLAR OBJECTS EXHIBITION DATES: SEPTEMBER 10 - 17, 2010 GALLERY HOURS: MONDAY – FRIDAY, 11 – 5 or BY APPOINTMENT China 2000 Fine Art takes great pleasure in presenting “Literati Musing: Inscriptions on Chinese Paintings and Scholar Objects” which will be shown in the gallery at 434A East 75th Street in Manhattan and in an online exhibition on our website at China2000FineArt.com. Like the contemporary twitter, ancient inscriptions on Chinese art were the momentary (and now art historically monumental) thoughts about society, relationships, politics, and aesthetics of the literati. For our exhibition, we have gathered together objects for the scholar’s desk and Chinese paintings that bear inscriptions by eminent scholars and calligraphers of Chinese history. Their words literally etched in stone or wood or written with indelible ink on paper provide clues to where they were at particular times in their lives and offer their knowledge about the object or the painting upon which they inscribe their thoughts. Just to illustrate a few of the exhibits, Deng Shiru, a very important calligrapher and seal carver from the 18th century, has carved a Ming dynasty poem on a soapstone seal-paste box, Ding Jing, another important 18th century calligrapher, has carved a Tang dynasty poem on an Anhui inkstone, Chang Dai-chien, the great 20th century painter, has inscribed a painting by a wonderful artist whose works are not generally known but who was with him in Dunhuang in 1941, Lu Yanshao, another famous name in 20th century Chinese art, has inscribed his thoughts on a western style painting of his contemporary, Wu Hufan has given authentication to a painting by Xiao Junxian, and Pu Ru, a great artist and member of the Manchu imperial family, has inscribed a poem on a masterpiece painting by his student, An Ho.
    [Show full text]
  • Beijing City Day Tour to Forbidden City and Temple of Heaven
    www.lilysunchinatours.com Beijing City Day Tour to Forbidden City and Temple of Heaven Basics Tour Code: LCT - BJ - 1D - 04 Duration: 1 Day Attractions: Forbidden City, Temple of Heaven, Summer Palace, Tian’anmen Square Overview: Embark on a journey to four major classic attractions in Beijing in a single day. Take the morning to explore the palatial and extravagant Forbidden City and the biggest city square in the world - Tian’anmen Square. In the afternoon, head for the old royal garden of Summer Palace and Temple of Heaven, the very place where emperors from Ming and Qing Dynasties held grand sacrifice ceremonies to the heaven. Highlights Stroll on the Tian’anmen Square and listen to the stories behind all the monuments, gates, museums and halls. Marvel at the exquisite Forbidden City - the largest palace complex in the world. Enjoy a peaceful time in Summer Palace. Meet a lot of Beijing local people in Temple of Heaven; Satisfy your tongue with a meal full of Beijing delicacies. Itinerary Date Starting Time Destination Day 1 09:00 a.m Forbidden City, Temple of Heaven, Summer Palace, Tian’anmen Square After breakfast, your tour expert and guide will take you to the first destination of the day - Tel: +86 18629295068 1 Email: [email protected]； [email protected] www.lilysunchinatours.com Tian’anmen Square. Seated in the center of Beijing, the square is well-known to be the largest city square in the world. The fact is the Tian’anmen Square is also a witness of numerous historical events and changes. At present, the square has become a place hosting a lot of monuments, museums, halls and the grand celebrations and military parades.
    [Show full text]
  • Conceptualizing the Blue Frontier: the Great Qing and the Maritime World
    Conceptualizing the Blue Frontier: The Great Qing and the Maritime World in the Long Eighteenth Century Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultüt der Ruprecht-Karls-Universität Heidelberg Vorgelegt von Chung-yam PO Erstgutachter: Prof. Dr. Harald Fuess Zweitgutachter: Prof. Dr. Joachim Kurtz Datum: 28 June 2013 Table of Contents Abstract 2 Acknowledgments 3 Emperors of the Qing Dynasty 5 Map of China Coast 6 Introduction 7 Chapter 1 Setting the Scene 43 Chapter 2 Modeling the Sea Space 62 Chapter 3 The Dragon Navy 109 Chapter 4 Maritime Customs Office 160 Chapter 5 Writing the Waves 210 Conclusion 247 Glossary 255 Bibliography 257 1 Abstract Most previous scholarship has asserted that the Qing Empire neglected the sea and underestimated the worldwide rise of Western powers in the long eighteenth century. By the time the British crushed the Chinese navy in the so-called Opium Wars, the country and its government were in a state of shock and incapable of quickly catching-up with Western Europe. In contrast with such a narrative, this dissertation shows that the Great Qing was in fact far more aware of global trends than has been commonly assumed. Against the backdrop of the long eighteenth century, the author explores the fundamental historical notions of the Chinese maritime world as a conceptual divide between an inner and an outer sea, whereby administrators, merchants, and intellectuals paid close and intense attention to coastal seawaters. Drawing on archival sources from China, Japan, Korea, Vietnam, and the West, the author argues that the connection between the Great Qing and the maritime world was complex and sophisticated.
    [Show full text]
  • Towards Chinese Calligraphy Zhuzhong Qian
    Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings.
