DOCSLIB.ORG

Chinese Paintings in Chinese Publications, 1956-1968: an Annotated Bibliography and an Index to the Paintings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chinese Paintings in Chinese Publications, 1956-1968: an Annotated Bibliography and an Index to the Paintings THE UNIVERSITY OF MICHIGAN CENTER FOR CHINESE STUDIES MICHIGAN PAPERS IN CHINESE STUDIES Chang Chun-shu, James Crump, and Rhoads Murphey, Editors Ann Arbor, Michigan Chinese Paintings in Chinese Publications, 1956-1968: An Annotated Bibliography and An Index to the Paintings by E. J. Laing Michigan Papers in Chinese Studies No. 6 1969 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright 1969 by Center for Chinese Studies The University of Michigan Ann Arbor, Michigan 48104 Printed in the United States of America ISBN 978-0-89264-124-6 (hardcover) ISBN 978-0-89264-006-5 (paper) ISBN 978-0-472-12789-4 (ebook) ISBN 978-0-472-90185-2 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ C ontents Foreword and Acknowledgments BIBLIOGRAPHY Notes on the Bibliography 1 Annotated Bibliography 1 INDEX Guide to the Index 33 Key to Biographical Sources 35 Abbreviations used in the Index 37 Key to Short Titles used in the Index 37 Index 41 Foreword and Acknowledgments Among the many contributions to scholarly endeavor in the field of Chinese painting made by Dr. Osvald Siren were his "Annotated Lists of Paintings and Reproductions of Paintings by Chinese Artists. TT These "Annotated Lists" were published as a part of his Chinese Painting, Leading Masters and Principles (The Ronald Press Company, New York, 19 56-58, 7 volumes). Since 19 56, the publication of reproductions of Chinese paint- ings has continued at a great pace throughout the world. The Chinese themselves have issued many of these publications. A few private Chinese collectors, living in Hong Kong, Japan and elsewhere, have made their paintings accessible for study through illustrated catalogues of their col- lections. The bulk of the Chinese publications, however, are the result of government sponsorship both on Mainland China and on Taiwan. On the Mainland, an extensive publication program had reached the stage where several of the museums established after 1948 (such as those in Shanghai, Suchou, Tientsin and Liao-ning) had produced illustrated catalogues of their painting collections, sometimes with color plates of excellent quality. All this was brought, regrettably, to a sudden and com- plete halt by the Great Cultural Revolution in 1966. On Taiwan, the National Palace and Central Museums published a three volume descriptive catalogue of the collection of calligraphy and painting in that Museum in 19 56 (Ku-kung shu-hua lu ^ ^ ^ -J^ j£jb ); this was followed in 19 59 by the large and handsomely illustratea six volumes of Ku-kung ming-hua san-pai chung ^ iJjg £ -% x ^ -£g Three Hundred Masterpieces of Chinese Painting in the Palace Museum. More recently (1966), the National Palace Museum started a ten volume work reproducing paintings in the collection (Ku-kung ming-hua tJLljf£~£ )• In addition, the National Palace Museum is currently issuing two excellent periodicals devoted to scholarly articles on the materials in the Museum's collection: The National Palace Museum Bulletin and Ku-kung chi-k'an ^£ t %. •?'} The National Palace Museum Quarterly. Undoubtedly, this publication program will be continued. Both on the Mainland and on Taiwan, there has been a tendency to extract the maximum use out of a single large group of photographic plates: the plates may all be reproduced in a single work, then one or more selections from and re-arrangements of this corpus of material will be made and published in different formats with different titles. All of these publications have provided a tremendous flood of pictorial material (both new and old) for art historians and students of Chinese painting. The very bulk of the materials published over the last decade or so and the inevitable duplication of some paintings in several books has given rise to a pressing need for these published materials to be reviewed and presented in a systematic fashion. Thus, in 1965, Pro- fessor Richard Edwards suggested that the task of reviewing these pub- lications in the form of an annotated bibliography accompanied by an index to the paintings reproduced in these books be undertaken. Dr. Edwards' constant interest in this project and his frequent assistance has been in- valuable. Professor James Cahill has been equally enthusiastic in his support of the project. In addition to providing pieces of valuable infor- mation, he has also lent volumes from his personal library. Several libraries throughout the country have been utilized in the course of completing this project; particular gratitude is due to Mr. Raymond Tang, Curator of the Chinese Collection of the Asia Library at the University of Michigan for his efforts on behalf of