DOCSLIB.ORG

Chinese Art Outside China Published by Edizioni Charta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese Art Outside China Published by Edizioni Charta Breakout: Chinese Art Outside China Published by Edizioni Charta. Milano, Italy, 2007 Jonathan Goodman ell conceived and well written, Melissa Chiu’s Breakout: Chinese Art Outside China Wconsiders the Chinese artistic diaspora— painters and sculptors, performance artists and conceptual practitioners who left the Mainland in favour of greater aesthetic freedom in America, Europe, and Australia. After the events on June 4, 1989, at Tian’anmen Square, the democracy movement in China was crushed, and many artists sought to escape what had become a prison house for the intelligentsia. At the same time, however, as Chiu points out in a perceptive introduction, there was a general exodus that had to do with cultural restlessness as much as political oppression. She finds that not everybody wanted to leave; she quotes Ah Xian, Cover of Breakout: Chinese Art Outside China. a ceramic artist who settled in Australia: “Once we had Image: Ah Xian, Human Human—Landscape 1, 00-00. Courtesy Edizioni Charta, Milano. the chance to go overseas, we tried as hard as we could to stay” . And most recently, many Chinese artists have returned to China, including such major figures as Zhang Huan, who never gave up his Chinese passport while working in America, and Xu Bing, who has accepted the post of vice president at the Central Academy of Fine Arts in Beijing, where he received his Bachelor’s and Master’s degrees more than two decades ago. Chiu rightly suggests that the ebb and flow of immigration by Chinese artists is complicated, and much of her book, which is devoted to case studies of individual artists, claims a greater complexity for these figures than what the general perception might assert. Chiu argues for a continuing perception of the “Chineseness” of Chinese art, no matter where it is being practiced and shown. Chinese art is based upon the incorporation of Western avant-garde practices of the 1960s and 70s—in particular, performance and conceptual art—which is then used to express specifically Chinese concerns; it builds upon, but is not beholden to, Western contemporary art. Interested in the interaction between Western and Asian cultures, Chiu has coined the word “transexperience,” which she deems as being “thought of as a theoretical framework to explain Chinese overseas art by questioning its relationship to time, in particular to the past, present, and future”. The homeland thus becomes a site of the past and the country the artist has immigrated to serves as a place in which the present is investigated. Chiu sees three strategies whereby transexperience is redeemed through art—by an emphasis on the recovery of Chinese materials “at a geographical and psychological distance from China”; by juxtaposing “memories of China with its current reality”; and by modifying “Chinese signifiers, such as Chinese characters, to make them accessible to non-Chinese audiences.” The recovery, juxtaposition, and modification of Chinese cultural artefacts build a new architecture of experience. The past, present, and future respectively concur with the three 9 aspects of cultural recognition that comprise the effects of transexperience. Xu Bing’s famous installation, Tianshu (Book from the Sky) (1987-91), is based on a visual archaeology that attempts to recover lost language even if that language is nonexistent or entirely imaginary. New York City-based conceptual painter Zhang Hongtu does not so much juxtapose as literally replace styles in his paintings, which take recognized masterpieces of Chinese art and rework them in the manner of Van Gogh or Cezanne. Finally, the attempt to reify the future occurs when Chinese artists work out a connection between Chinese as a language and the other languages it coexists with. As Chiu points out, Xu’s New English Calligraphy (1994-96) has Wenda Gu, Speechless No. 2, 98, performance view at National Art Academy, unsuspecting participants writing Hangzhou. Photo: Jiao Jian. Courtesy of the artist. English calligraphy while they think they are practicing writing Chinese characters; she also cites Gu Wenda’s piece United Nations, with its variants—especially United Nations—China Monument: Temple of Heaven—transforming traditional calligraphy into something as monumental as it is unreadable. It would seem that the notion of mixing Western and Chinese cultures carries with it a pessimistic reading of the merger; most likely, the works imply, the conflation of signifiers cannot be reduced to the melting pot Americans so often refer to. Chiu cites the manipulation of Chinese characters as examples of a “new, subversive Chineseness”. It is an accurate term for an entire generation of artists old enough to remember the Cultural Revolution and the savageries of Tian’anmen Square, but who are not always