    [Show full text]
  • Spectacle, Speculation, and the Hyperspace of Sovereignty
    8 Hyperbuilding: Spectacle, Speculation, and the Hyperspace of Sovereignty Aihwa Ong The Chinese love the monumental ambition …. CCTV headquarters is an ambi- tious building. It was conceived at the same time that the design competition for Ground Zero took place – not in backward-looking US, but in the parallel universe of China. In communism, engineering has a high status, its laws resonating with Marxian wheels of history. Rem Koolhaas and OMA (2004: 129) Urban Spectacles The proliferation of metropolitan spectacles in Asia indexes a new cultural regime as major cities race to attain even more striking skylines. Beijing’s cluster of Olympic landmarks, Shanghai’s TV tower, Hong Kong’s forest of corporate towers, Singapore’s Marina Sands complex, and super-tall Burj Khalifa in Dubai are urban spectaculars that evoke the “technological sublime.” Frederic Jameson famously made the claim that the postmodern sublime has dissolved Marxian historical consciousness, but nowhere did he consider the role of architectural sublime in indexing a different kind of historical consciousness, one of national arrival on the global stage (Jameson 1991: 32–8). Despite the 2008–9 economic downturn, Shanghai’s urban transformation for the 2010 World Expo will exceed Beijing’s makeover for the 2008 Olympics.1 Spectacular architecture is often viewed as the handiwork of corporate capital in the colonization of urban markets. For instance, Anthony King and Abidin Kusno, writing about “On Be(ij)ing in the world,” argue that the rise of cutting-edge buildings in Beijing is an instantiation of postmodern globalization transforming the Chinese capital into a “transnational Worlding Cities: Asian Experiments and the Art of Being Global, First Edition.
    [Show full text]
  • Dressing for the Times: Fashion in Tang Dynasty China (618-907)
    Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
    [Show full text]
  • Analysis of Character Convergence of Jiangnan Ancient Towns Lei Yunyao , Zhang Qiongfang
    International Forum on Management, Education and Information Technology Application (IFMEITA 2016) Analysis of Character Convergence of Jiangnan Ancient Towns Lei Yunyao1, a, Zhang Qiongfang 1,b 1 Wuchang Shouyi University, Wuhan 430064 China [email protected], b [email protected] Key Words：Jiangnan Ancient Towns; Character convergence; Analysis Abstract：This article illustrates the representation of character convergence of Jiangnan Ancient Towns. It analyzes the formation mechanism of character convergence to build the whole image of these ancient towns with Zhouzhuang as a prototype. Based on Tourism Geography Theory and Regional Linkage Theory, it puts forward the fact that the character convergence can be beneficial to building a whole tourism image and to enhancing people’s awareness of ancient heritage. But some problems caused by the convergence will also be presented, such as the identical tourism development model, the backward infrastructure and the destruction of original ecology. Introduction With Taihu Lake as the center, the region of Jiangnan, the south of the lower reaches of the Yangtze River, is scattered all over by many historic ancient towns. These towns have a long history and deep cultural deposit. They are densely occupied and economically developed. They form a national transport network combined with inland waterway. These towns have witnessed a long-term economic prosperity in the south of the lower reaches of the Yangtze River and are now generally called “Jiangnan Ancient Towns”. Since 1980s, under the wave of reform, opening up and modernization construction, experience-based tourism and leisure tourism of these towns have achieved great development. Under the influence of “China's First Water Town” Zhouzhuang, some other similar towns like Tongli, Luzhi, Xitang, Nanxun, Wuzhen all choose to follow suit.
    [Show full text]
  • Warfare in a Fragile World: Military Impact on the Human Environment
    Recent Slprt•• books World Armaments and Disarmament: SIPRI Yearbook 1979 World Armaments and Disarmament: SIPRI Yearbooks 1968-1979, Cumulative Index Nuclear Energy and Nuclear Weapon Proliferation Other related •• 8lprt books Ecological Consequences of the Second Ihdochina War Weapons of Mass Destruction and the Environment Publish~d on behalf of SIPRI by Taylor & Francis Ltd 10-14 Macklin Street London WC2B 5NF Distributed in the USA by Crane, Russak & Company Inc 3 East 44th Street New York NY 10017 USA and in Scandinavia by Almqvist & WikseH International PO Box 62 S-101 20 Stockholm Sweden For a complete list of SIPRI publications write to SIPRI Sveavagen 166 , S-113 46 Stockholm Sweden Stoekholol International Peace Research Institute Warfare in a Fragile World Military Impact onthe Human Environment Stockholm International Peace Research Institute SIPRI is an independent institute for research into problems of peace and conflict, especially those of disarmament and arms regulation. It was established in 1966 to commemorate Sweden's 150 years of unbroken peace. The Institute is financed by the Swedish Parliament. The staff, the Governing Board and the Scientific Council are international. As a consultative body, the Scientific Council is not responsible for the views expressed in the publications of the Institute. Governing Board Dr Rolf Bjornerstedt, Chairman (Sweden) Professor Robert Neild, Vice-Chairman (United Kingdom) Mr Tim Greve (Norway) Academician Ivan M£ilek (Czechoslovakia) Professor Leo Mates (Yugoslavia) Professor