this project. Many thanks are extended to Mr. WuTfung and to Mrs. Yiu-fong T. Dew for their willing and competent assistance in checking the materials and in working on specific problems. To Miss Louise Ripple fell the task of proof-reading; her invariable good humor during the long hours spent in this tedious work was much appreciated. Sincere gratitude, appreciation and thanks are due to R. Laing for his unlimited patience and for assis- tance in innumerable ways. The entire project could not have been completed without the assistance of a grant from the American Council of Learned Societies and a Research Grant-in-aid from Wayne State University. The interest and cooperation of the Center for Chinese Studies at the University of Michigan is, of course, gratefully acknowledged. BIBLIOGRAPHY Notes on the Bibliography The Bibliography includes publications issued between 19 56 and August, 19 68 which reproduce Chinese paintings now in Chinese public or private collections. The great majority of these publications were pro- duced in Mainland China, Taiwan, Hong Kong or Japan. The two exceptions are the Western publications Art Treasures of the Peking Museum by Francois Four cade and the Skira catalogue Chinese Art Treasures, both of which were included because they contain illustrations of paintings exclu- sively in Chinese museums. Each publication included in the Bibliography has been provided (in addition to the usual bibliographical data) with a detailed physical des- cription of the publication itself: the amounts of text, the number of plates in color and in monochrome, and a general evaluation of the quality of the reproductions. The great disparity in the actual sizes of Chinese paintings and the need to reproduce heterogeneously sized paintings in a standard size to fit a given publication inevitably leads to great differences in the clarity of the reproductions within one book. This and other reasons in- herent in the nature of reproduction processes, made it impossible to establish and abide by a simple, standardized scale of judgment in the evaluation of the plates. The evaluations, then, are given with qualifica- tions whenever possible. It is hoped that these annotations will prove helpful to the librarian and scholar alike. The title by which each work is referred to in the Index is included at the end of each entry. ANNOTATED BIBLIOGRAPHY Art Treasures of the Peking Museum, by Francois Four cade, translated by Norbert Guterman. Harry N. Abrams, Inc. , New York, 1965; fifty tipped-in color plates reproducing paintings. There are fifteen pages of introductory text for the section on painting. The captions for each paint- ing give the artist1 s name, the title of the painting, its format, medium and size. In addition, there are several paragraphs devoted to each paint- ing providing comments about the artist and the painting, sometimes in- cluding full or partial translations of inscriptions or colophons. The quality of the reproductions varies, although generally accurate, details are sometimes blurred; at least seven of the paintings have been repro- duced elsewhere, some in more satisfactory color plates, some in mono- chrome. PM. Chan Tzu-chfien /^ -j- y£ , by Wang Po-min i jfa ^ , Jen-min mei-shu chfu-pan-she, Shanghai, 1958; Chung-kuo hua-chia tsfung-shu series, 14 pp. text, 6 monochrome plates, paperbound. The plates are, small and of rather poor quality. Chan Tzu-ch?ien. Chang Seng-yu f^ ^'f7-|| » by Wu Shih-chfu J^ %^ %/] , Jen-min mei shu chfu-pan-she, Shanghai, 1963; Chung-kuo hua-chia ts'ung-shu series, 33 pp. text, 14 monochrome plates, paperbound. The plates, reproducing only one painting, are small and of rather poor quality. Chang Seng-yu. Chao Chi j$j $2 [Emperor Hui-tsung], by Teng Pai jfi> £? , Jen-min mei-shu chTu-pan-she, Shanghai, 1958; Chung-kuo hua-chia tsTung-shu series, 20 pp. text, 16 monochrome plates, paperbound. The plates are small and of rather poor quality. Chao Chi. Chao Chih-ch'ien hua-chi A$ -Z~ 1>$- ^ $ (A collection of paintings by Chao Chih-chTien), Tfien-ching mei-shu chTu-pan-she, Tientsin, 1960; 8 loose color plates in a paper envelope. The color is somewhat bright; however, details of the paintings are adequately visible. CC-c hua-chi. Che-chiang ku-tai hua-chia tso-pTin hstian-chi -Jfj n •£ j\ ~f |c ^f *Q ^f ^ (Selected works of ancient artists of Chekiang Province), compiled by Wang Po-min JL Jfj •*#£ and Huang Yung-ch'iian *%i%^ , Che-chiang jen-min chTu-pan-she, Hangchou, 1958; 104 plates reproducing 102 paintings from the T'ang dynasty on, 6 color plates, hardbound. The text includes a five page history of painting in South China as well as notes on the artists whose paintings are reproduced. The reproductions are of mediocre quality, being often blurred or indistinct; the color plates are dark and muddy; some fifty-seven of the paintings found herein have been reproduced elsewhere.