or necessarily thrilled with their experience in Western culture. Indeed, viewers see, again and again, these artists return to the historic, and historical, signifiers of an older (even ancient) Chinese culture. Surely their artistic decisions constitute a reaction toward the monolithic, usually capitalist societies they chose to relocate in. Identity, as understood by the Chinese, the vast majority of whom belong to one racial group, remains key to their concerns. They build bridges with their homeland by addressing not only inspired moments in Chinese culture but also stereotypes, as happens in Zhang Hongtu’s Acupuncture Chart (1990), with a corpulent Mao as the model for key acupunctural points. Here the artist expresses his long obsession with Mao, as consequential an icon—for better or worse—as the Chinese have seen in modern times. Chiu’s astute reading of the need for members of the diaspora to remain culturally Chinese correctly points out their need is essential to their creativity. In Chapter Two, “Theories of Being Outside,” Chiu elaborates on the Chinese artist’s need to remain connected to his or her culture of origin—a desire based upon the inevitable identification of the artist with his or her Chinese heritage. All artists in transit bear with them the information 9 and the experience of their home, but in the Chinese case, the connection appears to be particularly intense, occurring on a racial level. Indeed, Chiu quotes the late, Paris-based artist conceptual artist Chen Zhen, who acknowledges his practice as being based upon his “bank of genes.” Chen’s connection to his heritage is not a mere matter of influence; rather, it is a world Huang Yongping, VOC, 998, scales, cardboard boxes, of history and culture, genetically linked to his plates. Courtesy of the artist and Gladstone Gallery. own circumstances, from which he can draw materials for his own art. China’s great past, its imperial history, enables the Chinese artistic diaspora to borrow and quote at will. The collective achievements of China are quoted, but the diaspora artists prefer to make use only of what they want, infusing background materials with processes that are local and more or less contemporary in respect to their sites of work. In fact, it would be romantic, however, to say that the artists are nostalgic or filled with longing; it is not the idea of China that they draw upon, but, rather, the specifics of its artistic history. Culturally speaking, they seem to look Wang Zhiyuan, Underpants, 00-00, wood, acrylic and mixed media, 80 x x 0 cm. Photo: Wang Zhiyuan. backward, but in fact they draw upon the past to Courtesy of the artist. create art that is absolutely contemporary. The remarkable emigration of the many Chinese artists to America, mostly to New York City, is brought up in Chiu’s informative Chapter Three. The list of New York-based Chinese artists includes Zhang Hongtu, Wenda Gu, Xu Bing, and Cai Guo- Qiang, as well as Ai Weiwei, Cai Jin, and Yun-Fei Ji. In recent times, there has been a movement back to China—Cai Jin, Ai Weiwei, and Xu Bing, for example, have returned to Beijing. However, it is clear that the chaotic freedom of New York has acted as a catalyst for a large number of the artists mentioned. In this case, transexperience proves an accurate term in describing the passage of these artists into the broad liberties of a post-industrial, Guan Wei, Two Finger Exercises No. 30, 989, gouache, hyper-capitalist society—a context that generally wax, oil, crayon on card, . x . cm. Collection of the Museum of Contemporary Art, Sydney. Photo: Yang Yong resulted in the artists’ use of the Chinese past. They Qiang. Courtesy of the artist and Sherman Galleries. pursued a global outlook through their intense identification with native traditions and materials, from which the technical skill and human subtleties gave them much to work with. Chiu, who uses a case-study approach for much of the rest of the book, deftly handles the ambitious individuals who moved west in pursuit of both freedom and personal gain. Zhang Hongtu, one of the earliest pioneers, first moved to New York in 1982, at the age of thirty-seven. Of a Muslim background, he exorcized his Chinese experience by fixating on Mao, whose presence was ubiquitous while he was growing up in China. 9 Cai Guo-Qiang, Venice’s Rent Collection Courtyard, 999, installation view at 8th Venice Biennale, clay, wood, lamps, sculpture tools. Photo: Elio Montanari. Courtesy of Cai Studio, New York. Zhang, who work has shifted since his arrival in the U.S. and now acknowledges both Western and Chinese legacies in a single painting, is given much space for the illustration of his works, which include his negative Mao series, in which Mao’s stately figure is given its contours in negative space. In the remarkable Last Banquet (1989), a version of the Last Supper, all the figures, including Jesus and Judas, are portrayed as Mao himself.
