Shang Yang 1942 Born in Hubei Province
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The Case for 1950S China-India History
Before 1962: The Case for 1950s China-India History The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ghosh, Arunabh. 2017. Before 1962: The Case for 1950s China-India History. The Journal of Asian Studies 76, no. 3: 697-727. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41288160 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP DRAFT: DO NOT CITE OR CIRCULATE Before 1962: The Case for 1950s China-India History Arunabh Ghosh ABSTRACT China-India history of the 1950s remains mired in concerns related to border demarcations and a teleological focus on the causes, course, and consequence of the war of 1962. The result is an overt emphasis on diplomatic and international history of a rather narrow form. In critiquing this narrowness, this paper offers an alternate chronology accompanied by two substantive case studies. Taken together, they demonstrate that an approach that takes seriously cultural, scientific and economic life leads to different sources and different historical arguments from an approach focused on political (and especially high political) life. Such a shift in emphasis, away from conflict, and onto moments of contact, comparison, cooperation, and competition, can contribute fresh perspectives not just on the histories of China and India, but also on histories of the Global South. Arunabh Ghosh ([email protected]) is Assistant Professor of Modern Chinese History in the Department of History at Harvard University Vikram Seth first learned about the death of “Lita” in the Chinese city of Turfan on a sultry July day in 1981. -
Why China Cannot Adopt Capitalism
A CHINESE WEEKLY OF NEWS AND VIEWS Why China Cannot Adopt Capitalism Peace and Disarmament m Construction Site. Photo by Sun Chengyi Beijing HIGHLIGHTS OF THE WEEK VOL. 30, NO. 13 MARCH 30, 1987 CONTENTS NOTES FROM THE EDITORS 4 Macao to Return to China EVENT5AREN0S 5-9 'Sunday Engineers' Help Farmers p. 24 p. 20 Prosper Managers Receive In-Service Training Skvserapcrs Pose Problems lo Deng on the Recent Events Boning Self-Scrvice Stores: Can They • This article from the enlarged edition of Deng's Selected Survive? Works, deals with two major events — student unrest and the Energy Building in ihc Rural replacement of the Party General Secretary. In spite of these Areas events, there will be no change in the Party's line, principles and Weekly Chronicle (March 16-22) policies, says Deng (p. 33). INTERNATIONAL 10-13 Macao's Return Is Finalized Debt Problem: Mutual Compro-, • After eight months of negotiations, China and Portugal mise: the Only Way Out finally reached an agreement on the question of Macao, (Moup of 77: r.con(>niic Strategy another step towards the reunification of China (p. 4). In ihc Making Albania: Focus on Fconomic Developtnent China Spells Out Its Stand on Disarmament The United States: Weinberger s lli-Fated Visit • At a Beijing World Disarmament Campaign meeting sponsored by the UN, Chinese Vice-Foreign Minister Qian Qichen expounded China's nuclear policy and expressed the Worlfl Peace and Disarmament 14 government's concern about the spread of the arms race into NPC: Its Position and Roie 17 outer space. He also pointed out the relationship between The Election Process In Ttanjin 22 nuclear and conventional disarmament and urged the Why Capttafism is Impractical in superpowers to take the lead in all types of disarmament (p. -
Arts & Culture
ARTS & CULTURE ART P42 ART P48 IN PRINT P52 CINEMA P56 STAGE that’smags www.thebeijinger.com Novemberwww. 200 thatsbj.com8 / the Beijinger Sept. 200541 Hovering Child by American artist Fran Forman. See Preview, p46; photo courtesy of Common Ground All event listings are accurate at time of press and subject to change For venue details, see directories, p43 Send events to [email protected] by Nov 10 Nov 8-30 its over 150 art pieces of contem- porary art around the world from Wang Jie the 1960s to the present day. The By eliminating human figures in curatorial approach of the show is rt his paintings, Wang Jie’s emphasis basically chronological, showing is on clothes – our “second skin.” the historical development of the New Age Gallery (5978 9282) world of contemporary art that A Nov 8-Dec 21 parallels the trajectory of the Swiss Chinese Contemporary Art Awards bank’s tastes throughout the dec- ades. Expect big names including ART 2008 Founded in 1997 by Uli Siggs, CCAA Damien Hirst, Andy Warhol, Lucien has awarded Liu Wei this year as Freud, Jasper Johns, as well as its pick for “Best Artist” and Tseng emerging Chinese artists including Yu-chin as “Best Young Artist” (see Cao Fei, Qiu Anxiong and Xu Zhen. Feature, p44). Ai Weiwei has also National Art Museum of China been given a lifetime achievement (6401 2252/7076) award. The works of these three Until Nov 12 artists will be exhibited at the larg- Coats! est art space in 798. Ullens Center Until Jan 10: Edward Burtynsky’s China Beijing is the third stop – after for Contemporary Art (6438 6576) Berlin and Tokyo – for this exhibi- A fresh take on manufacturing art. -