Load more

Recommended publications
  • Compact Explicit Matrix Representations of the Flexoelectric Tensor and a Graphic Method for Identifying All of Its Rotation and Reflection Symmetries H
    Compact explicit matrix representations of the flexoelectric tensor and a graphic method for identifying all of its rotation and reflection symmetries H. Le Quang, Q.-C. He To cite this version: H. Le Quang, Q.-C. He. Compact explicit matrix representations of the flexoelectric tensor and a graphic method for identifying all of its rotation and reflection symmetries. Journal of Applied Physics, American Institute of Physics, 2021, 129 (24), pp.244103. 10.1063/5.0048386. hal-03267829 HAL Id: hal-03267829 https://hal.archives-ouvertes.fr/hal-03267829 Submitted on 22 Jun 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Compact explicit matrix representations of the flexoelectric tensor and a graphic method for identifying all of its rotation and reflection symmetries H. Le Quang1, a) and Q.-C. He1, 2 1)Universit´eGustave Eiffel, CNRS, MSME UMR 8208, F-77454 Marne-la-Vall´ee, France. 2)Southwest Jiaotong University, School of Mechanical Engineering, Chengdu 610031, PR China. (Dated: 17 May 2021) Flexoelectricity is an electromechanical phenomenon produced in a dielectric material, with or without cen- trosymmetric microstructure, undergoing a non-uniform strain. It is characterized by the fourth-order flexo- electric tensor which links the electric polarization vector with the gradient of the second-order strain tensor.
    [Show full text]
  • 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, yenwench@sas.upenn.edu 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 repository@pobox.upenn.edu. 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.
    [Show full text]
  • 2021 Anthology
    CREATING SPACES 2021 A collection of the winning writings of the 2021 writing competition entitled Creating Spaces: Giving Voice to the Youth of Minnesota Cover Art: Ethan & Kitty Digital Photography by Sirrina Martinez, SMSU alumna Cover Layout: Marcy Olson Assistant Director of Communications & Marketing Southwest Minnesota State University COPYRIGHT © 2021 Creating Spaces: Giving Voice to the Youth of Minnesota is a joint project of Southwest Minnesota State University’s Creative Writing Program and SWWC Service Cooperative. Copyright reverts to authors upon publication. Note to Readers: Some of the works in Creating Spaces may not be appropriate for a younger reading audience. CONTENTS GRADES 3 & 4 Poetry Emma Fosso The Snow on the Trees 11 Norah Siebert A Scribble 12 Teo Winger Juggling 13 Fiction Brekyn Klarenbeek Katy the Super Horse 17 Ryker Gehrke The Journey of Color 20 Penni Moore Friends Forever 35 GRADES 5 & 6 Poetry Royalle Siedschlag Night to Day 39 Addy Dierks When the Sun Hides 40 Madison Gehrke Always a Kid 41 Fiction Lindsey Setrum The Secret Trail 45 Lindsey Setrum The Journey of the Wild 47 Ava Lepp A Change of Heart 52 Nonfiction Addy Dierks Thee Day 59 Brystol Teune My Washington, DC Trip 61 Alexander Betz My Last Week Fishing with my Great Grandpa 65 GRADES 7 & 8 Poetry Brennen Thooft Hoot 69 Kelsey Hinkeldey Discombobulating 70 Madeline Prentice Six-Word Story 71 Fiction Evie Simpson A Dozen Roses 75 Keira DeBoer Life before Death 85 Claire Safranski Asylum 92 Nonfiction Mazzi Moore One Moment Can Pave Your Future
    [Show full text]
  • New UT Ad Campaign Debuts of the Grounds Department, Local Weather
    UTwww.utnews.utoledo.edu NEWSNOV. 5, 2007 VOLUME 8, ISSUE 12 Winter weather ahead: Know UT’s snow policy By Jim Winkler ith winter approaching, UT Wemployees should familiarize themselves with the University’s inclement weather plans. In the event of a major snow or ice storm or other inclement weather, the University will announce class cancellations, delay of classes and changes to administrative office hours through the UT home page at www.utnews.utoledo.edu, the UT snow line, which is 419.530. SNOW (7669), and on local radio and television stations. The University’s policy is to remain open whenever possible to minimize interruption of teaching and research. A decision to close UT or open late due to weather will be based on campus and area road conditions, and reports of local weather Photo by Daniel Miller forecasters and