Inventing Chinese Modernism: the Art and Design of Pang Xunqin
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INDIGENOUS HISTORICAL KNOWLEDGE Kautilya and His Vocabulary
INDIGENOUS HISTORICAL KNOWLEDGE Kautilya and His Vocabulary VOLUME III INDIGENOUS HISTORICAL KNOWLEDGE Kautilya and His Vocabulary VOLUME III Editors PRADEEP KUMAR GAUTAM SAURABH MISHRA ARVIND GUPTA INSTITUTE FOR DEFENCE STUDIES & ANALYSES NEW DELHI PENTAGONPENTAGONPENTAGON PRESSPRESSPRESS Indigenous Historical Knowledge: Kautilya and His Vocabulary Pradeep Kumar Gautam, Saurabh Mishra and Arvind Gupta (Editors) First Published in 2016 Copyright © Institute for Defence Studies and Analyses, New Delhi ISBN 978-81-8274-909-2 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without first obtaining written permission of the copyright owner. Disclaimer: The views expressed in this book are those of the authors and do not necessarily reflect those of the Institute for Defence Studies and Analyses, or the Government of India. Published by PENTAGON PRESS 206, Peacock Lane, Shahpur Jat, New Delhi-110049 Phones: 011-64706243, 26491568 Telefax: 011-26490600 email: [email protected] website: www.pentagonpress.in In association with Institute for Defence Studies and Analyses No. 1, Development Enclave, New Delhi-110010 Phone: +91-11-26717983 Website: www.idsa.in Printed at Avantika Printers Private Limited. Contents Preface vii About the Contributors xi Welcome Remarks by Dr. Arvind Gupta, Director General (DG) IDSA xv Keynote Address by Shri Shivshankar Menon, National Security Adviser xvii PART I REVISITING CONCEPTS, ISSUES FROM TEXT 1. Economy, Ecology, and National Defence in Kauäilya’s ArthaàÈstra 3 Patrick Olivelle 2. Non-Aggression Pacts and Strategic Partnerships in Kauäilyan Foreign Policy 16 Mark McClish 3. -
On the Research Status of the Storm Society
International Journal of Science Vol.2 No.12 2015 ISSN: 1813-4890 On the Research Status of the Storm Society Hao Xing School of history, Hebei University, Baoding 071002, China [email protected] Abstract The Storm Society is the first well-organized art association, which consciously absorb the western modern art achievements in Chinese modern art history. Based on the historical materials, this paper describes the basic facts of the Storm Society, and analyze the research status and weakness of this organization, and summarizes its historical and practical significance in the transformation of Chinese art from traditional form to modern form. Keywords the Storm Society, Art Magazine, research status. 1. The Basic Facts of the Storm Society The Storm Society is brewed in 1930. Its predecessor is "moss Mongolia", which is a painting group organized by Xunqin Pang, but it is soon seized. Xunqin Pang says,”I feel deeply distressed that the spirit of Chinese art and literature is decaying and corrupting, but my shallow knowledge and ability is not enough to pull the decadent a little. So I decide to gather some comrades to strive for the hope of making some contribution to the world together. This is the origin of the Storm Society.” The Storm Society is established in Nanjing in 1931, aiming at probing and developing China’s oil painting art. The main sponsors of the group are Xunqin Pang,Yide Ni , Jiyuan Wang , Zhentai Zhou , Ping Duan , Xian Zhang , Taiyang Yang , Qiuren Yang , Di Qiu , et al. The so-called "storm" means that this organization attempts to break the old barrier of traditional art, and sets off a raging tide of new art. -
Research and Education in the Contemporary Context of Art History from the Vision to the Art
