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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. -
The Self-Organization of Contemporary Art in China, 2001–2012
Bao Dong Rethinking Practices within the Art System: The Self-Organization of Contemporary Art in China, 2001–2012 The Origin of the Term “Self-Organization” in China The term “self-organization” was first used in the context of contemporary Chinese art in 2005 at the Second Guangzhou Triennial curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan. Self-organization was one of the special projects of the triennial, and there were two panel discussions on the topic. The exhibition theme “Beyond” focused on the topic of alternative modernity in China and non-Western countries, and the term self-organization was defined by the following statements: “A number of independent art organizations, institutions, and communities have taken an active role in artistic creation and practice” and “their projects are often diverse, flexible” and “self-induced in nature.”1 Altogether, twenty-four self- organized groups2 were included in this project, and for the curators, the concept of “self-organization” was used to differentiate independent and autonomous organizations from those attached to government systems or political parties. This feature is also the fundamental difference between the various artist-run autonomous organizations and the organizations within the conventional art system as constituted by Chinese Artists Association, along with the various academies of painting, art institutes, museums, and so on. In other words, self-organization is considered a force operating outside of the conventional art system, just as the inception, growth, and flourishing of contemporary Chinese art is believed to have been achieved outside of official systems. In terms of any independence from the conventional art system, self- organization is not a new phenomenon in the contemporary Chinese art scene. -
Bingfeng, Dong. "Cinema of Exhibition: Film in Chinese Contemporary Art
Bingfeng, Dong. "Cinema of Exhibition: Film in Chinese Contemporary Art: In conversation with Tianqi Yu Translated by Hui Miao." China’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century. Ed. Matthew D. Johnson, Keith B. Wagner, Tianqi Yu and Luke Vulpiani. New York: Bloomsbury Academic, 2014. 73–86. Bloomsbury Collections. Web. 30 Sep. 2021. <http://dx.doi.org/10.5040/9781501300103.ch-004>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 10:59 UTC. Copyright © Matthew D. Johnson, Keith B. Wagner, Tianqi Yu, Luke Vulpiani and Contributors 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 4 Cinema of Exhibition: Film in Chinese Contemporary Art Dong Bingfeng In conversation with Tianqi Yu Translated by Hui Miao Dong Bingfeng is regarded as one of the most active curators and art critics working on Chinese contemporary art and visual culture in mainland China today. In the past eight years he has worked at several different contemporary art museums, including the Guangdong Art Museum, Ullens Center for Contemporary Art and Iberia Center for Contemporary Art. At these leading art institutions, he explored the nature and ontology of the ‘moving image’ in its various forms – video art, new media art, video and film installations – pushing the boundaries of the various forms and decon- structing the moving image culture. Currently, Dong is the artistic director at the Li Xianting Film Fund, where he has implemented an intensive exploration into artists’ films shown in gallery spaces, or what has been recently referred to as ‘cinema of exhibition.’ China’s iGeneration co-editor Tianqi Yu interviewed Dong Bingfeng on the emerging field of ‘cinema of exhibition,’ and in the interview Dong shares some of his views on cinema and moving image culture, particularly among China’s current iGeneration. -
Special Recognition for Gifts of $100,000+ to the Chinese Garden
