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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. -
Karbury's Auction House
Karbury's Auction House Antiques Estates & Collection Sale Saturday - September 8, 2018 Antiques Estates & Collection Sale 307: A Chinese Gilt Bronze Buddhist Figure USD 300 - 500 308: A Set of Four Bronze Cups USD 200 - 300 309: A Song Style Jizhou Tortoiseshell-Glazed Tea Bowl USD 1,000 - 2,000 310: A Bronze Snake Sculpture USD 100 - 200 311: A Wood Pillow with Bone Inlaid USD 100 - 200 312: A Carved Ink Stone USD 200 - 300 313: A Stone Carved Head of Buddha USD 100 - 200 314: A Doucai Chicken Cup with Yongzheng Mark USD 500 - 700 Bid Live Online at LiveAuctioneers.com Page 1 Antiques Estates & Collection Sale 315: A Jian Ware Tea Bowl in Silver Hare Fur Streak USD 800 - 1,500 316: A Celadon Glazed Double Gourd Vase USD 400 - 600 317: Three Porcelain Dog Figurines USD 200 - 400 318: A Jun ware flower Pot USD 1,500 - 2,000 319: A Pair of Famille Rose Jars with Cover USD 800 - 1,200 320: A Blanc-De-Chine Figure of Seated Guanyin USD 1,500 - 2,000 321: A Pair of Vintage Porcelain Lamps USD 200 - 300 322: A Chicken Head Spout Ewer USD 800 - 1,200 Bid Live Online at LiveAuctioneers.com Page 2 Antiques Estates & Collection Sale 323: Two sancai figures and a ceramic cat-motif pillow USD 200 - 300 324: A Teadust Glazed Vase with Qianlong Mark USD 500 - 800 325: A Rosewood Tabletop Curio Display Stand USD 300 - 500 326: A Blue and White Celadon Glazed Vase USD 300 - 500 327: A Wucai Dragon Jar with Cover USD 300 - 500 328: A Green and Aubergine-Enameled Yellow-Ground Vase USD 200 - 300 329: A Celadon Square Sectioned Dragon Vase USD 200 - 300 -
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. -
China in 50 Dishes
C H I N A I N 5 0 D I S H E S CHINA IN 50 DISHES Brought to you by CHINA IN 50 DISHES A 5,000 year-old food culture To declare a love of ‘Chinese food’ is a bit like remarking Chinese food Imported spices are generously used in the western areas you enjoy European cuisine. What does the latter mean? It experts have of Xinjiang and Gansu that sit on China’s ancient trade encompasses the pickle and rye diet of Scandinavia, the identified four routes with Europe, while yak fat and iron-rich offal are sauce-driven indulgences of French cuisine, the pastas of main schools of favoured by the nomadic farmers facing harsh climes on Italy, the pork heavy dishes of Bavaria as well as Irish stew Chinese cooking the Tibetan plains. and Spanish paella. Chinese cuisine is every bit as diverse termed the Four For a more handy simplification, Chinese food experts as the list above. “Great” Cuisines have identified four main schools of Chinese cooking of China – China, with its 1.4 billion people, has a topography as termed the Four “Great” Cuisines of China. They are Shandong, varied as the entire European continent and a comparable delineated by geographical location and comprise Sichuan, Jiangsu geographical scale. Its provinces and other administrative and Cantonese Shandong cuisine or lu cai , to represent northern cooking areas (together totalling more than 30) rival the European styles; Sichuan cuisine or chuan cai for the western Union’s membership in numerical terms. regions; Huaiyang cuisine to represent China’s eastern China’s current ‘continental’ scale was slowly pieced coast; and Cantonese cuisine or yue cai to represent the together through more than 5,000 years of feudal culinary traditions of the south. -
A Required Taste
Tea Classics A Required Taste Tea Culture Among 16th Century Literary Circles as Seen Through the Paintings of Wen Zhengming 一 個 茶人: Michelle Huang 必 修 Some of the authors we are translating in this issue are very 品 well known to Chinese scholars and laymen alike. And even 味 if these specific authors weren’t known to a Chinese reader, 文 they at least would have studied enough Chinese history to contextualize these works in the Ming Dynasty: its culture, 徵 art and politics. Also, we only got to read parts of Wen’s 明 “Superfluous Things,” those having to do with tea, so this -ar 的 ticle on his life and times by our local Chinese art historian, Michelle, who has contributed to many past issues of Global 畫 Tea Hut, can help us all to construct a bit of Ming China in our imaginations and thereby enrich our reading of the texts. en Zhengming 文徵明 tivity for literary figures since the dawn most other gentlemen to work on his W (1470–1559) was a of civilization, the booming economy art and tea-related research. He wrote a famous artist in the late and the increasing availability of pub- systematic commentary on an existing Ming Dynasty in Suzhou, which was lic transportation since the 15th centu- work, the Record of Tea by Cai Xiang a hot spot for literary figures. He came ry in China made it easier for people (1012–1067),3 which was titled Com- from a family of generations of officials to travel longer distances. -
Cup of Solid Gold) Words By: Yan Fu Music By: Bo Tong in Use: 1911-1912 China's First Official Anthem Was Used in the Last Months of the Qing Dynasty
