DOCSLIB.ORG

Hao Liang Biography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hao Liang Biography G A G O S I A N Hao Liang Biography Born 1983 in Chengdu, China. Lives in Beijing, China. Education: 2006 Bachelor of Fine Arts, Chinese Painting Department of Sichuan Fine Arts Institute, Chongqing, China. 2009 Master of Fine Arts, Chinese Painting Department of Sichuan Fine Arts Institute, Chongqing, China. Solo Exhibitions: 2021 Autumn Thoughts. Vitamin Creative Space, Guangzhou, China. 2019 Hao Liang: Circular Pond. Aurora Museum, Shanghai, China. 2018 Hao Liang: Portraits and Wonders. Gagosian Madison Avenue, New York, NY. 2016 Hao Liang: The Virtuous Being. Mirrored Gardens, Guangzhou, China. Hao Liang: Eight Views of Xiaoxiang. Ullens Center for Contemporary Art, Beijing, China. Hao Liang: Aura, BACA Projects 2016. Bonnefantenmuseum, Maastricht, The Netherlands. 2014 Secluded and Infinite Places: Hao Liang Solo Exhibition. Hive Center for Contemporary Art, Beijing, China. 2011 Nest Image – Hao Liang solo exhibition. My Humble house Art Gallery, Taipei, Taiwan. Selected Group Exhibitions: 2020 On Sabbatical. West Bund Museum, Shanghai, China. More, More, More. TANK, Shanghai, China. 2018 Tracing the Past and Shaping the Future: Powerlong Museum Inaugural Exhibition. Powerlong Museum, Shanghai, China. 2017 Collection of Centre Pompidou. Centre Georges Pompidou, Paris, France. Tracing the Past and Shaping the Future. Powerlong Museum Inaugural Exhibition, Powerlong Museum, Shanghai, China. Streams and Mountains without End: Landscape Traditions of China. The Metropolitan Museum of Art, New York, NY. Viva Arte Viva. 57th International Art Exhibition of La Biennale di Venezia, Venice, Italy. Texture of Time - The Artwork Exhibition of Sichuan Fine Arts Institute. National Art Museum of China, Beijing, China. 2016 Everyday Legend. Minsheng Art Museum, Shanghai, China. Nostalgia for Ancient Times: Contemporary Chinese Art. The University Museum and Art Gallery of The University of Hong Kong, Hong Kong, China. Disguised Form - Ink Paintings’ Dimension. Guangdong Museum of Art, Guangzhou, China. W W W . G A G O S I A N . C O M G A G O S I A N Mountain Sites: Views of Laoshan. Sifang Art Museum, Nanjing, China. Bentu, Chinese artists at a time of turbulence and transformation. Foundation Louis Vuitton, Paris, France. Annual Review Exhibition of China Contemporary Ink Painting. Today Art Museum, Beijing, China. Painting as Strait Gate: Post-80s Artists Invitation Exhibition. Hive Center for Contemporary Art, Beijing, China. From the Peony Pavilion. Suzhou Jinji Lake Art Museum, Suzhou, China. 2015 Luo Zhongli Scholarship 10th Anniversary Retrospective Exhibition. Luo Zhongli Museum, Chongqing, China; CAFA Art Museum, Beijing, China. Editing the Spectacle: The Individual and Working Methods Post-Mediatization. Hive Center for Contemporary Art, Beijing, China. The Garden of Forking Paths - Tracks and Intersections of 15 Artists. Shanghai Gallery, Shanghai, China. The Fictitious Present. Art Museum of China Academy of Art, Hangzhou, China. 2014 Shuimo / Water Ink: Enchanted Landscapes. S|2, Sotheby’s New York, NY. Reform Art-system by Ancient Examples - Contemporary Elaborate-style Painting Exhibition. Today Art Museum, Beijing, China, Devotion to Ink. Hong Kong Maritime Museum & Ora-Ora, Hong Kong, China. Re-modernization - 3rd Documentary Exhibition of Fine Arts. Hubei Museum of Art, Wuhan, China. Wormhole ↔ Geo-attraction. Lin & Lin Gallery, Taipei, Taiwan. 2013 Mind Is Outer Space. Casey Kaplan, New York, NY. New Ink, An Exhibition of Ink Art by Post 1970 Artists from the Yiqingzhai Collection. Sotheby’s Gallery, Hong Kong, China. ILLUSION/IMAGE: Contemporary Chinese Ink Art Series. Hive Center For Contemporary Art, Beijing, China. Evolution. Avant Garde-Contemporary Art Center, Nanjing, China. Hue Art in the Contemporary Era - The 9th National Exhibition of Chinese Hue Art Paintings. National Art Museum of China, Beijing, China. 