3rd International Conference on Education, Management and Computing Technology (ICEMCT 2016) Research and Education in the Contemporary Context of Art History From the Vision to the Art Weikun Hao Hebei Institute of Fine Art, Shijiazhuang Hebei, 050700, China Keywords: Oil painting Techniques; Digital Image; Teaching Abstract. As is known to all, today's art education, its function has been far beyond the scope of training professional art talents. And from the perspective of the status quo of higher art education and skill training compared with history research, history research obviously in a weak position. From the Angle of art, art history is one of the important part of human art and culture, several conclusions show that for the study of art history and also learn the meaning of the obvious, such as improve the level of the fine arts disciplines, from the pure skills subject ascended to the status of the humanities; For today calls a "visual arts" or "visual culture" study, art history research is necessary; In carrying forward traditional culture today, the study of art history and learning will make human have more opportunity to participate in the fine arts with the human, and life, and emotion, contact with politics and history, for more understanding of cultural phenomenon. Introduction Plays a role in history of art history, art history research in the history of the grand is indispensable in the background, the history and culture is the concept of two inseparable. Obviously, for art history research to let a person produce both witness the massiness of history, and to experience the many things like the ramifications of fine arts. -
Patrick J. Hurley's Attempt to Unify China, 1944-1945
This dissertation has been microfilmed exactly as received 66-11 791 SMITH, Robert Thomas, 1938- ALONE IN CHINA; PATRICK J. HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945. The University of Oklahoma, Ph.D., 1966 History, modern University Microfilms, Inc., Ann Arbor, Michigan C opyright by ROBERT THOMAS SMITH 1966 THE UNIVERSITY OF OKLAHCMA GRADUATE COLLEGE ALONE IN CHINA: PATRICK J . HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY ROBERT THCÎ-1AS SMITH Norman, Oklahoma 1966 ALŒE IN CHINA; PATRICK J . HURLEY'S ATTEMPT TO UNIFY CHINA, 1944-1945 APPP>Î BY 'c- l <• ,L? T\ . , A. c^-Ja ^v^ c c \ (LjJ LSSERTATION COMMITTEE ACKNOWLEDGMENT 1 wish to acknowledge the aid and assistance given by my major professor, Dr, Gilbert 0, Fite, Research Professor of History, I desire also to thank Professor Donald J, Berthrong who acted as co-director of my dissertation before circumstances made it impossible for him to continue in that capacity. To Professors Percy W, Buchanan, J, Carroll Moody, John W, Wood, and Russell D, Buhite, \^o read the manuscript and vdio each offered learned and constructive criticism , I shall always be grateful, 1 must also thank the staff of the Manuscripts Divi sion of the Bizzell Library \diose expert assistance greatly simplified the task of finding my way through the Patrick J, Hurley collection. Special thanks are due my wife vdio volun teered to type the manuscript and offered aid in all ways imaginable, and to my parents \dio must have wondered if I would ever find a job. -
Natural History Connects Medical Concepts and Painting Theories In
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Natural history connects medical concepts and painting theories in China Sara Madeleine Henderson Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Henderson, Sara Madeleine, "Natural history connects medical concepts and painting theories in China" (2007). LSU Master's Theses. 1932. https://digitalcommons.lsu.edu/gradschool_theses/1932 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. NATURAL HISTORY CONNECTS MEDICAL CONCEPTS AND PAINTING THEORIES IN CHINA A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Sara Madeleine Henderson B.A., Smith College, 2001 August 2007 Dedicated to Aunt Jan. Janice Rubenstein Sachse, 1908 - 1998 ii Preface When I was three years old my great-aunt, Janice Rubenstein Sachse, told me that I was an artist. I believed her then and since, I have enjoyed pursuing that goal. She taught me the basics of seeing lines in nature; lines formed on the contact of shadow and light, as well as organic shapes. We also practiced blind contour drawing1. I took this exercise very seriously then, and I have reflected upon these moments of observation as I write this paper. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
Imperial China and the West Part I, 1815–1881
