Cambridge University Press 978-1-107-02450-2 — Art and Artists in China Since 1949 Ying Yi , in Collaboration with Xiaobing Tang Index More Information
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Research on the Propagation Effect of the Painters Art in the Tang Dynasty
2019 3rd International Workshop on Arts, Culture, Literature and Language (IWACLL 2019) Research on the propagation effect of the painters art in the Tang Dynasty Jin Xiaoyun Art College of Gansu University of Political Science and Law, Lanzhou 730070, China Keywords: Tang Dynasty; painters art; spread; effect; research Abstract: As the highest peak of feudal society development in Chinese history, the glory of the Tang Dynasty is reflected in all aspects, and painting is part of it. Throughout the painters art in the Tang Dynasty, the magnificent and positive spirits are revealed everywhere. It is one of the most brilliant pearls in the history of Chinese art, and it has written generous colour for the splendor of world culture. The creative environment of the Tang Dynasty painters was relatively free and there were many ways of communication. Therefore, many famous art and works were spread at that time, which had a great impact on the people at that time and in later generations. This paper mainly studies the spread and effect of the painters art in the Tang Dynasty. 1. Introduction The Tang Dynasty has achieved unprecedented development in economic, political, and cultural aspects, and which constituted the prosperous Tang Dynasty that the Chinese nation is proud of. The art of painting also showed an unprecedented prosperity in the Tang Dynasty. The painters art of the Tang Dynasty was supported by the famous masters of the Tang Dynasty. Because of the powerful national power and prosperous economy, the scale and artistic reached the level that the former generation could not match. -
The Chinese Civil War (1927–37 and 1946–49)
13 CIVIL WAR CASE STUDY 2: THE CHINESE CIVIL WAR (1927–37 AND 1946–49) As you read this chapter you need to focus on the following essay questions: • Analyze the causes of the Chinese Civil War. • To what extent was the communist victory in China due to the use of guerrilla warfare? • In what ways was the Chinese Civil War a revolutionary war? For the first half of the 20th century, China faced political chaos. Following a revolution in 1911, which overthrew the Manchu dynasty, the new Republic failed to take hold and China continued to be exploited by foreign powers, lacking any strong central government. The Chinese Civil War was an attempt by two ideologically opposed forces – the nationalists and the communists – to see who would ultimately be able to restore order and regain central control over China. The struggle between these two forces, which officially started in 1927, was interrupted by the outbreak of the Sino-Japanese war in 1937, but started again in 1946 once the war with Japan was over. The results of this war were to have a major effect not just on China itself, but also on the international stage. Mao Zedong, the communist Timeline of events – 1911–27 victor of the Chinese Civil War. 1911 Double Tenth Revolution and establishment of the Chinese Republic 1912 Dr Sun Yixian becomes Provisional President of the Republic. Guomindang (GMD) formed and wins majority in parliament. Sun resigns and Yuan Shikai declared provisional president 1915 Japan’s Twenty-One Demands. Yuan attempts to become Emperor 1916 Yuan dies/warlord era begins 1917 Sun attempts to set up republic in Guangzhou. -
Cataloguing Chinese Art in the Middle and Late Imperial Eras