8th International Ink Art Biennale of Shenzhen. Guan Shanyue Art Museum, The OCT Art & Design Gallery, Shenzhen, China. 2012 Dark Energy. Today Art Museum, Beijing, China. The First "CAFAM-future" Exhibition: Sub-Phenomena-Report on the state of Chinese Young Art. CAFA Art Museum, Beijing, China. Onward from Concepts - 2012 Neo-Gongbi Document Exhibition. National Art Museum of China, Beijing, China. Cynical Resistance. Hakgojae Gallery, Seoul, South Korea. MULTI-LAYERED - 2012 Contemporary Traditional Chinese Elaborate-style Painting Nomination Exhibition. Shanghai Art Museum, Shanghai, China. The Chinese Scholar-Ink Paintings and Works of Art. Fuller Building, New York, NY. Silent Ink. Mizuma & One Gallery, Beijing, China. 2011 Sketching the Heart. Gallery Beijing Space, Beijing, China. Fine Art Beijing - Invitational Exhibition of Young Wash Painter’s Works-Unbounded. Beijing, China . Declaration of Independence. Today Art Museum, Beijing, China. Desire-Pathology and Gaze Research Program. A4 Contemporary Arts Center, Chengdu, China. Harmony and Aesthetics - National Painting Exhibition of Famous Painters. Sichuan Provincial Museum, Chengdu, China. W W W . G A G O S I A N . C O M G A G O S I A N HARVEST - A Dealer’s Choice. Aura Gallery, Beijing, China. 2010 The 7th International Ink Art Biennale of Shenzhen. Shenzhen Fine Art Institute, Guan Shanyue Art Museum, Shenzhen, China. Art & Design Gallery. Shenzhen, China. My Humble House 2010 - Exhibition of A New Generation. My Humble House Art Gallery, Taipei, Taiwan. The Trio Eterna. Funart Space, Beijing, China. Changing View - Nomination Exhibition of Chinese Contemporary Gongbi Art. Times Art Museum, Beijing, China. 2009 New Art from Beyond Beijing. Red Gate Gallery, Beijing, China. Urban Troubadours. A Thousand Plateaus Art Space, Chongqing, China. Luo Zhongli Scholarship awards Group Exhibition. Chongqing Art Museum, Chongqing, China. Chinese Ink new power Ink Society. Hong Kong International Antique Art Fair, Hong Kong, China. Public Collections: Bonnefantenmuseum, Maastricht, The Netherlands. Centre Georges Pompidou, Paris, France. Kadist Art Foundation, San Francisco, CA. The Metropolitan Museum of Art, New York, NY. W W W . G A G O S I A N . C O M .
Load more

Recommended publications
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 324 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019) Exploration on the Protection Scheme of the Great Ruins of Southern Lifang District in the Luoyang City Site in Sui and Tang Dynasties Haixia Liang Luoyang Institute of Science and Technology Luoyang, China Peiyuan Li Zhenkun Wang Xi’an University of Architecture and Technology China Petroleum First Construction Company (Luoyang) Xi'an, China Luoyang, China Abstract—The great ruins are a kind of non-renewable district in a comprehensive and detailed way. Through the precious resources. The southern Lifang district in the analysis of the current situation of southern Lifang district, a Luoyang City Site in Sui and Tang Dynasties is the product of relatively reasonable planning proposal is obtained. This the development of ancient Chinese capital to a certain study can provide theoretical or practical reference and help historical stage. As many important relics and rich cultural on the protection and development of Luoyang City Site in history have been excavated here, the district has a rich Sui and Tang Dynasties, as well as the reconstruction of humanity history. In the context of the ever-changing urban southern Lifang district. construction, the protection of the great ruins in the district has become more urgent. From the point of view of the protection of the great ruins, this paper introduces the II. GREAT RUINS, SUI AND TANG DYNASTIES, LUOYANG important sites and cultural relics of southern Lifang district CITY AND LIFANG DISTRICT in Luoyang city of the Sui and Tang Dynasties through field Great ruins refer to large sites or groups of sites with a investigation and literature review.