local transit. Every effort AUTUMN MORNING: UT Photographer Daniel Miller took this photo of the sun coming up over Main Campus last week. will be made to decide by 7 a.m. Using early information about conditions on campuses gathered by University police officers and members From 1872 to you: New UT ad campaign debuts of the Grounds Department, local weather By Deanna Woolf forecasts and consultations with city and county safety officials, UT Interim Senior n the streets, on the airwaves and in John Adams, senior director of the Univer- radio spots, and I think they really brought Vice President for Administration and Othe papers, The University of Toledo sity Office of Marketing. “The theme of the out the spirit and energy of UT.” Finance William Logie and the provosts is rolling out its new advertising campaign.
    [Show full text]
  • From Co-Loa to the Trung Sisters' Revolt
    From Co-loa to the Trung Sisters' Revolt: VIET-NAM AS THE CHINESE FOUND IT Received 27 September 1978 STEPHEN O'HARROW ISTORIANS AND archaeologists ignore each other at their peril, but the peril is Hgreater for the historian since concrete evidence which is at odds with a par­ ticular theory of historical development will simply not go away and eventually must be taken into consideration. In some areas of inquiry more than others, history and artifact must be at each other's service because neither alone can begin to suffice. Such is the case with the 300-year period in the area of the Red River delta and adjacent Thanh­ hoa Province in northern Viet-Nam, the cradle of the Vietnamese nation, between the middle of the third century B.C. and the revolt of the Trung Sisters in A.D. 40. It is a period which poses a number of highly interesting theoretical problems for the historian and philologist, and recent developments in archaeology have contradicted older biblio­ centric and sinocentric notions (the two often go hand in hand) to the extent that a thorough reexamination is in order. As a preliminary step in that direction, this article aims at outlining the sociohistorical situation of Viet-Nam when the first extensive im­ position of Chinese power on the area began. The object of the exercise is threefold: first, to point out what I believe are certain important historical implications of recent ar­ chaeological activity; second, to suggest a few notions of a theoretical nature which might address those historical implications; and third, to set the stage for a more extensive ex­ position at a later date of the development of Viet-Nam under Chinese hegemony from the first to the tenth centuries.
    [Show full text]
  • Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970S and 1980S
    Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970s and 1980s XIAORONG HAN EVER SINCE THE BIRTH OF MODERN ARCHAEOLOGY in the nineteenth cen­ tury, nationalism and politics have been important factors in its development, and as such, archaeologists in various parts of the world have been actively in­ volved in the construction of ethnic and/or national origins and identities, the corroboration of national myths, the disputes over territories and cultural inven­ tions, and so on (Diaz-Andreu and Champion 1996; Hudson 1999; Kohl and Fawcett 1995; Meskell 1998; Pai 2000; Silberman 1989; Trigger 1984). Although it is difficult to find a single country in which archaeology is completely free from the influence of nationalism and politics, it is understandable to find that archae­ ologists operating in authoritarian systems generally have a stronger tendency to develop a close relationship with the nation-state and involve themselves in poli­ tics because of a lack of academic freedom and independent sources of financial support. Nazi Germany, early twentieth-century Japan, and pre-World War II Soviet Union are extreme examples of the politicization of archaeology (Arnold and Hassman 1995; Hudson 1999: 35, 44; Shnirelman 1996; Trigger 1989: 178­ 179; Wiwjorra 1996). In post-war Asia, archaeologists in China and Viet Nam were actively engaged in the development of a new wave of nationalist archaeol­ ogy under the encouragement and sponsorship of the state (Glover 1999; Tong 1995). ' This paper intends to study the nationalist archaeology of China and Viet Nam in the 1970s and 1980s.