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras YEN-WEN CHENG University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Asian Art and Architecture Commons, Asian History Commons, and the Cultural History Commons Recommended Citation CHENG, YEN-WEN, "Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras" (2010). Publicly Accessible Penn Dissertations. 98. https://repository.upenn.edu/edissertations/98 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/98 For more information, please contact [email protected]. Tradition and Transformation: Cataloguing Chinese Art in the Middle and Late Imperial Eras Abstract After obtaining sovereignty, a new emperor of China often gathers the imperial collections of previous dynasties and uses them as evidence of the legitimacy of the new regime. Some emperors go further, commissioning the compilation projects of bibliographies of books and catalogues of artistic works in their imperial collections not only as inventories but also for proclaiming their imperial power. The imperial collections of art symbolize political and cultural predominance, present contemporary attitudes toward art and connoisseurship, and reflect emperors’ personal taste for art. The attempt of this research project is to explore the practice of art cataloguing during two of the most important reign periods in imperial China: Emperor Huizong of the Northern Song Dynasty (r. 1101-1125) and Emperor Qianlong of the Qing Dynasty (r. 1736-1795). Through examining the format and content of the selected painting, calligraphy, and bronze catalogues compiled by both emperors, features of each catalogue reveal the development of cataloguing imperial artistic collections. -
An Immersed Boundary-Lattice Boltzmann Simulation of Particle Hydrodynamic Focusing in a Straight Microchannel *
ISSN: 0256-307X 中国物理快报 Chinese Physics Letters Volume 30 Number 7 July 2013 A Series Journal of the Chinese Physical Society Distributed by IOP Publishing Online: http://iopscience.iop.org/0256-307X http://cpl.iphy.ac.cn C HINESE P HYSICAL S OCIET Y Institute of Physics PUBLISHING CHIN. PHYS. LETT. Vol. 30, No. 7 (2013) 074702 An Immersed Boundary-Lattice Boltzmann Simulation of Particle Hydrodynamic Focusing in a Straight Microchannel * SUN Dong-Ke(孙东科)**, JIANG Di(ñ&), XIANG Nan(项楠), CHEN Ke(陈科), NI Zhong-Hua(X¥u)** Jiangsu Key Laboratory for Design and Manufacture of Micro-Nano Biomedical Instruments, School of Mechanical Engineering, Southeast University, Nanjing 211189 (Received 5 March 2013) An immersed boundary (IB)-lattice Boltzmamm method (LBM) coupled model is utilized to study the particle focusing in a straight microchannel. The LBM is used to solve the incompressible fluid flow over a regular Eulerian grid, while the IB method is employed to couple the bead-spring model which represents the fluid- particle interaction. After model validation, the simulations for hydrodynamic focusing of the single and multi particles are performed. The particles can be focused into the equilibrium positions under the pressure gradient and self-rotation induced forces, and the particle radius and Reynolds number are the key parameters influencing the focusing dynamics. This work demonstrates the potential usefulness of the IB-LBM model in studying the particle hydrodynamic focusing. PACS: 47.27.nd, 47.11.−j, 87.85.gf, 04.60.Nc DOI: 10.1088/0256-307X/30/7/074702 -
Powers C.V. November 20 2020
March, 2020 Martin Joseph Powers Professor Emeritus, University of Michigan E-mail: [email protected] Education: Ph.D. 1978 University of Chicago, Department of Art History M.A. 1974 University of Chicago, Department of Art History B.A. 1972 Shimer College, Illinois Professional Employment: University of Michigan, Ann Arbor 1999-2018 Sally Michelson Davidson Professor of Chinese Arts and Cultures, 1988 – 1999 Associate Professor, Department of the History of Art University of California, Los Angeles 1985-1988 Associate Professor, Department of Art History 1978-1985 Assistant Professor, Department of Art History 1977-1978 Visiting Professor, Department of Art History Awards; Appointments: 2020, Jan.—Dec. Honorary Professor, Guangzhou Academy of Fine Arts 10/1/19—6/15/2020 Visiting Professor, University of Chicago 1/1/19-6/15/19 Visiting Professor, University of Chicago 10/1/17-05/16/18 Visiting Professor, University of Chicago 2013 (Spring) The China Academy of Art, the Pan Tianshou Memorial Lectures (4) 2012 (Spring) Tsinghua University, the Wang Guowei Memorial Lectures (8) 2011 Center for Advanced Study in the Visual Arts Mellon Fellow, declined. 2008-2009 Fellow, School of Historical Studies, Princeton Institute for Advanced Study 2008 Joseph Levenson Prize for the best book on pre-1900 China 2006 - 2009 Member, CASVA Board of Advisors 2007 Innaurugal lecture, Shih Hsio-yen Endowed Lecture Series, Hong Kong University 2006 – 2008 (Summer) Visiting Professor, History Department, Tsinghua University 2005 (Summer) Weilun Visiting Professor, History, Tsinghua University 2000 (Summer) Resident Faculty, Summer Institute for World Art Studies, University of East Anglia 1999-2018 Sally Michelson Davidson Professor of Chinese Arts and Cultures 1997 The Sammy Lee Endowed Lecture, U.C.L.A. -