    [Show full text]
  • Schematizing Plum Blossoms
    Schematizing Plum Blossoms: Understanding Printed Images in Thirteenth-Century China By Mengge Cao B.A., McGill University, 2014 A Thesis Submitted to Department of the Art History and Communication Studies of McGill University In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of Art History and Communication Studies McGill University Montreal, Quebec December 2016 © Mengge Cao 2016 ABSTRACT This thesis examines the significance of the printed images in the Register of Plum Blossom Portraits (Meihua xishen pu, d. 1238), the earliest extant book illustrating plum blossoms. In particular, it focuses primarily on the visual analogs in the Register, which consists of one hundred titled picture-poem sequences. Approaching the Register through the method of “period eye,” this thesis emphasizes on two factors that shaped the author’s compositional strategy: the potentiality of the print medium and the influence of the Learning of the Way (daoxue) conceptual framework. Section 1 offers factual information concerning the production and reception of the Register. Section 2 reveals the connection between the printed plum blossoms and their counterparts in the Song dynasty (960–1279) illustrated books. Section 3 investigates the conceptual foundation of the visual analogs in the Learning of the Way framework. ii RESUME Cette thèse examine l’impact historique des images imprimées dans la Chine du treizième siècle à travers l’étude du Registre des portraits de fleurs de prunier (Meihua xishen pu, d. 1238), le livre le plus ancien illustrant des fleurs de prunier. Elle concerne plus particulièrement les séquences de poèmes-images présents dans le Registre en tant qu’analog mot-image documenté par la circulation des livres ayant permis une nouvelle approche pour traiter les données visuelles.
    [Show full text]
  • Zen As a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries
    Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries by Meng Ying Fan A thesis submitted in conformity with the requirements for the degree of Master of Arts Department of East Asian Studies University of Toronto © Copyright by Meng Ying Fan 2020 Zen as a Creative Agency: Picturing Landscape in China and Japan from the Twelfth to Sixteenth Centuries Meng Ying Fan Master of Arts Department of East Asia Studies University of Toronto 2020 Abstract This essay explores the impact of Chan/Zen on the art of landscape painting in China and Japan via literary/visual materials from the twelfth to sixteenth centuries. By rethinking the aesthetic significance of “Zen painting” beyond the art and literary genres, this essay investigates how the Chan/Zen culture transformed the aesthetic attitudes and technical manifestations of picturing the landscapes, which are related to the philosophical thinking in mind. Furthermore, this essay emphasizes the problems of the “pattern” in Muromachi landscape painting to criticize the arguments made by D.T. Suzuki and his colleagues in the field of Zen and Japanese art culture. Finally, this essay studies the cultural interaction of Zen painting between China and Japan, taking the traveling landscape images of Eight Views of Xiaoxiang by Muqi and Yujian from China to Japan as a case. By comparing the different opinions about the artists in the two regions, this essay decodes the universality and localizations of the images of Chan/Zen. ii Acknowledgements I would like to express my deepest gratefulness to Professor Johanna Liu, my supervisor and mentor, whose expertise in Chinese aesthetics and art theories has led me to pursue my MA in East Asian studies.
    [Show full text]
  • UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Fashioning the Reclusive Persona: Zeng Jing's Informal Portraits of the Jiangnan Literati Permalink https://escholarship.org/uc/item/2mx8m4wt Author Choi, Seokwon Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Seokwon Choi Committee in charge: Professor Peter C. Sturman, Chair Professor Miriam Wattles Professor Hui-shu Lee December 2016 The dissertation of Seokwon Choi is approved. _____________________________________________ Miriam Wattles _____________________________________________ Hui-shu Lee _____________________________________________ Peter C. Sturman, Committee Chair September 2016 Fashioning the Reclusive Persona: Zeng Jing’s Informal Portraits of the Jiangnan Literati Copyright © 2016 by Seokwon Choi iii ACKNOWLEDGEMENTS My sincerest gratitude goes to my advisor, Professor Peter C. Sturman, whose guidance, patience, and confidence in me have made my doctoral journey not only possible but also enjoyable. It is thanks to him that I was able to transcend the difficulties of academic work and find pleasure in reading, writing, painting, and calligraphy. As a role model, Professor Sturman taught me how to be an artful recluse like the Jiangnan literati. I am also greatly appreciative for the encouragement and counsel of Professor Hui-shu Lee. Without her valuable suggestions from its earliest stage, this project would never have taken shape. I would like to express appreciation to Professor Miriam Wattles for insightful comments and thought-provoking discussions that helped me to consider the issues of portraiture in a broader East Asian context.