China and the Modern World: Imperial China and the West Part I, 1815–1881 The East India Company’s steamship Nemesis and other British ships engaging Chinese junks in the Second Battle of Chuenpi, 7 January 1841, during the first opium war. (British Library) ABOUT THE ARCHIVE China and the Modern World: Imperial China and the West Part I, 1815–1881 is digitised from the FO 17 series of British Foreign Office Files—Foreign Office: Political and Other Departments: General Correspondence before 1906, China— held at the National Archives, UK, providing a vast and significant primary source for researching every aspect of Chinese-British relations during the nineteenth century, ranging from diplomacy to trade, economics, politics, warfare, emigration, translation and law. This first part includes all content from FO 17 volumes 1–872. Source Library Number of Images The National Archives, UK Approximately 532,000 CONTENT From Lord Amherst’s mission at the start of the nineteenth century, through the trading monopoly of the Canton System, and the Opium Wars of 1839–1842 and 1856–1860, Britain and other foreign powers gradually gained commercial, legal, and territorial rights in China. Imperial China and the West provides correspondence from the Factories of Canton (modern Guangzhou) and from the missionaries and diplomats who entered China in the early nineteenth century, as well as from the envoys and missions sent to China from Britain and the later legation and consulates. The documents comprising this collection include communications to and from the British legation, first at Hong Kong and later at Peking, and British consuls at Shanghai, Amoy (Xiamen), Swatow (Shantou), Hankow (Hankou), Newchwang (Yingkou), Chefoo (Yantai), Formosa (Taiwan), and more. -
Ni Zan in Oxford Art Online
Ni Zan in Oxford Art Online http://www.oxfordartonline.com.ezproxy.cul.columbia.edu/subs... Oxford Art Online Grove Art Online Ni Zan article url: http://www.oxfordartonline.com:80/subscriber/article/grove/art/T062602 Ni Zan [Ni Tsan; zi Yuanzhen; hao Yunlin] (b Wuxi, Jiangsu Province, 1301; d 1374). Chinese painter and calligrapher. He is designated one of the Four Masters of the Yuan (1279–1368), with HUANG GONGWANG, WU ZHEN and WANG MENG. Ni Zan’s family were of Xixia (Tangut) origin. His tenth-generation ancestor Shi came to China as Xixia ambassador in 1034–7 at the time of Emperor Renzong (reg 1023–63), and the family settled in Duliang (modern Anhui Province). In 1127–30, under Emperor Gaozong (reg 1127–62), Ni Zan’s fifth-generation ancestor Yi moved south with the Southern Song (1127–1279), settling at Zhituo village in Wuxi, modern Jiangsu Province, where the Ni family prospered. Ni Zan and his elder brother Ying were the sons of a concubine, Yan. Their father died when they were young, and they were raised by their eldest half-brother, Ni Zhaogui (1279–1328). Ying was mentally incompetent, and after Zhaogui’s death Ni Zan assumed responsibility for the family estate, a role ill-suited to his natural inclinations. He led a privileged and secluded home life for 20 or more years; in the mid-1340s he spent most of his time among rare books, antique paintings, calligraphy and flowers in his favourite studio, the Qingbi ge (‘Pure and secluded pavilion’). Ni Zan was an ardent admirer of the great Northern Song (1127–1279) artist and connoisseur, MI FU, and shared two of his idiosyncrasies: fastidiousness and generosity. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
The Recovery of Hong Kong by the People's Republic of China-A Fifty Year Experiment in Capitalism and Freedom
Day: The Recovery of Hong Kong THE RECOVERY OF HONG KONG BY THE PEOPLE'S REPUBLIC OF CHINA-A FIFTY YEAR EXPERIMENT IN CAPITALISM AND FREEDOM Christian C. Day* I. INTRODUCTION The People's Republic of China (PRC) has the opportunity to fashion a novel relationship with the capitalistic city-state of Hong Kong. This opportunity has arisen out of the September 26, 1984 Joint Declaration of the Government of the United Kingdom of Great Britain and Northern Ireland (UK) and the Government of the People's Republic of China on the Question of Hong Kong.1 This Joint Declaration, issued with three integrated annexes, and an Ex change of Memoranda, comprises the text of the "agreement" be tween the UK and the PRC on the future of the current British Colony.2 The UK-PRC agreement, which was signed in Peking on December 19, 1984,3 is an unprecedented solution to the PRC's * Associate Professor of Law, Syracuse University College of Law; A.B. Cornell University, 1967; J.D. New York University School of Law, 1970. 