Special Recognition For gifts of $100,000+ to the Chinese Garden Phase II Donors will be recognized upon completion of construction. 24 Lake of Reflected Fragrance | 映芳湖 $8,000,000 Chosen as the site to recognize the lead donor to the Phase II, the large central lake is the heart of the entire garden and unifies the surrounding pavilions, rocks, and plantings. The five bridges spanning its surface offer lovely vistas of the nearby pavilions and the distant hills. The lake’s water is at once negative space, a mirror reflecting and duplicating each scene, and positive space holding colorful carp, water lilies, and lotus. Its name “Reflected Fragrance” recalls the delicate scents of flowers and echoes “Flowing Fragrance,” the name of the Chinese Garden. 25 Terrace for Idle Chanting |閑吟臺 $500,000 This rooftop terrace in the northwest section of the garden provides a stunning overlook of the lake, surrounding trees, and Suzhou style pavilions and bridges. It is an inspirational view, and “chanting” refers to the tradition of reciting poetry in a rhythmic tone and pattern. 26 Court of Assembled Worthies | 集賢院 $1,000,000 Bordered by a graceful and meditative corridor, this large courtyard is sheltered by heritage coast live oak (Quercus agrifolia) trees. The beautifully crafted paved surface can seat 350 and serves as the central space for public gatherings. It is named to honor the esteemed audiences that come together to enjoy cultural performances staged from either the Terrace of Cultivated Elegance to the north or on the pavilion stage of Clear and Transcendent. 27 Reflections in the Stream and Fragrance of Orchids Pavilion |映水蘭香 $350,000 This delicate pavilion, shielded by large California oaks, is a place to pause, meditate, be poetically inspired, and enjoy the fragrance of nearby orchids. -
Arts of Asia Lecture Series Spring 2016 Patronage in Asian Art: Monarchs, Merchants, and Devotees Sponsored by the Society for Asian Art
Arts of Asia Lecture Series Spring 2016 Patronage in Asian Art: Monarchs, Merchants, and Devotees Sponsored by The Society for Asian Art Patronage in the Yuan dynasty Ankeney Weitz March 18, 2016 1. Some Important Names and Terms Jin (Jurchen) dynasty (1115 -- 1234) Southern Song dynasty (1127 -- 1267) Yuan dynasty (1260 -- 1368) Khubilai Khan (Shizu) (1215 -- 94; reigned 1271 – 94) Anige (1244 - 1306) Liu Guandao (active 1275 – 1300) Zhao Mengfu (1254 – 1322) Ren Renfa (1255 – 1328) Tugh Temur (Wenzong) (reigned 1328 -- 32) wennrenhua 文人畫 (literati painting) jiehua 界畫(ruled-line painting for renditions of architecture) shufu ware (, imperial porcelains) Dadu (imperial city, present-day Beijing) Ethnic hierarchy: guoren 國人 (Mongol national), semuren 色目人 (Central Asian), hanren 韓人 (Northern Chinese and Korean), nanren 南人 (Southern Chinese) nasij (cloth of gold) 2. Suggested Reading (**Most useful works for this session) **Watt, James C.Y. The World of Khubilai Khan: Chinese Art in the Yuan Dynasty (New York: Metropolitan Museum of Art), 2010. Full text available online at Google Books: https://books.google.com/books?id=nCIPD1V39QkC&lpg=PP1&pg=PR17#v=onepage&q&f=false **Weidner, Marsha Smith, “Aspects of Painting and Patronage at the Mongol Court, 1260-1368.” In Chu-tsing Li, ed., Artists and Patrons: Some Social and Economic Aspects of Chinese Painting. (Lawrence, KS: Kress Foundation Department of Art History, University of Kansas, 1989), 37-59. **Jing Anning, “Financial and Material Aspects of Tibetan Art under the Yuan Dynasty,” Artibus Asiae 64:2 (2004): 213-41. Hong Zaixin, with Cao Yiqiang, “Pictorial Representation and Mongol Institutions in Khubilai Khan Hunting.” In Cary Y. -
Shanghai, China Overview Introduction