Load more

Recommended publications
  • Zhang Hongtu / Hongtu Zhang: an Interview'
    An Interview with Zhang Hongtu 281 the roots - Chinese culture - had already become part of my life just as a tail is a part of a dog's body. I'm like a dog: the tail will be with me for 10 ever, no matter where I go. Sure, after nine years away from China, I forget many things, like I forget that when you buy lunch you have to pay Zhang Hongtu / Hongtu Zhang: ration coupons with the money, and how much political pressure there An Interview' was in my everyday life. But because I still keep reading Chinese books and thinking about Chinese culture, and especially because I have the opportunity to see the differences between Chinese culture and the Western culture which I learned about after I left China, my image of Chinese culture has become more clear. Su Dongpo (the poet, I036- Zhang Hongtu was born in Gansu province, in northwest China, in lIOI) said: Bu shi Lushan zhen mianmu / Zhi yuan shen zai si shan I943, but grew up in Beijing. After studies at the Central Academy of zbong, Which means, one can't see the image of Mt. Lu because one is Arts and Crafts in Beijing, he was later assigned to work as a design inside the mountain. Now that I'm outside of the mountain, I can see supervisor in a jewellery company. In I982, he left China to pursue a what the image of the mountain is, so from this point of view I would say career as a painter in New York.
    [Show full text]
  • Summer 2020 Degrees Conferred
    THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Australia Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor Fofanah, Osman Ngunnawal 2913 Bachelor of Science in Education THE OHIO STATE UNIVERSITY OSAS - Analysis and Reporting November 17, 2020 Page 1 of 42 THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Bangladesh Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor Helal, Abdullah Al Dhaka 1217 Master of Science Alam, Md Shah Comilla 3510 Master of Science THE OHIO STATE UNIVERSITY OSAS - Analysis and Reporting November 17, 2020 Page 2 of 42 THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Bolivia Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor Arrueta Antequera, Lourdes Delta El Alto Master of Science THE OHIO STATE UNIVERSITY OSAS - Analysis and Reporting November 17, 2020 Page 3 of 42 THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Brazil Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor dos Santos Marques, Ana Carolina Sao Jose Do Rio Pre 15015 Doctor of Philosophy Marotta Gudme, Erik Rio De Janeiro 22460 Bachelor of Science in Business Administration Magna Cum Laude Pereira da Cruz Benetti, Lucia Porto Alegre 90670 Doctor
    [Show full text]
  • The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin
    “Art Is to Sacrifice One’s Death”: The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin by Muyun Zhou Department of Asian and Middle Eastern Studies Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Supervisor ___________________________ Eileen Chow ___________________________ Leo Ching Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Department of Asian and Middle Eastern Studies in the Graduate School of Duke University 2021 ABSTRACT “Art Is to Sacrifice One’s Death”: The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin by Muyun Zhou Department of Asian and Middle Eastern Studies Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Supervisor ___________________________ Eileen Chow ___________________________ Leo Ching An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Department of Asian and Middle Eastern Studies in the Graduate School of Duke University 2021 Copyright by Muyun Zhou 2021 Abstract In his world literature lecture series running from 1989 to 1994, the Chinese diasporic writer-painter Mu Xin (1927-2011) provided a puzzling proposition for a group of emerging Chinese artists living in New York: “Art is to sacrifice.” Reading this proposition in tandem with Mu Xin’s other comments on “sacrifice” from the lecture series, this study examines the intricate relationship between aesthetics and ethics in Mu Xin’s project of art. The question of diasporic positionality is inherent in the relationship between aesthetic and ethical discourses, for the two discourses were born in a Western tradition, once foreign to Mu Xin.