CHINA-NATIONALANTHEMS – 1911-1912 – INFO Die offiziellen Links von „nationalanthems“ (.htm und .mid) funktionieren leider nicht hier auf dem PDF – 18. MÄRZ 2012 Ruth Kissling de Bâle-Suisse Malerin – Anthems of China 鞏金甌 " " "Gong Jin'ou" (Cup of Solid Gold) Words by: Yan Fu Music by: Bo Tong In use: 1911-1912 China's first official anthem was used in the last months of the Qing dynasty. The anthem was by Bo Tong, a high-ranking officer of the Imperial Guard and Yan Fu, commander of the Qing Navy. Guo Cengxin, Master of Ceremonies, made some minor adjustments and arranged the music. The anthem was officially adopted on October 4, 1911, but was used for centuries beforehand in official Qing dyansty functions, going back to when Emperor Kang Xi was crowned in 1675. It's official use as China's royal anthem was shortlived, as the Wuchang Uprising, meant to end China's imperial era, started six days after the anthem was officially adopted. The Republic of China was created on January 1, 1912 and the emporer abdicated on February 12. As such, the anthem did not gain much notoriety in China. The primary purpose of the anthem was to advocate the Qing Dynasty and create a sense of well-being among the Chinese. This song was banned in Communist China, but the ban is now lifted (probably after 1978). "Gong Jin'ou" was made the anthem again in 1917 for 12 days when a former Qing general started a coup and reinstated Qing Dynasty. Since this was used as a praise to the emporer, this is also a royal anthem. -
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). -
2008 UPRISING in TIBET: CHRONOLOGY and ANALYSIS © 2008, Department of Information and International Relations, CTA First Edition, 1000 Copies ISBN: 978-93-80091-15-0
2008 UPRISING IN TIBET CHRONOLOGY AND ANALYSIS CONTENTS (Full contents here) Foreword List of Abbreviations 2008 Tibet Uprising: A Chronology 2008 Tibet Uprising: An Analysis Introduction Facts and Figures State Response to the Protests Reaction of the International Community Reaction of the Chinese People Causes Behind 2008 Tibet Uprising: Flawed Tibet Policies? Political and Cultural Protests in Tibet: 1950-1996 Conclusion Appendices Maps Glossary of Counties in Tibet 2008 UPRISING IN TIBET CHRONOLOGY AND ANALYSIS UN, EU & Human Rights Desk Department of Information and International Relations Central Tibetan Administration Dharamsala - 176215, HP, INDIA 2010 2008 UPRISING IN TIBET: CHRONOLOGY AND ANALYSIS © 2008, Department of Information and International Relations, CTA First Edition, 1000 copies ISBN: 978-93-80091-15-0 Acknowledgements: Norzin Dolma Editorial Consultants Jane Perkins (Chronology section) JoAnn Dionne (Analysis section) Other Contributions (Chronology section) Gabrielle Lafitte, Rebecca Nowark, Kunsang Dorje, Tsomo, Dhela, Pela, Freeman, Josh, Jean Cover photo courtesy Agence France-Presse (AFP) Published by: UN, EU & Human Rights Desk Department of Information and International Relations (DIIR) Central Tibetan Administration (CTA) Gangchen Kyishong Dharamsala - 176215, HP, INDIA Phone: +91-1892-222457,222510 Fax: +91-1892-224957 Email: [email protected] Website: www.tibet.net; www.tibet.com Printed at: Narthang Press DIIR, CTA Gangchen Kyishong Dharamsala - 176215, HP, INDIA ... for those who lost their lives, for -
Empty Cloud, the Autobiography of the Chinese Zen Master Xu
EMPTY CLOUD The Autobiography of the Chinese Zen Master XU YUN TRANSLATED BY CHARLES LUK Revised and Edited by Richard Hunn The Timeless Mind . Undated picture of Xu-yun. Empty Cloud 2 CONTENTS Contents .......................................................................................... 3 Acknowledgements ......................................................................... 4 Introduction .................................................................................... 5 CHAPTER ONE: Early Years ............................................................ 20 CHAPTER TWO: Pilgrimage to Mount Wu-Tai .............................. 35 CHAPTER THREE: The Journey West ............................................. 51 CHAPTER FOUR: Enlightenment and Atonement ......................... 63 CHAPTER FIVE: Interrupted Seclusion .......................................... 75 CHAPTER SIX: Taking the Tripitaka to Ji Zu Shan .......................... 94 CHAPTER SEVEN: Family News ................................................... 113 CHAPTER EIGHT: The Peacemaker .............................................. 122 CHAPTER NINE: The Jade Buddha ............................................... 130 CHAPTER TEN: Abbot At Yun-Xi and Gu-Shan............................. 146 CHAPTER ELEVEN: Nan-Hua Monastery ..................................... 161 CHAPTER TWELVE: Yun-Men Monastery .................................... 180 CHAPTER THIRTEEN: Two Discourses ......................................... 197 CHAPTER FOURTEEN: At the Yo Fo & Zhen Ru Monasteries -
Qi Baishi: a Master of Many Arts