Shanghai, China Overview Introduction The name Shanghai still conjures images of romance, mystery and adventure, but for decades it was an austere backwater. After the success of Mao Zedong's communist revolution in 1949, the authorities clamped down hard on Shanghai, castigating China's second city for its prewar status as a playground of gangsters and colonial adventurers. And so it was. In its heyday, the 1920s and '30s, cosmopolitan Shanghai was a dynamic melting pot for people, ideas and money from all over the planet. Business boomed, fortunes were made, and everything seemed possible. It was a time of breakneck industrial progress, swaggering confidence and smoky jazz venues. Thanks to economic reforms implemented in the 1980s by Deng Xiaoping, Shanghai's commercial potential has reemerged and is flourishing again. Stand today on the historic Bund and look across the Huangpu River. The soaring 1,614-ft/492-m Shanghai World Financial Center tower looms over the ambitious skyline of the Pudong financial district. Alongside it are other key landmarks: the glittering, 88- story Jinmao Building; the rocket-shaped Oriental Pearl TV Tower; and the Shanghai Stock Exchange. The 128-story Shanghai Tower is the tallest building in China (and, after the Burj Khalifa in Dubai, the second-tallest in the world). Glass-and-steel skyscrapers reach for the clouds, Mercedes sedans cruise the neon-lit streets, luxury- brand boutiques stock all the stylish trappings available in New York, and the restaurant, bar and clubbing scene pulsates with an energy all its own. Perhaps more than any other city in Asia, Shanghai has the confidence and sheer determination to forge a glittering future as one of the world's most important commercial centers. -
10 Reasons for Learning Chinese in Taiwan
10 Reasons for Learning Chinese in Taiwan An Excellent A Perfect Place Environment for High Standard to Learn Chinese ͜ of Living ͙ Learning Chinese ͠ Mandarin Chinese is the official 35 Mandarin training centers Taiwan’s infrastructure is advanced, language of Taiwan. The most in Taiwan provide high quality and its law-enforcement and effective way to learn Mandarin teachers and facilities, a variety of transportation, communication, is to study traditional Chinese high quality courses for students of medical and public health systems characters in the modern, Mandarin all levels of proficiency, and small are excellent. In Taiwan, foreign speaking society of Taiwan. classes. Most importantly, outside students live and study in safety of class, you will be immersed in and comfort. Chinese language and culture. Don’t miss it! A Repository of Test of Chinese as a ͚ Chinese Culture Foreign Language ͡ (TOCFL) The National Palace Museum Available has a great collection of artifacts Scholarships ͝ The Test Of Chinese as a Foreign spanning the history of Chinese Language (TOCFL), is given to civilization. Taiwanese Opera and To encourage students from international students to assess Glove Puppetry, and aboriginal foreign countries to learn their Mandarin Chinese listening culture, add to the cultural Chinese, the government provides and reading comprehension. richness of Taiwan. Nowhere will two scholarships. In addition, See p.10-11 for more information international students find a better some Chinese learning centers place to experience and learn about provide scholarships. Chinese culture. See p.6-7 for more information Work While ͙͘ You Study Learn Complete, A Free and While learning Chinese in Taiwan, Traditional Chinese Democratic Society students may be able to work part- ͛ Characters ͞ time. -
Xue Susu (1573-Ca.1650) Was a Courtesan Who Lived in the Final Years of the Ming Dynasty
ESTEEMED LINK: AN ARGUMENT FOR XUE SUSU AS LITERATI A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ART HISTORY MAY 2011 By Cordes McMahan Hoffman Thesis Committee: Kate Lingley, Chairperson John Szostak Paul Lavy Xue Susu (1573-ca.1650) was a courtesan who lived in the final years of the Ming dynasty (1368-1644). She was a multi-faceted artist, known for her painting, poetry and heroic personal- ity. An active participant in literati culture for most of her life, Xue’s body of work contains sev- eral outstanding paintings which demonstrate her grasp of the artistic concerns of literati painting practice at that time. Modern scholarship