    [Show full text]
  • Mao in Tibetan Disguise History, Ethnography, and Excess
    2012 | HAU: Journal of Ethnographic Theory 2 (1): 213–245 Mao in Tibetan disguise History, ethnography, and excess Carole MCGRANAHAN, University of Colorado What Does ethnographic theory look like in Dialogue with historical anthropology? Or, what Does that theory contribute to a Discussion of Tibetan images of Mao ZeDong? In this article, I present a renegaDe history told by a Tibetan in exile that Disguises Mao in Tibetan Dress as part of his journeys on the Long March in the 1930s. BeyonD assessing its histori- cal veracity, I consider the social truths, cultural logics, and political claims embeDDeD in this history as examples of the productive excesses inherent in anD generateD by conceptual Disjunctures. KeyworDs: History, Tibet, Mao, Disjuncture, excess In the back room of an antique store in Kathmandu, I heard an unusual story on a summer day in 1994. Narrated by Sherap, the Tibetan man in his 50s who owned the store, it was about when Mao Zedong came to Tibet as part of the communist Long March through China in the 1930s in retreat from advancing Kuomintang (KMT) troops.1 “Mao and Zhu [De],” he said, “were together on the Long March. They came from Yunnan through Lithang and Nyarong, anD then to a place calleD Dapo on the banks of a river, anD from there on to my hometown, Rombatsa. Rombatsa is the site of Dhargye Gonpa [monastery], which is known for always fighting with the Chinese. Many of the Chinese DieD of starvation, anD they haD only grass shoes to wear. Earlier, the Chinese haD DestroyeD lots of Tibetan monasteries.
    [Show full text]
  • Mao Fever and the Story of a Mao Book Ross Terrill
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The hinC a Beat Blog Archive 2008-2012 China Beat Archive 2010 Mao Fever and the Story of a Mao Book Ross Terrill Follow this and additional works at: https://digitalcommons.unl.edu/chinabeatarchive Part of the Asian History Commons, Asian Studies Commons, Chinese Studies Commons, and the International Relations Commons Terrill, Ross, "Mao Fever and the Story of a Mao Book" (2010). The China Beat Blog Archive 2008-2012. 703. https://digitalcommons.unl.edu/chinabeatarchive/703 This Article is brought to you for free and open access by the China Beat Archive at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The hinC a Beat Blog Archive 2008-2012 by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Mao Fever and the Story of a Mao Book February 26, 2010 in Watching the China Watchers by The China Beat | Permalink By Ross Terrill When Mao died I wrote: “China does not have, and does not need, a real successor to the bold and complex Mao. Now the revolution is made, another Mao would be as unsuitable as a sculptor on an assembly line” (Asian Wall Street Journal, 9/10/76). I ended the first edition of my biography of Mao in 1980 with the expectation: “‘Raise High the Banner of Mao Zedong’s Thought,’ cry official voices now that Mao is safely in his crystal box. Up it goes higher and higher, until no one can read what is written on its receding crimson threads” (Mao, Harper & Row, 1980, p.