    [Show full text]
  • Historiography and Narratives of the Later Tang (923-936) and Later Jin (936-947) Dynasties in Tenth- to Eleventh- Century Sources
    Historiography and Narratives of the Later Tang (923-936) and Later Jin (936-947) Dynasties in Tenth- to Eleventh- century Sources Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig‐Maximilians‐Universität München vorgelegt von Maddalena Barenghi Aus Mailand 2014 Erstgutachter: Prof. Dr. Hans van Ess Zweitgutachter: Prof. Tiziana Lippiello Datum der mündlichen Prüfung: 31.03.2014 ABSTRACT Historiography and Narratives of the Later Tang (923-36) and Later Jin (936-47) Dynasties in Tenth- to Eleventh-century Sources Maddalena Barenghi This thesis deals with historical narratives of two of the Northern regimes of the tenth-century Five Dynasties period. By focusing on the history writing project commissioned by the Later Tang (923-936) court, it first aims at questioning how early-tenth-century contemporaries narrated some of the major events as they unfolded after the fall of the Tang (618-907). Second, it shows how both late- tenth-century historiographical agencies and eleventh-century historians perceived and enhanced these historical narratives. Through an analysis of selected cases the thesis attempts to show how, using the same source material, later historians enhanced early-tenth-century narratives in order to tell different stories. The five cases examined offer fertile ground for inquiry into how the different sources dealt with narratives on the rise and fall of the Shatuo Later Tang and Later Jin (936- 947). It will be argued that divergent narrative details are employed both to depict in different ways the characters involved and to establish hierarchies among the historical agents. Table of Contents List of Rulers ............................................................................................................ ii Aknowledgements ..................................................................................................
    [Show full text]
  • Teacher's Guide
    National Park Service Aram Demirjian, Music Director Great Smoky Mountains National Park Sheena McCall Young People’s Concerts: Fall 2020 TEACHER’S GUIDE THIS PAGE INTENTIONALLY LEFT BLANK (INSIDE COVER) Table of Contents PROGRAM REPERTOIRE Program Notes: Our Composers and their Music “Reel Time” from Southern Harmony Higdon, “Reel Song” ................................................. 2 by Jennifer Higdon Vivaldi, “Autumn” ...................................................... 2 Rimsky-Korsakov, “Flight of the Bumblebee” ......... 3 “Autumn,” III. Allegro Debussy, “Clair de Lune” .......................................... 3 from The Four Seasons Variego, Songs in Light: Firefly Music ...................... 4 by Antonio Vivaldi Joplin, The Entertainer .............................................. 4 “Flight of the Bumblebee” Crowe, How Birds Came Into the World .................. 5 from The Tale of Tsar Saltan Traditional/Arr. Robertson and Coolidge, by Rimsky-Korsakov Cherokee Morning Song ...................................... 5 “Clair de Lune” from Bergamasque Bryant & Bryant, Rocky Top ...................................... 6 by Claude Debussy Online Audio Link ............................................................ 6 Songs in Light: Firely Music by Jorge Variego Lessons: Cherokee Morning Song/ Moon Observation... .................................................. 7-13 Program repertoire and artists subject to change The Entertainer by Scott Joplin Activities & Resources for Teachers/ Audience Job Description ............................................
    [Show full text]
  • 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.