of Chinese women artists is a growing field, and it is now unthinkable to exclude women in the broad category of Chinese painting. However, examinations of individual artists, have been limited. For example, Xue Susu has been the subject of articles by Tseng Yu- ho (Betty Ecke); she was featured in an encyclopedic exhibition of Chinese women painters titled Views from Jade Terrace: Chinese Women Artists 1300-1912, and she is listed in several survey texts of Chinese art history.1 These considerations of Xue Susu demonstrate that modern scholarship acknowledges her as a talented painter. However, Xue is usually only considered in aggregate with other women painters with the grouping, gender being the primary identifier for artistic identity. The problem at hand then becomes that the majority of Xue Susu’s surviving work is dissimilar in stylistic choice to the general group of female painters of her era. -
Edward Burtynsky, Jiang Zhi, Shyu Ruey-Shiann, Gao Brothers, Cai Guo-Qiang “Nice Painting” in Hong Kong Et Al
NOVEMBER/DECEMBER 2012 V OLUME 11, NUMBER 6 INSI DE Artist Features: Edward Burtynsky, Jiang Zhi, Shyu Ruey-Shiann, Gao Brothers, Cai Guo-Qiang “Nice Painting” in Hong Kong et al. Contemporary Art Spaces in Xi’an Vitamin: A Conversation with Zhang Wei and Hu Fang Possibilities for the Page: Artist’s Books US$12.00 NT$350.00 PRI NTED IN TA I WAN 6 VOLUME 11, NUMBER 6, NOVEMBER/DECEMBER 2012 CONTENTS Editor’s Note 34 Contributors 6 Displaced Cultural Landscape and Manufactured Landscapes: The Three Gorges Project in Art Zhou Yan 15 "Nice painting" et al. – Different Kinds of Painting and Related Practices in Hong Kong Frank Vigneron 41 34 Jiang Zhi’s Faulty Display Mathieu Borysevicz 41 Gleaned Memories: The Art of Shyu Ruey- Shiann Gilles Guillot 48 The Gao Brothers and The Execution of Christ: A Conversation Voon Pow Bartlett, Le Guo, Carrie Scott, Sheng Qi, and Haili Sun 61 61 Leaving Chang’an: Establishing Contemporary Art Spaces in the Ancient Capital Yang Wang 70 The Institution of Forgetting? Contemporary Chinese Art, Crititque, and the Academy Julian Scarff 83 Nutrition Spaces: Vitamin, Guangzhou, and Beijing 83 Edward Sanderson 92 Possibilites for the Page: 88BOOKS and Artists' Books in China Joni Low 103 Cai Guo-Qiang: Sky Ladder Orianna Cacchione 110 Chinese Name Index Cover: Cai Guo-Qiang, Crop Circles, (detail), 2012, reeds, 103 plywood, approximately 800 x 3600 cm. Photo: Joshua White/ JWPictures.com. Courtesy of the artist and The Museum of Contemporary Art, Los Angeles. We thank JNBY Art Projects, Canadian Foundation of Asian Art, Mr. -
CURRICULUM VITAE François Louis Associate Professor, the Bard Graduate Center: Studies in the Decorative Arts, Design, and Culture
CURRICULUM VITAE François Louis Associate Professor, The Bard Graduate Center: Studies in the Decorative Arts, Design, and Culture 18 West 86th Street New York, NY 10024 Phone (office): 212-501-3088 Fax. (office): 212-501-3045 E-mail: [email protected] Nationality: Swiss; U.S. resident alien Languages: German (mother tongue); French; Italian; Chinese; Latin EDUCATION Ph.D. East Asian Art History, University of Zurich (1997) M.phil. European Art History (minors: East Asian Art History and Sinology), University of Zurich (1992) EMPLOYMENT 1999– Bard Graduate Center, New York (Assistant Professor until 2004) 2002–2008 ARTIBUS ASIAE: Editor-in-Chief 1992–1998 Museum Rietberg Zurich: Research Assistant; Assistant Curator; Research Associate 1993–1996 University of Zurich: Lecturer in Art History COURSES OFFERED Bard Graduate Center 500/501. Survey of the Decorative Arts, Design History, and Material Culture 526. Decorative Arts of Later Imperial China, 1100-1900 563. Interiors in Early Modern China and Japan 564. Design and Ritual in Imperial China 567. Art and Material Culture of the Tang Period: Famensi 572. Arts of Song Period China, 960-1279 590. Bard Term Study Abroad: China 598. Master's Thesis Seminar 627. Western Luxuries and Chinese Taste 646. Domestic Interiors in China 648. Art and Ornament in Early China, 1500–1 BCE 694. Landscape and Rusticity in the Chinese Living Environment 702. A Cultural History of Gardens in China and Japan 752. Antiquaries and Antiquarianism in Europe and China, 1000-1800 761. Design and Material Culture of the Qing Period 802. Arts of the Kitan Empire (907-1125) 820. Chinese Ceramics 817. -