Chinese Bird-And-Flower Wallpaper from Painting to Decorative Arts
CHINESE BIRD-AND-FLOWER WALLPAPER FROM PAINTING TO DECORATIVE ARTS A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Yixin Xu December 2020 © 2020 Yixin Xu ABSTRACT This thesis investigates what remains of the Chinese bird-and-flower wallpaper export in Britain today in an attempt to answer the long-existing question of how these wallpapers, as one of the most successful and unique global products in the 18th century, have changed from a type of oriental painting to a Western interior decoration style. Apart from the summary and literature review, this thesis is divided into six parts. The first part introduces the “Chinoiserie” trend popular in Britain in the 18th century and how bird-and-flower wallpapers entered the UK market, while the second part traces the oriental source of inspiration of the Chinese bird-and-flower wallpaper export, known as Chinese bird-and-flower painting. The third part investigates how the emerging assembly line painting workshop in Canton, China, where most export wallpapers were produced, promoted the birth of this unprecedented global commodity, and the fourth part analyzes the impact of the enthusiasm for oriental plants in Britain on the market demand for Chinese bird-and-flower wallpapers and discusses the relationship between bird-and-flower wallpapers and the export of botanical paintings. The fifth part examines how Chinese painters created large decorative art based on traditional art under the influence of Western customers from the perspective of artistic style, proving that both Chinese producers and Western consumers contributed to the birth of bird-and- flower wallpapers. -
Kuo-Sung Liu Rebel As Creator
The Art of Liu Kuo-sung and His Students RebelRebel asas CreatorCreator Contents Director’s Preface 5 Rebel as Creator: The Artistic Innovations of Liu Kuo-sung 7 Julia F. Andrews and Kuiyi Shen Liu Kuo-sung: A Master Artist and Art Educator 9 Chun-yi Lee Innovation through Challenge: the Creation of My Landscapes 11 Liu Kuo-sung Plates Liu Kuo-sung 19 Chen Yifen 25 Chiang LiHsiang 28 Lien Yu 31 Lin Shaingyuan 34 3 Luo Zhiying 37 Wu Peihua 40 Xu Xiulan 43 Zhang Meixiang 46 Director’s Preface NanHai Art is proud to present the exhibition Rebel as Creator: The Art of Liu Kuo-sung and His Students for the first time in the San Francisco Bay Area. It has taken NanHai and exhibiting artists more than one year to prepare for this exhibition, not to mention the energy and cost involved in international communication and logistics. Why did we spend so much time and effort to present Liu Kuo-sung? It can be traced back to when NanHai underwent the soul-searching process to reconfirm its mission. At that time, the first name that came to my mind was Liu Kuo-sung. As one of the earliest and most important advocates and practitioners of modernist Chinese painting, Liu has perfectly transcended Eastern and Western, tradition and modernity, established a new tradition of Chinese ink painting and successfully brought it to the center of the international art scene. Liu’s groundbreaking body of work best echoes NanHai’s commitment to present artworks that reflect the unique aesthetics of Chinese art while transcending cultural and artistic boundaries with a contemporary sensibility. -
UNIVERSITY of CALIFORNIA Los Angeles the Qin