    [Show full text]
  • ART in TURMOIL
    ART in TURMOIL King hi_res.pdf 1 12/21/2009 3:15:46 PM Contemporary Chinese Studies This series, a joint initiative of UBC Press and the UBC Institute of Asian Research, Centre for Chinese Research, seeks to make available the best scholarly work on contemporary China. Volumes cover a wide range of subjects related to China, Tai- wan, and the overseas Chinese world. Glen Peterson, The Power of Words: Literacy and Revolution in South China, 1949-95 Wing Chung Ng, The Chinese in Vancouver: The Pursuit of Power and Identity, 1945-80 Yijiang Ding, Chinese Democracy after Tiananmen Diana Lary and Stephen MacKinnon, eds., Scars of War: The Impact of Warfare on Modern China Eliza W.Y. Lee, ed., Gender and Change in Hong Kong: Globalization, Postcolonialism, and Chinese Patriarchy Christopher A. Reed, Gutenberg in Shanghai: Chinese Print Capitalism, 1876-1937 James A. Flath, The Cult of Happiness: Nianhua, Art, and History in Rural North China Erika E.S. Evasdottir, Obedient Autonomy: Chinese Intellectuals and the Achievement of Orderly Life Hsiao-ting Lin, Tibet and Nationalist China’s Frontier: Intrigues and Ethnopolitics, 1928-49 Xiaoping Cong, Teachers’ Schools in the Making of the Modern Chinese Nation- State, 1897-1937 Diana Lary, ed., The Chinese State at the Borders Norman Smith, Resisting Manchukuo: Chinese Women Writers and the Japanese Occupation Hasan H. Karrar, The New Silk Road Diplomacy: China’s Central Asian Foreign Policy since the Cold War King hi_res.pdf 2 12/21/2009 3:16:06 PM ART in TURMOIL The Chinese Cultural Revolution 1966-76 Edited by Richard King With Ralph Croizier, Shengtian Zheng, and Scott Watson King hi_res.pdf 3 12/21/2009 3:16:06 PM © UBC Press 2010 All rights reserved.
    [Show full text]
  • Jerome Silbergeld
    SILBERGELD.CV 1 JEROME SILBERGELD P.Y. and Kinmay W. Tang Professor of Chinese Art History Director, P. Y. and Kinmay W. Tang Center for East Asian Art Affiliate Professor, East Asian Studies Department Member, East Asian Studies Program Executive Committee, Committee for Film Studies Princeton University 105 McCormick Hall Princeton, New Jersey 08544 609-258-6249 FAX 609-258-0103 [email protected] Education B.A., Stanford University, 1966 (History, with Departmental Honors) M.A., Stanford University, 1967 (History) Stanford University, 1967-68 (Ph.D. Program in History) Princeton University, 1968-69 (Ph.D. Program in Chinese Art and Archaeology) M.A., University of Oregon, 1972 (Art History, with University Honors) Ph.D., Stanford University, 1974 (Art History, with Departmental Distinction) Dissertation: "Political Symbolism in the Landscape Painting and Poetry of Kung Hsien (ca. 1620-1689)" Faculty Appointments University of Oregon, Department of Art History, Visiting Assistant Professor, 1974-75 University of Washington, Art History Program, China Studies Affiliate (Jackson School of International Studies), Cinema Studies Faculty; Assistant Professor, 1975-81; Associate Professor, 1981-87; Professor, 1987-2001; Donald E. Petersen Professor of Arts, 2000-2001; Affiliate Professor of Art History, 2001- Harvard University, Department of Fine Arts, Visiting Professor, 1996 Princeton University, P.Y. and Kinmay W. Tang Professor of Chinese Art History, Director Tang Center for Chinese and Japanese Art, Affiliate Professor of East Asian
    [Show full text]
  • K-State News » News » K-State News
    9/20/2018 | Kansas State University | News and Communications Services K-State home » DCM » K-State News » News » K-State News Artist Zhan Hongtu brings his varied cultural roots to new exhibition at Beach Museum of Art Monday, Seot. 17, 2018 Zhang Hongtu's "Shitao-van Gogh #10" is from his "On-going Shan Shui" series. The 2003 oil on canvas, 36 by 30 inches, is courtesy of the artist. | Download this photo. (/media/images/sept18/shitao-vangogh.jpg) MANHATTAN — "Culture Mixmaster Zhang Hongtu," the first solo show of this internationally acclaimed artist in the Midwest, opens Tuesday, Sept. 25, at Kansas State University's Marianna Kistler Beach Museum of Art. This large exhibition brings together early and recent works highlighting Zhang's expressions of his hybrid cultural roots. Zhang grew up in China as a member of the Muslim minority, suffering persecution for his religion and his political beliefs under the regime of People's Republic of China founder and Communist Party Chairman Mao Zedong. Zhang's travels around China as a young artist, most especially his study trip to Dunhuang in the western province of Gansu, proved seminal to his development. Dunhuang was an important stop along the network of trade routes known as the Silk Road, which connected Europe and Africa to the Middle East and Asia. Through the Silk Road, Buddhism traveled from India to China, resulting in the establishment of Buddhist cave temples around Dunhuang between the fourth and 14th centuries. The cave temples featured https://www.k-state.edu/media/newsreleases/2018-09/zhang91718.html#_msocom_1 1/3 9/20/2018 | Kansas State University | News and Communications Services painting styles different from what Zhang had learned in art school and showed signs of the mural artists' awareness of European painting.