QI BAISHI: A MASTER OF MANY ARTS Qi Baishi was equally renowned for his achievements in seal carving as for his contributions to modernizing traditional literati painting; he was also a master calligrapher and poet. He was born to a poor farming family in Xiangtan, Hunan Province, and learned Chinese characters from his grandfather, who used a stick to trace them in the dirt. Physically unsuited to farming tasks, he was apprenticed to a woodcarver, but at nineteen he came across a book that would change his life: the Mustard Seed Garden Manual, a classic early Qing dynasty (1644–1911) treatise illustrating traditional techniques of literati painting. Qi taught himself to paint from it, refining his skills and studying the arts of seal cutting, poetry, and calligraphy with the many teachers he met as an itinerant woodcarver. His life spanned a period of great upheaval and reform in Chinese culture, but his unique style and politically neutral subjects allowed him to remain in favor through different regimes and cultural shifts. At the end of his life, he was lauded as the “People’s Artist,” elected honorary Chairman of the National Association of Fine Arts, and given the International Peace Award by the World Peace Council. With the resurgence of interest in ink painting in contemporary China, Qi Baishi, sometimes referred to as “China’s Picasso,” is celebrated as one of the leading artists of the twentieth century and his paintings are highly sought after by collectors and museums. Qi Baishi China, 1864–1957 Crabs circa 1930 Album leaf, ink on paper Gift of Katsuizumi Sotokichi, University of Michigan Museum of Art, 1949/1.199 inscribed: To Mr. -
The Legacy of Tiananmen: 20 Years of Oppression, Activism and Hope Chrd
THE LEGACY OF TIANANMEN: 20 YEARS OF OPPRESSION, ACTIVISM AND HOPE CHRD Chinese Human Rights Defenders (CHRD) Web: Hhttp://crd-net.org/H Email: [email protected] THE LEGACY OF TIANANMEN: 20 YEARS OF OPPRESSION, ACTIVISM AND HOPE Chinese Human Rights Defenders June 1, 2009 Twenty years since the Tiananmen massacre, the Chinese government refuses to accept responsibility, much less apologize or offer compensation, for killing, injuring, imprisoning and persecuting individuals for participating in peaceful protests. The number of the victims, and their names and identities, remain unknown. Families continue to be barred from publicly commemorating and seeking accountability for the death of their loved ones. Activists are persecuted and harassed for independently investigating the crackdown or for calling for a rectification of the government’s verdict on the pro‐democracy movement. Many individuals continue to suffer the consequences of participating in the pro‐democracy movement today. At least eight individuals remain imprisoned in Beijing following unfair trials in which they were convicted of committing “violent crimes”. Those who were released after long sentences have had difficulty re‐integrating into society as they suffer from continued police harassment as well as illnesses and injuries resulting from torture, beatings and mistreatment while in prison. Many of those injured have had to pay for their own medical expenses and continue to struggle as the physical and psychological scars leave them unable to take care of themselves or to work. Some who took part in the protests still find it difficult to make ends meet after they were dismissed from comfortable jobs or expelled from universities after 1989. -
Final Program of CCC2020
第三十九届中国控制会议 The 39th Chinese Control Conference 程序册 Final Program 主办单位 中国自动化学会控制理论专业委员会 中国自动化学会 中国系统工程学会 承办单位 东北大学 CCC2020 Sponsoring Organizations Technical Committee on Control Theory, Chinese Association of Automation Chinese Association of Automation Systems Engineering Society of China Northeastern University, China 2020 年 7 月 27-29 日,中国·沈阳 July 27-29, 2020, Shenyang, China Proceedings of CCC2020 IEEE Catalog Number: CFP2040A -USB ISBN: 978-988-15639-9-6 CCC2020 Copyright and Reprint Permission: This material is permitted for personal use. For any other copying, reprint, republication or redistribution permission, please contact TCCT Secretariat, No. 55 Zhongguancun East Road, Beijing 100190, P. R. China. All rights reserved. Copyright@2020 by TCCT. 目录 (Contents) 目录 (Contents) ................................................................................................................................................... i 欢迎辞 (Welcome Address) ................................................................................................................................1 组织机构 (Conference Committees) ...................................................................................................................4 重要信息 (Important Information) ....................................................................................................................11 口头报告与张贴报告要求 (Instruction for Oral and Poster Presentations) .....................................................12 大会报告 (Plenary Lectures).............................................................................................................................14