UNIVERSITY OF CALIFORNIA Los Angeles The Qin and Literati Culture in Song China A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Asian Languages and Cultures by Meimei Zhang 2019 © Copyright by Meimei Zhang 2019 ABSTRACT OF THE DISSERTATION The Qin and Literati Culture in Song China by Meimei Zhang Doctor of Philosophy in Asian Languages and Cultures University of California, Los Angeles, 2019 Professor David C Schaberg, Chair My dissertation examines the distinctive role that the qin played in Chinese literati culture in the Song dynasty (960-1279) through its representations in literary texts. As one of the earliest stringed musical instruments in China, the qin has occupied a unique status in Chinese cultural history. It has been played since ancient times, and has traditionally been favored by Chinese scholars and literati as an instrument of great subtlety and refinement. This dissertation focuses on the period of the Song because it was during this period that the literati developed as a class and started to indulge themselves in various cultural and artistic pursuits, and record their experiences in literary compositions as part of their self-fashioning. Among these cultural pursuits, the qin playing was an important one. Although there have been several academic works on the qin, most of them focus on the musical aspects of the instrument. My project aims to reorient the perspective on the qin by revealing its close relationship and interaction with the literati class from a series of ii historical and literary approaches. During the Song, the qin was mentioned in a multiplicity of literary texts, and associated with a plethora of renowned literary figures. -
Working Paper Series
LEMLEM WORKING PAPER SERIES Art Return Rates from Old Master Paintings to Contemporary Art Federico Etro a Elena Stepanova b a Economics Department, University of Florence, Italy. b Institute of Economics, Scuola Superiore Sant’Anna, Pisa, Italy. 2020/30 October 2020 ISSN(ONLINE) 2284-0400 Art Return Rates from Old Master Paintings to Contemporary Art Federico Etro1 Elena Stepanova2∗ September 2020 Abstract We study return rates on art investment using a complete dataset on repeated sales for Old Master Paintings, Modern art and Contemporary art auctioned worldwide at Christie's and Sotheby's from 2000 to 2018. We show that return rates do not depend systematically on past prices or the place of sale, but we emphasize substantial differences in returns across sectors. We also control for changes in transaction costs (buyers' premiums and artists' resale rights), characteristics of the sale (evening sales, price guarantees and past bought-ins) and news on the lots (changed attributions, public exhibitions or death of the author) that appear reflected in art returns. We confirm the absence of masterpiece effects in American, Chinese and Ethnic art. Finally, using historical data on prices during Renaissance, Baroque and Neoclassical periods, we find evidence that price changes are independent from initial prices also in the long run. Keywords: Art market, Mei-Moses index, Masterpiece effect, Contemporary art JEL Classification: C23, Z11 1University of Florence, Economics Department, via delle Pandette 32, 50127 Florence, Italy Email: federico.etro@unifi.it 2Scuola Superiore Sant'Anna, Institute of Economics, Piazza Martiri della Libert`a33, 56127 Pisa, Italy. Email: [email protected] ∗Acknowledgements: We would like to thank the Editor Scott Adams, Alan Beggs, Lapo Filistrucchi, Gi- anna Claudia Giannelli, Thorsten Beck, Hans-Joachim Voth, three anonymous referees for important comments and seminar participants for insightful discussions. -
Biography of Ding Yanyong Mayching Kao Former Chair Professor, Department of Fine Arts the Chinese University of Hong Kong
Biography of Ding Yanyong Mayching Kao Former Chair Professor, Department of Fine Arts The Chinese University of Hong Kong 1902 Aged 1 Mr. Ding Yanyong was born on 15 April (the 8th day of the 3rd month in the 28th year of the reign of Guangxu) in Maopo Village, Xieji Town, Maoming County, Guangdong Province (present-day Gaozhou). Yanyong was his given name, to which style names Shudan and Jibo were added. His friends and students in Hong Kong addressed him as “Ding Gong”, meaning “the revered Mr. Ding”. Born in the zodiac year of the tiger (hu), he often used “Ding Hu” on his seals. His name in English is Ting Yin Yung. It is often romanized as Ting Yen-yung, but Ding Yanyong is in more common use nowadays. His oil paintings and sketches are signed “Y. Ting” and “Y. Y. Ting”. He came from a well-to-do family. His father, Ding Genci, was a cultivated man who enjoyed poetry and antiquities. At times he personally tutored his children in ancient poetry. Mr. Ding’s education began with a home tutor; he then attended a primary school in his home village, sponsored by his father. He was noted for his talents in painting and calligraphy as a child and his talents were much encouraged by his family and teachers. 