TENG%Yuning's
TENG%Yuning’s%Resume Personal)Information E"mail:([email protected] Mobile:(86"13810000598 Address(O):52(Yannan(Yuan,(Peking(University,(Beijing,(100871,(China. Tel(O):86"10"62767071 Education "( PhD(Candidate(in(Art(History(at(the(University(of(Hamburg,(Germany.(2017"( "( Master(of(Studies(in(Fine(Arts,(School(of(Arts,(Peking(University,(2005"2008() "( Bachelor( of( Arts( in( Film( and( TV( Program( Editing( and( Directing,( School( of( Arts,( Peking( University,( 2001"2005() Work)Experience ) Deputy)Director,)Centre(for(Visual(Studies(of(Peking(University,(2009"Now. Teng% works% at% Center%for%Visual%Studies%Peking%University%(CVS)% which% is% a% national% base% for% the% research% of% traditional%Chinese%art,%Chinese%contemporary%art%and%world%art%history.% As%the%deputy%director% there,%Teng ’s% main%academic%responsibility%is%managing%the%Chinese%Modern%Art%Archive%(CMAA),%which%collects%and%archives% Chinese%Contemporary%Art%dating%back%to%1986,%establishes%onIline% database,% hosts% academic% study% projects,% professional%exhibitions,%international%forums%and%seminars,%etc.% ( Executive)Editor;in;Chief,)Annual&of&Contemporary&Art&of&China,(2008"Now.(Before(that,(work)as( editor((11/2005"09/2006)(and(Director(of(Editing(Affairs,(09/2006"2008.( ( Vice)Secretary;General,(Wu(Zuoren(International(Foundation(of(Fine(Arts(WIFA),(2013"Now.( Major)Member)of)CIHA;China)Secretariat,)2012"Now,)and)Junior)Chair)of)the)Session)11,) “Landscape)and)spectacle”)of)CIHA2016,)2016.)) ) AICA)Member,)Member(of(the(International(Association(of(Art(Critics((AICA),(2018"Now) -
“China” on Display for European Audiences? the Making of an Early Travelling Exhibition of Contemporary Chinese Art–China Avantgarde (Berlin/1993)
66 “China” on Display for European Audiences? “China” on Display for European Audiences? The Making of an Early Travelling Exhibition of Contemporary Chinese Art–China Avantgarde (Berlin/1993) Franziska Koch, Ruprecht-Karls-Universität Heidelberg Contemporary Chinese Art–Phenomenon and Discursive Category Mediated by Exhibitions Exhibitions have always been at the heart of the modern art world and its latest developments. They are contested sites where the joint forces of art objects, their social agents, and institutional spaces intersect temporarily and provide a visual arrangement for specific audiences, whose interpretations themselves feed back into the discourse on art. Viewed from this perspective, contemporary Chinese art–as a phenomenon and as a discursive category that refer to specific dimensions of artistic production in post-1979 China– was mediated through various exhibitions that took place in the People’s Republic of China (hereafter, People’s Republic). In 1989, art from the People’s Republic also began to appear in European and North American exhibitions significantly expanding Western knowledge of this artistic production. Since then, national and international exhibitions have multiplied, while simultaneously becoming increasingly entangled: the sheer number of artworks that circulate between Chinese urban art scenes and Western art metropolises has risen steeply, as have the often overlapping circles of contemporary artists, art critics, art historians, gallery owners, and collectors who successfully engage across both sides of the field. To a certain degree these agents govern exhibition-making and act as important mediators or “cultural brokers”1 globalizing the discursive category of contemporary 1 For a recent study that explores the notion of the “cultural broker” from a transcultural perspective see Rudolf G. -
How Oils Cross Oceans