    [Show full text]
  • Multi-Faith Forum on “Buddhism and Interfaith Dialogue: Reconciliation Through Education”
    Celebration Of The 2557th Anniversary Of The Buddha Multi-Faith Forum on “Buddhism and Interfaith Dialogue: Reconciliation through Education” Love Democratic Socialist Repuclic of Sri Lanka Pure Land Learning College From 23 to 24 May 2013 • UNESCO HEADQUARTERS PARIS FRANCE 1 “Religion” in Chinese consists of two characters: Zong (宗) and Jiao (教) Zong (宗): major, important and reverent Jiao (教): education, teaching, edification So when used together, the Chinese definition of “Religion” (Zong Jiao) will be clear: major education, important teachings and reverent edification. The root of religion gives rise to compassion and loving-kindness; just like a tree springs from the root. Religious teachings of morality, virtue and the Law of Cause and Effect are like the branches and leaves of a tree. Attaining wisdom through practicing precepts and meditative concentration is similar to flowers giving rise to fruit. Its ultimate goal is to realize the true reality of the universe. (Religion encompasses both the highest philoso- phy and the most advanced science.) That is why religion (Zong Jiao) is important education for every human being. Chin Kung, at the age of 87 Content 04 Concept Note — Vesak 2013 at UNESCO Letter of Invitation(from President of Sri Lanka, from Secretary to the President of Sri Lanka and from Permanent Delegation of Sri Lanka to UNESCO) Lectures by Venerable Master Chin Kung, founder of Pure Land College, Australia • Date: 23rd May 2013 • UNESCO Headquarters Paris France 12 Opening Address — The first virtue of our true nature — The natural love between parents and children 16 Keynote Speech 2 — What Should We Do When Hearts are Corrupted and Society is in Chaos? I.
    [Show full text]
  • The Six Principles of Chinese Writing and Their Application to Design As Design Idea
    ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 8, No. 3, 2014, pp. 84-88 www.cscanada.net DOI: 10.3968/4968 www.cscanada.org The Six Principles of Chinese Writing and Their Application to Design As Design Idea ZHOU Zhen[a],* [a]Academy of Fine Arts, Shandong Normal University, Jinan, China. The Six Principles are the principles of Chinese *Corresponding author. characters’ formation and application which was Received 12 February 2014; accepted 26 May 2014 developed during the formation of Chinese characters. Published online 25 June 2014 As an open set with new characters constantly being developed, the total number of Chinese characters from Abstract past to present reaches a tremendous sum. The Chinese Given the impact that nationality and locality have on the dictionary published by the People’s Republic of China in essential elements of design, it is a demanding task for 1989 covered about 56,000 characters. It is really amazing Chinese designers to set up new Chinese design styles. that such huge and complicated character-formation can In my opinion, the Six Principles of Chinese Writing (六 be generalized by only six principles. = 書原理), which are the principles of Chinese characters’ In my opinion, the Six Principles comprise a set of formation and application, is a set of design idea that can design thoughts based on using graphics to indicate be applied to modern design. In this paper, I present my meanings. From this standpoint, the Six Principles can research on the new design idea of design based on the be regarded as an effective design method which can be Six Principles of Chinese writing with mark design as applied to modern design, especially in the field of visual examples.
    [Show full text]
  • 2014 Multi-Faith Forum Activity Journal
    1 Name : Galvihara Seated Image of the Buddha Time : 12th Century A.D. Location : Polonnaruwa (North Central Province-Sri Lanka) Founder : King Parakramabahu A Harmonious World Begins with Education 2558th Vesak Day Celebration: Learning from the Buddha's Inspirational Teachings Resolving Conflicts and Facilitating Peace and Security................................ 4 Religion and its Teachings are the Most Important Education for All Humanity...................................... 5 Religious Unity and Religious Education Can Facilitate World Peace...................................................... 5 Establishing a Religious Sacred City to Realize Religious Education....................................................... 8 Establishing a Multifaith University and Strengthening Religious Education and Religious Exchange.. 8 Wonderful New Development in the Revival of Religious Education in Indonesia.................................. 9 Indonesian Guest Photos............................................................................................................................ 11 2 “What Should We Do When Hearts are Corrupted and Society is in Chaos? —On Toowoomba, Australia as a Model City of Peace and Harmony........ 16 Unkind Human Mindset is the Root of the Chaotic Society...................................................................... 17 Religious Education is Crucial in Resolving World Crises........................................................................ 19 Cooperation between Religions is the Critical Step..................................................................................
    [Show full text]