1916 Aged 15 He attended Maoming County Middle School (present-day Gaozhou Secondary School). 1920 Aged 19 He graduated after four years of study. He went to Japan to study art under the auspices of the Guangdong provincial government. -
Translation of Verbal Anaphora in the Art of War
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 3, No. 6, pp. 1040-1044, June 2013 © 2013 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.3.6.1040-1044 Translation of Verbal Anaphora in The Art of War Yuan Tao School of Foreign Languages, Dalian University of Technology, Liao Ning, 116024, China Abstract—As a key focus of modern linguistic and systematic functional research, discourse anaphora is one of the most important ways of textual cohesion which stresses the interaction between sentences in the text. Verbs are a key issue worth studying as Chinese is a verb-prominent language. One of the three books on the wars, the Art of War is a gem in the Chinese military heritage with profound ideas and meticulous logic. The verbal anaphora in the book is striking and unique besides the philosophical ideas and military strategy. Focusing on the verbal anaphora, this paper has a comparison and descriptive study on six authoritative versions of The Art of War through the analysis verbs in the book to summarize the translation strategies of verbal anaphora in classical Chinese. Index Terms—verbal anaphora, repetition, zero anaphora, synonym anaphora, cohesion I. INTRODUCTION The Art of War, an ancient Chinese military treatise is impressive and influential with its profound ideas and brief language. Besides the superb military strategy and profound philosophical ideas, the verbal anaphora in the book is striking, which is an issue worth researching to convey the charm of the language to the western readers. Also known as reference or cataphora, anaphora focuses on the referring and the repetition of the antecedent. -
Diplomarbeit Daniela Dahlke
DIPLOMARBEIT Titel der Diplomarbeit „Der Sozialistische Realismus in der VR China unter Mao Zedong und in der DDR, 1949-1976 - ein Vergleich.“ Verfasserin Daniela Dahlke angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, im September 2009. Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin: Univ.-Doz. Dr. phil. Dr. habil. Jorinde Ebert 1 * Gewidmet: All jenen Künstlern, die im Gefecht der Politik mit der Kunst ums Leben kamen. * Der Geist macht den Menschen zum Menschen. Zum Menschen, doch die Kunst zielt darauf hin, das Übermenschliche auszusagen. Sie ist Intuition. Sie ist der reine Ausdruck jener unbegreiflichen Kraft, die universal wirkt und die wir deshalb das Universale nennen können. Piet Mondrian 2 Inhaltsverzeichnis Vorwort S. 3 1. Einleitung: 1.1. Thema S. 4 1.2. Methode S. 5 1.3. Forschungsstand S. 6 2. Die Kunstdoktrin des Sozialistischen Realismus 2.1. Die Anfänge in Russland/ Sowjetunion S. 8 2.2. Umrisse des Sozialistischen Realismus in der DDR: Weimarer Republik und Sowjetische Besatzungszone (SBZ) S. 13 2.3. Der Sozialistische Realismus innerhalb der chinesischen Kunst des 20. Jahrhunderts S. 17 2.4. Zusammenfassung: Charakteristika des Sozialistischen Realismus sowjetischer Prägung S. 24 3. Die Volksrepublik China und die Deutsche Demokratische Republik 3.1. Kulturpolitik VR China, 1949-1976. S. 27 3.1.1. Erste Phase: Reformen und Optimismus, 1949-1956. S. 28 3.1.2. Zweite Phase: Unsicherheit, 1957-1965. S. 32 3.1.3. Dritte Phase: Frustration in der Kulturrevolution, 1966-1976. S. 35 3.1.4. Zusammenfassung: Höhen, Tiefen und Stillstand in der Kulturpolitik der VR China S.