ADVERTISING SUPPLEMENT BEIJING SPECIAL CHINAWATCH C H INA D AIL Y How oils cross oceans Master and mentor Editor’s note: Beijing, host city of the Olympic Games in 2008, is launching a week-long culture event, from July 24 to 31, in London, to celebrate the United Kingdom’s Olympic Games. By ZHU LINYONG More than 300 artists from China will present a variety of performing arts, such as Peking Opera, acrobatics, Western classical music, an oil painting exhibition and craftworks. In addition, there will be forums on culture development and heritage preservation. Reporters from China Daily interviewed the artists and culture officials behind the project. The art of oil painting was introduced by missionaries to the Chinese court during Emperor Qianlong’s era in the middle He has taught generations of of the 18th century. The most famous was the Jesuit priest Giuseppe Castiglione (1688-1766), known by his Chinese name young Chinese oil painters, of Lang Shining. However, the art was not widely accepted until well into the and his works are much 20th century when young Chinese started going abroad to study. Within the space of just 50 years, it had become the appreciated in China. Now, most prestigious among contemporary art forms, a status it enjoys to this day. an international audience in Oil painting became popular in the 1920s when an elite group of Chinese artists, educated in London will be able to see Europe, Japan and the United States, returned to China at about why Jin Shangyi has such a the same time. -
QIU DESHU Selected Solo Exhibitions
QIU DESHU (b. 1948) 1948 Born in Shanghai, China 1979 Founded the Grass Painting Society (Cao Cao She), a group of twelve artists dedicated to the promotion of artistic originality 1985–86 Invited to be artist-in-residence at Tufts University, Medford, USA Present Lives and works in Shanghai, China Selected Solo Exhibitions 2017 Qiu Deshu, Pearl Lam Galleries, Shanghai, China 2015 Art of Fissuring, Pearl Lam Galleries, Singapore Night and Day: The Art of Qiu Deshu—1979 and After, Pearl Lam Galleries, Hong Kong, China Qiu Deshu, NanHai Art, Millbrae, USA Liebian/Fissure: The Art of Qiu Deshu, NanHai Art, Singapore 2013 The Fissuring World of Qiu Deshu, Pudong Airport Terminal 2, Shanghai, China 2012 Qiu Deshu, Ink Painting from 1980 to 2012, Michael Goedhuis Gallery, London, UK B-Cities: Solo Exhibition of Chinese New Painting by Qiu Deshu and Lin Jiabing, Tian Ren He Yi Art Center, Hangzhou, China 2011 New Works by Fissuring, Shanghai Grand Theater Gallery, Shanghai, China 2010 Fissuring—Buildings & Courtyard, Latest works from Qiu Deshu, Wu Chang Shuo Museum, Shanghai, China 2008 Fissuring—Qiu Deshu Contemporary Water-Ink Exhibition, Shanghai Art Museum, Shanghai, China Crack of Dawn—Qiu Deshu Exhibition, Zee Stone Gallery, Hong Kong, China Fissuring—Qiu Deshu, SMYH Gallery, Beijing, China 2007 Fissuring—Landscape, New Works from Qiu Deshu, Leda Fletcher Gallery, Geneva, Switzerland; Shanghai, China Qiu Deshu—Ten Years after the Grass Painting Society, Shanghai Duolun Contemporary Art Museum, Shanghai, China 2006 Chinese Contemporary -
Zhang Fangbai ______
ZHANG FANGBAI ____________________ 1991 Bachelor of Fine Arts of the No.4 Studio, Department of Oil Printing, China Central Academy of Fine Arts 1991—1995 Teaching in Hengyang Normal University 1995—2001 Teaching in Oil Department of Tianjin Academic of Fine Arts 2000—present Living in Beijing and teaching in the Department of Artistic and Design, Beijing Youth Politics College Solo Exhibitions 2015 “Square white ink”, Astor art, The Swedish Double 2014 “Square white and charlotte library silks”, H gallery, Munich, Germany 2014 “Square white 19 edition of exhibition Library silks”, Gallery Beijing, China 2014 “Square white solo Library silks”, H Gallery Stuttgart, Stuttgart, Germany 2014 “Square white solo exhibition”, Gallery Philine Cremer, Dusseldorf, Germany 2013 “Standpoint” - Zhang Fangbai’s Work Exhibition, Meilun Art Gallery, Changsha, China 2013 Zhang Fangbai Oil Painting Exhibition, Galerie Philine Cremer, Dusseldorf, Germany 2011 “Standing Alone” - Zhang Fangbai’s Solo Exhibition, Asia Art Center, Beijing, China 2010 Zhang Fangbai Ink Painting and Printmaking Exhibition, East West Gallery, Beijing, China 2008 Zhang Fangbai Art Exhibition, J. Bastien Art Gallery, Brussels, Belgium 2007 “China – The World of Zhang Fangbai”, Sara Hildén Art Museum, Tampere, Finland 2005 “Image of the Eagle” – Zhang Fangbai Oil Painting Exhibition, Gallery Astley, Uttersberg, Sweden 2004 “Horizon” – Zhang Fangbai’s Oil Painting Exhibition, Pickled Art Center, Beijing, China 1991 Zhang Fangbai Oil Painting Exhibition, CAFA Art Museum, Beijing, China -
Duke University Dissertation Template