    [Show full text]
  • Chapter 31 Notes: Societies at Crossroads
    Chapter 31 Notes: Societies at Crossroads Chapter Outline I. Introduction: Ottoman empire, Russia, China, and Japan A. Common problems 1. Military weakness, vulnerability to foreign threats 2. Internal weakness due to economic problems, financial difficulties, and corruption B. Reform efforts 1. Attempts at political and educational reform and at industrialization 2. Turned to western models C. Different results of reforms 1. Ottoman empire, Russia, and China unsuccessful; societies on the verge of collapse 2. Reform in Japan was more thorough; Japan emerged as an industrial power II. The Ottoman empire in decline A. The nature of decline 1. Military decline since the late seventeenth century a. Ottoman forces behind European armies in strategy, tactics, weaponry, training b. Janissary corps politically corrupt, undisciplined c. Provincial governors gained power, private armies 2. Extensive territorial losses in nineteenth century a. Lost Caucasus and central Asia to Russia; western frontiers to Austria; Balkan provinces to Greece and Serbia b. Egypt gained autonomy after Napoleon's failed campaign in 1798 (a) Egyptian general Muhammad Ali built a powerful, modern army (b) Ali's army threatened Ottomans, made Egypt an autonomous province 3. Economic difficulties began in seventeenth century a. Less trade through empire as Europeans shifted to the Atlantic Ocean basin b. Exported raw materials, imported European manufactured goods c. Heavily depended on foreign loans, half of the revenues paid to loan interest d. Foreigners began to administer the debts of the Ottoman state by 1882 4. The "capitulations": European domination of Ottoman economy a. Extraterritoriality: Europeans exempt from Ottoman law within the empire b.
    [Show full text]
  • 8 Days Beijing / Chengde Tour Day 1: Singapore – Beijing
    HEARTLINK HOLIDAYS PTE LTD 32 Seletar Terrace, Singapore 806933, Tel: 65-68755563, Fax: 65-68812302 www.heartlinkholidays.com Registration No: 201100061N TA02039 8 Days Beijing / Chengde Tour Day 1: Singapore – Beijing. Assemble at Changi Airport for your flight to Beijing. Upon arrival, meet the local representative and transfer to hotel for check-in. After that, free at your leisure time. Day 2: Beijing (B/L) Visit the Tiananmen Square- the largest square in the world. Where you can visit Tiananmen Tower, Monument to the People's Heroes, and Great Hall of the People, Mao Zedong Memorial Hall and see the national flag raising ceremony. Thousands of people come to the Square every day. It is the must place to visit in Beijing City. Then proceed to the Forbidden City, residence of the Emperors of Ming and Qing Dynasties. There are 6 main places and many small buildings, containing over 9000 rooms. After lunch process to Temple of Heaven, a place of prayer for Ming, Qing Emperors and a masterpiece of 15th century architecture. The Temple of Heaven is the most holy of Beijing's Imperial temples. For this is where the Emperor came every winter solstice to worship heaven and to solemnly pray for a good harvest. Since his rule was legitimised by a mandate from heaven, a bad harvest could be interpreted as his fall from heaven's favour and threaten the stability of his reign. So, it was not without a measure of self-interest that the Emperor fervently prayed for a very good crop. Day 3: Beijing (B/L) Morning highlight is the Great Wall - Mutianyu.
    [Show full text]
  • Gates Chili School District on Dec. 8Th, CIAU Faculty Juan
    NOVEMBER-DECEMBER 2016 Gates Chili School District On Dec. 13th, Rita Xu started a On Dec. 8th, CIAU faculty Juan weekly Chinese culture class with (Rita) Xu started a Mandarin Club at the third grade students at Paul Road the Florence Brasser Elementary Elementary School. The students School. The club meets every are very curious about historical Thursday after school, and nineteen sites in China, such as the Great third grade students have joined. Wall, the Terra Cotta Army in the They learned Chinese culture and tomb of the first emperor of the Qin did some crafts such as paper dynasty, the Forbidden City, the cutting. They showed strong interest Summer Palace, and the Temple of in this club. One said, “I wish every Heaven. They have learned some of day was Thursday!” and another the geography of China, such as the replied, “Me, too!” highest mountain, the longest river, and the biggest city. Students showing their paper-cutting work Instructor Xu teaching class In November and December, Rita Development Program. They found Xu continued teaching 6th, 7th, and the training to be very beneficial. 8th grade students at Gates Chili On the 15th of November, the Middle school, and 3rd grade Chinese director of the Confucius students at Walt Disney and Institute of Alfred University Florence Brasser Elementary (CIAU), Dr. Jijun (Andy) Yu, came Schools greetings, country names, to Geneva to observe the Mandarin numbers, family, body parts, etc. classes and gave the Mandarin The children learned the Chinese teachers great support. The Chinese gestures of 1 to 10 and learned how teachers also exchanged ideas and to count from 1 to 99, tried using suggestions about their work.
    [Show full text]
  • Making the Palace Machine Work Palace Machine the Making
    11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise).
    [Show full text]