Botanical Encounters Level 3 an INTERACTIVE & VIRTUAL TOUR
Botanical Encounters Level 3 AN INTERACTIVE & VIRTUAL TOUR Huntington Education Welcome to the Botanical Encounters Level 3 virtual tour! Each slide features a plant, tree, or flower with questions, activities, and links to additional information. Henry and Arabella Huntington loved to collect art, books, and plants. What do you like to collect? Video games? Posters? Sports memorabilia? In this interactive journey you’ll dive further into the Botanical collections. Let’s go exploring! Botanical Vocabulary Click on a vocabulary word to start your tour! Each word relates to something at The Huntington. Cryobiotechnology Ginger Orchid Passion Fruit Penjing Puya Once you have explored all six cards, click here! Pick Orchid Another The Rose Hills Foundation Conservatory for Botanical Science ● Orchids have been popular at The Huntington since Arabella Huntington’s day. She loved orchids and had quite a collection. Do you like orchids? ● In the wild, there are three ways orchids grow: on trees (epiphytes), on rocks (lithophytes), and on the ground (terrestrials). ● There are more than 25,000 species of orchids, making them the largest family in the plant kingdom. ● While all those orchid species might look different, there are two distinct characteristics they all share: they all have 3 petals and 3 sepals, and they have both male (stamen) and female (pistil) parts in one column. Activity Explore the online tour Orchids: Around the World on Six Continents. Find an orchid that catches your eye. Which orchid did you choose? Why did you pick that particular orchid? Where does it grow? Does it have any cultural or culinary significance? Click on these links to explore more Orchid Collection King of Orchids (From top): Masdevallia infracta ‘Huntington’s Angel’; Paphiopedilum Orchids Forever tigrinum ‘Huntington’s Crouching Tiger’; Trichopilia suavis. -
Study in Taiwan - 7% Rich and Colorful Culture - 15% in Taiwan, Ancient Chinese Culture Is Uniquely Interwoven No.7 in the Fabric of Modern Society
Le ar ni ng pl us a d v e n t u r e Study in Foundation for International Cooperation in Higher Education of Taiwan (FICHET) Address: Room 202, No.5, Lane 199, Kinghua Street, Taipei City, Taiwan 10650, R.O.C. Taiwan Website: www.fichet.org.tw Tel: +886-2-23222280 Fax: +886-2-23222528 Ministry of Education, R.O.C. Address: No.5, ZhongShan South Road, Taipei, Taiwan 10051, R.O.C. Website: www.edu.tw www.studyintaiwan.org S t u d y n i T a i w a n FICHET: Your all – inclusive information source for studying in Taiwan FICHET (The Foundation for International Cooperation in Higher Education of Taiwan) is a Non-Profit Organization founded in 2005. It currently has 114 member universities. Tel: +886-2-23222280 Fax: +886-2-23222528 E-mail: [email protected] www.fichet.org.tw 加工:封面全面上霧P 局部上亮光 Why Taiwan? International Students’ Perspectives / Reasons Why Taiwan?1 Why Taiwan? Taiwan has an outstanding higher education system that provides opportunities for international students to study a wide variety of subjects, ranging from Chinese language and history to tropical agriculture and forestry, genetic engineering, business, semi-conductors and more. Chinese culture holds education and scholarship in high regard, and nowhere is this truer than in Taiwan. In Taiwan you will experience a vibrant, modern society rooted in one of world’s most venerable cultures, and populated by some of the most friendly and hospitable people on the planet. A great education can lead to a great future. What are you waiting for? Come to Taiwan and fulfill your dreams.