1. Joint Declaration of the Government of the United Kingdom of Great Britain and Northern Ireland and the Government of the People's Republic of China on the Question of Hong Kong, signed at Peking Dec. 19, 1984, United Kingdom-People's Republic of China, 1984 Gr. Brit. T.S. No. 20, at 11-13 (Cmd. 9352) [hereinafter cited as Joint Declaration]. Ac cording to the Joint Declaration, its effectiveness is subject to "ratification and shall enter into force on the date of the exchange of instruments of ratification, which shall take place in Beijing before 30 June 1985." Id. -
The Transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13)
The transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13) Faculty of Fine Arts, University of Lisbon, PORTUGAL, Apr 4–05, 2013 Deadline: Jul 31, 2012 Rui Oliveira Lopes, Faculty of Fine Arts, University of Lisbon 'Face to Face. The transcendence of the Arts in China and Beyond' Organizers: Fernando António Baptista Pereira Associated Professor, Faculty of Fine Arts, University of Lisbon Rui Oliveira Lopes Postdoctoral Researcher, Faculty of Fine Arts, University of Lisbon Conference Language English / Portuguese Conference Description Face to Face. The Transcendence of the Arts in China and Beyond is a conference that will bring a wide range of new perspectives on the artistic styles changes of Chinese Arts, resulting from the artistic exchange and mutual interactions with the arts, styles and techniques of other cultures in China itself and beyond its cultural frontiers. Given to the long artistic traditions and the multicultural sediment of Chinese arts it is critical to present a selection of comparative perspectives on the legacy of other artistic traditions in the arts of China, from the Bronze Age to Modern-day, crossing through ceramics, metalwork, paint- ing, sculpture, carving, prints, textiles, drama (theatre, opera, shadow puppetry and cinema), and performing arts (music and dance). Our goals for the conference are to raise awareness of the artistic exchange and mutual influ- ences between the Han Chinese arts and the arts from different cultural backgrounds in China itself, as well as beyond its geographical and cultural boundaries. We also aim to go through the issues on the construction of artistic identity and the balance between permeability and hege- mony, tradition and innovation, convenience and misinterpretation. -
Russian-Chinese Trade in Kyakhta — Trade Development and Volume Indicators 1727–1861
Russian-Chinese Trade in Kyakhta — Trade Development and Volume Indicators 1727–1861 Michal Wanner This study is a follow-up to the author’s previous articles featuring the beginning of the Russian-Chinese diplomatic and trade relations, and the early forms of the Rus- sian-Chinese trade,1 as well as characteristic of the Russian-Chinese trade exchange organisation and practice in Kyakhta and May-ma-chen, or both Russian and Chi- OPEN ACCESS nese export commodity structure; but also to a few fundamental logistics issues hav- ing considerable impact on character of the trade in Kyakhta.2 The author focused this, third in row but last study, on portions of this broad topic, which had not been possible to include in the previous articles for the reasons of their size, specifically, the trade quantification and capturing single stages development in the monitored period, the trade influence on the overall advance of the region, and also the reasons that resulted in the decline and end of the Russian-Chinese trade in Kyakhta, more specifically, on other forms of the trade exchange as the replacement. THE TRADE DEVELOPMENT AND VOLUME In December 1728, shortly after The Treaty of Kyakhta had been entered into, Chinese merchants began to have complaints about the shortage of Russian merchants and their goods, but also because they had been only selling cloth and Russian leather. However, the situation would shortly change. Russian goods on 1,430 carriages and 96 sleighs were delivered to Kyakhta between 1736 and 1740, whereas Chinese goods were carried on 806 carriages and 37 sleighs.3 1 M.