    [Show full text]
  • November/December 2015 Volume 14, Number 6 Inside
    NOVEMBER/DECEMBER 2015 V OLUME 14, NUMBER 6 INSI DE Artist Features: Bingyi, Huang Rui, Ma Yanling, Zheng Chongbin Conversations: David Diao, Liang Kegang, Sun Yuan, Wei Jia, Zhang Hongtu US$12.00 NT$350.00 P R I NTE D IN TA I WAN 6 VOLUME 14, NUMBER 6, NOVEMBER/DECEMBER 2015 C ONTENTS 38 2 Editor’s Note 4 Contributors 6 Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin Maya Kóvskaya 44 22 Seeing the Unseen World: The Art of Bingyi Amjad Majid 38 A Conversation with Wei Jia Daniel Chen 44 A Single Artwork: A Conversation with Zhang Hongtu De-nin Deanna Lee 58 Huang Rui: Painting with Words 66 Jonathan Goodman 66 This Actually Happened—On Objectivity Without Universality: A Conversation with David Diao David Xu Borgonjon 76 Tangled Up in Blue: Women in the Art of Ma Yanling Patricia Eichenbaum Karetzky 76 87 The Traditional and the Contemporary— Musings About Art and Philosophy: A Conversation with Liang Kegang Alice Schmatzberger 94 Unlived by What Is Seen: A Conversation with Sun Yuan Anthony Yung 107 Chinese Name Index Cover: Zhang Hongtu, Little Monkey (detail), 2013, ink and 94 oil on rice paper mounted on panel, 123.19 x 116.84 cm. Courtesy of the artist. We thank JNBY Art Projects, D3E Art Limited, Chen Ping, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. 1 Vol. 14 No. 6 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C.
    [Show full text]
  • AAS Caricaturing Valjakka.Pdf
    ASIAN AND AFRICAN STUDIES Journal of the Department of Asian and African Studies University of Ljubljana – Faculty of Arts Chinese Art between Tradition and Modernity Volume XV, Issue 1 Ljubljana, May 2011 ASIAN AND AFRICAN STUDIES, Volume XV, Issue 1, Ljubljana, May 2011 Editor-in-chief: Jana S. Rošker Guest editor: Nataša Vampelj Suhadolnik Managing and layout editor: Nataša Viso nik Copy editor: Chikako Shigemori Bu ar Editorial Board: Andrej Bekeš, Jana S. Rošker, Chikako Shigemori Bu ar, Andrej Ule, Mitja Saje, Maja Lavra , Takemoto Takahashi, Yuriko Sunakawa, Wang Yi, Raul David Findeisen, Gou Chengyi, Nataša Vampelj Suhadolnik, Tamara Ditrich, Nikolai Jeffs, Nataša Hrastnik, Mateja Petrov i , Kristina Hmeljak Sangawa, Nataša Viso nik, Nagisa Moritoki, Luka Culiberg © University of Ljubljana, Faculty of Arts, 2011. All rights reserved. Published by: Znanstvena založba Filozofske fakultete Univerze v Ljubljani/Faculty of Arts, University of Ljubljana For: Oddelek za azijske in afriške študije/Department of Asian and African Studies For the publisher: Prof. dr. Valentin Bucik, Dean of Faculty of Arts Ljubljana, 2011, First edition Number printed: 200 copies Graphic Design: Mare Kova i Printed by: Birografika Bori, d. o. o. Price: 7,00 EUR ISSN 1408-5429 This publication is indexed in the Cobiss database. This journal is published three times per year. Yearly subscription: 18 EUR, (Account No.: 50100-603-40227) Ref. No.: 001-033 ref. »Za revijo« Address: Filozofska fakulteta, Oddelek za azijske in afriške študije, Ašker eva 2, 1000 Ljubljana, Slovenija tel.: +386 (0)1 24 11 450, +386 (0)24 11 444 faks: +386 (0)1 42 59 337 This journal is published with the support of the Slovene Book Agency (JAK).