Recoding Capital: Socialist Realism and Maoist Images (1949-1976) by Young Ji Victoria Lee Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Stanley Abe, Co-Supervisor ___________________________ Kristine Stiles, Co-Supervisor ___________________________ Fredric Jameson ___________________________ Gennifer Weisenfeld Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2014 i v ABSTRACT Recoding Capital: Socialist Realism and Maoist Images (1949-1976) by Young Ji Victoria Lee Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Stanley Abe, Co-Supervisor ___________________________ Kristine Stiles, Co-Supervisor ___________________________ Fredric Jameson ___________________________ Gennifer Weisenfeld An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2014 Copyright by Young Ji Victoria Lee 2014 ABSTRACT This dissertation examines the visual production of capital in socialist realist images during the Maoist era (1949-1976). By deconstructing the pseudo-opposition between capitalism and socialism, my research demonstrates that, although the country was subject to the unchallenged rules of capital and its accumulation in both domestic and international spheres, Maoist visual culture was intended to veil China’s state capitalism and construct its socialist persona. This historical analysis illustrates the ways in which the Maoist regime recoded and resolved the versatile contradictions of capital in an imaginary socialist utopia. Under these conditions, a wide spectrum of Maoist images played a key role in shaping the public perception of socialism as a reality in everyday lives. -
Liebian/Fissure: the Art of Qiu Deshu 裂變:仇德樹的藝術 Contents
Liebian/Fissure: The Art of Qiu Deshu 裂變:仇德樹的藝術 Contents Director’s Preface 5 Liebian/Fissure: The Art of Qiu Deshu 7 Kuiyi Shen Statement 13 Qiu Deshu Plates 15 Biography 40 3 Director’s Preface Viewing Qiu Deshu’s work is a visual pleasure. In those seemly quiet images, there is stunning power, like the lightning ripping through the sky. Or vice- versa, beneath the vibrant colors, lies the heavenly serenity. Qiu is greatly influenced by Buddhism – he signs his work elegantly with his Dharma name Yun Yi (cloud, unity). It may first surprise us that Qiu regarded the heroic spirit of the gladiator Spartacus as the other spiritual influence, but this helps to explain the beautiful co-existence of the quite strength in his work. But it doesn’t just stop there. One of the few Chinese artists that were introduced to the West in the early 1980s and since then remains influential, Qiu Deshu, over the years, has been steadfastly pursuing his own ideal and freedom, keeping himself independent of the Chinese art world, whether mainstream or avant-garde. He has explored and developed a convincing system of philosophical thinking and a new art language, uniquely to his own. Therefore it is with great pleasure that we present a solo show of Qiu Deshu and celebrate his art on the occasion of the inaugural Asia Week San Francisco Bay Area. I am most grateful to Prof. Kuiyi Shen for his comprehensive and thoughtful introduction of the evolution of Qiu Deshu’s art. His expertise and support has been invaluable to us. -
Rare Overseas Collections Highlight Forever Autumn Auctions
31 October 2007 For Immediate Release Press Contact: Paul Dong (Forever) +86.10.6591.9009 [email protected] Victoria Cheung (Christie’s) +852.2978.9919 [email protected] RARE OVERSEAS COLLECTIONS HIGHLIGHT FOREVER AUTUMN AUCTIONS Beijing –Over 500 fine Chinese paintings and calligraphy sourced from overseas will highlight the autumn sales held by Forever International Auction Company Limited (Forever) on 9 November. As in its previous and first three auctions, Forever will use the trademark of Christie’s during the two sales of Chinese 19th Century Paintings and Calligraphy and Chinese 20th Century Paintings and Calligraphy at Sofitel Wanda Beijing. Featuring a total of 632 lots, these auctions are estimated to be worth RMB¥72,000,000- 93,000,000/US$9,600,000-12,500,000. A public exhibition of all works offered in these two exciting sales will be held at the Sofitel on November 7 and 8. In addition, a selection of 70 top works will be exhibited at Four Seasons Hotel Shanghai on November 3 and 4. Forever was established in the People’s Republic of China in 2005. Christie’s, in recognition of Forever’s vision and mission, has agreed to license its name to Forever for its auction events. The inaugural Christie’s/Forever branded auction of Chinese paintings and calligraphy was held in Beijing in November 2005, achieving a total sale price of RMB¥97 million/US$12 million. Two successful auctions followed in October 2006 and May 2007. Most of the 185 lots in the morning sale of Chinese 19th Century Paintings & Calligraphy were recently sourced from overseas after being kept in private collections in Japan for nearly a century. -
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.