    [Show full text]
  • Islamic Modernism in China: Chinese Muslim Elites, Guomindang Nation-Building, and the Limits of the Global Umma, 1900-1960
    Islamic Modernism in China: Chinese Muslim Elites, Guomindang Nation-Building, and the Limits of the Global Umma, 1900-1960 John Tseh-han 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 2018 © 2018 John Tseh-han Chen All rights reserved ABSTRACT Islamic Modernism in China: Chinese Muslim Elites, Guomindang Nation-Building, and the Limits of the Global Umma, 1900-1960 John Tseh-han Chen Modern Chinese Muslims’ increasing connections with the Islamic world conditioned and were conditioned by their elites’ integrationist politics in China. Chinese Muslims (the “Hui”) faced a predicament during the Qing and Ottoman empire-to-nation transitions, seeking both increased contact with Muslims outside China and greater physical and sociopolitical security within the new Chinese nation-state. On the one hand, new communication and transport technologies allowed them unprecedented opportunities for transnational dialogue after centuries of real and perceived isolation. On the other, the Qing’s violent suppression of Muslim uprisings in the late nineteenth century loomed over them, as did the inescapable Han-centrism of Chinese nationalism, the ongoing intercommunal tensions between Muslims and Han, and the general territorial instability of China’s Republican era (1911-49). As a result, Islamic modernism—a set of positions emphasizing both reason and orthodoxy, and arguing that true or original Islam is compatible with science, education, democracy, women’s rights, and other “modern” norms— took on new meanings in the context of Chinese nation-making. In an emerging dynamic, ethos, and discourse of “transnationalist integrationism,” leading Chinese Muslims transformed Islamic modernism, a supposedly foreign body of thought meant to promote unity and renewal, into a reservoir of concepts and arguments to explain and justify the place of Islam and Muslims in China, and in so doing made it an integral component of Chinese state- and nation-building.
    [Show full text]
  • The Transnational Artists Yun-Fei Ji, Hung Liu, and Zhang Hongtu: Globalization, Hybridity, and Political Critique
    UC Santa Barbara Journal of Transnational American Studies Title The Transnational Artists Yun-Fei Ji, Hung Liu, and Zhang Hongtu: Globalization, Hybridity, and Political Critique Permalink https://escholarship.org/uc/item/2c13m4vk Journal Journal of Transnational American Studies, 7(1) Author Brodsky, Joyce Publication Date 2016 DOI 10.5070/T871025712 Supplemental Material https://escholarship.org/uc/item/2c13m4vk#supplemental License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Transnational Artists Yun-Fei Ji, Hung Liu, and Zhang Hongtu: Globalization, Hybridity, and Political Critique JOYCE BRODSKY In this article I look closely at the works of three transnational artists in order to situate them in particular local contexts in light of the impact of globalization on their creative endeavors. I also examine the specific kinds of hybrid elements each artist utilizes to create a synchronicity from the components. Yun-Fei Ji draws monstrous figures influenced by Western artists like Bosch in his Chinese landscapes; in her more recent paintings, Hung Liu merges aspects of action painting and expressive brushwork with Chinese subjects; and in paintings of the last decade, Zhang Hongtu blends the landscapes of Western and Chinese “masters” like Vincent Van Gogh and Wang Yuanqi into a new hybrid form that is neither one nor the other.1 The particular means these artists utilize to merge styles and motifs complicate simplistic notions about hybridity, as well as the certainty about what derives from the East or the West. I chose these three artists from many others because their lives and artworks fully embody the issues explored in this article.
    [Show full text]