    [Show full text]
  • 2002 1983 813 11 3B 812 18A 812 2 18B 1992 222-230
    2002 9 1 42 1 ?- 962 2 1 903-965 3 4 5 1 2002 2 1983 813 11 3b 3 812 18a 4 812 2 18b 5 1992 222-230 6 6 20 2002 3 175-222 67 1992 5 43-65 1015- 1080 919-967 7 8 9 1082-1135 10 11 1037-1101 12 1078 13 7 813 18b 8 3 5b 9 814 4a 10 12 2b-3a 11 2001 689-717 12 1987 17 900-901 13 1170 2 1170 14 15 16 1962 3 89 826 5 45b 14 15 16 812 5a 1074- 1151 17 1051-1107 1075-1080 18 1555-1636 19 20 21 3 17 1086-1165 1980 25-27 18 31 1982 6 241-242 19 828 43 66a-b 20 1994 1 52-55 32 Peter Charles Sturman, Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-play Ph. D. dissertation (Yale University, 1989), pp. 470-477 21 871 2 3b-4a 867 4 12a 22 4 1090 23 1107 1138 24 1135 25 ? 1136 26 1141 1136 1141 27 5 28 6 22 1996 313 818 28 5a-6a 23 32 1982 10 214-216 1084 1085 243 1999 46-54 24 1999 180 25 1970 13 2626 26 1997 470 27 Peter Charles Sturman 9 4 1992 89-126 1137 Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-play, pp. 303-337,463-467 28 1997 165-166 7 1141 29 1135 ` 1135 1117-1184 1123-1202 1127-1194 1427-1509 1137-1181 1130-1200 1179 1181 300 8 30 31 29 815 11 34b-40a 30 1994 2 76-80 31 1142 1151 Sturman, Mi Youren and the Inherited Literati Tradition: Dimensions of Ink-play , pp.
    [Show full text]
  • Eight Views of the Xiao and Xiang
    1 College of Arts at the University of Canterbury Art History and Theory in the School of Humanities ARTH 690 Masters Thesis Title of Thesis: The Eight Views: from its origin in the Xiao and Xiang rivers to Hiroshige. Jennifer Baker Senior Supervisor: Dr. Richard Bullen (University of Canterbury). Co-Supervisor: Dr. Rachel Payne (University of Canterbury). Thesis Start Registration Date: 01 March 2009. Thesis Completion Date: 28 February 2010. Word Count: 30, 889. 2 Abstract This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Andô Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics.
    [Show full text]
  • Proceeding-2016-Download
    SCIENTIFIC COOPERATIONS 2nd INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES 2-3 APRIL, 2016 ISTANBUL-TURKEY PUBLISHED BY SCIENTIFIC COOPERATIONS ISBN: 978-605-86637-8-7 SCIENTIFIC COOPERATIONS 2nd INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES 2-3 April, 2016 TITANIC BUSINESS EUROPE ISTANBUL-TURKEY PROCEEDINGS BOOKLET PORGANIZEDUBLISHED BY BY SCIENTIFIC SCIENTIFIC COOPERATIONS COOPERATIONS SCIENTIFIC COOPERATIONS PUBLICATIONS Copyright © Scientific Cooperations ISBN: 978-605-86637-8-7 All rights reserved. No part of this book may be produced, in any form or by any means, without written permission of the publisher. Not for sale. / Konferans kitapçığıdır, parayla satılmaz. SCIENTIFIC COOPERATIONS Gersan Sanayi Sitesi 2306 Sokak, No: 61, BatIkent-Ankara Tel.: +90 312 223 55 70 Fax: +90 312 223 55 71 Printing Office: Tel: Fax: Web: E-mail: ADVISORY ADVISORY and REVIEWER and REVIEWER BOARD BOARD Arts, HuamnitiesArts, Huamnities and Social and Sciences Social Sciences Ayse Guler, AyseDepartment Guler, Departmentof Ceramic, Facultyof Ceramic, of Faculty Faculty of of Fine Faculty Arts, ofÇanakkale Fine Arts, Onsekiz Çanakkale Mart Onsekiz University, Mart University, Turkey Turkey Khaidzir IsmailKhaidzir, Universiti Ismail Kebangsaan, Universiti KebangsaanMalaysia Malaysia Auksė EndriulaitienėAuksė Endriulaitienė, Vytautas Magnus, Vytautas University Magnus University Ebrahim ShoarianEbrahim Sattari Shoarian, Univesity Sattari of, UnivesityTabriz of Tabriz Caitlin WilliamsCaitlin, Auburn Williams University, Auburn University Paul Lucian SzaszPaul
    [Show full text]
  • The Donkey Rider As Icon: Li Cheng and Early Chinese Landscape Painting Author(S): Peter C
    The Donkey Rider as Icon: Li Cheng and Early Chinese Landscape Painting Author(s): Peter C. Sturman Source: Artibus Asiae, Vol. 55, No. 1/2 (1995), pp. 43-97 Published by: Artibus Asiae Publishers Stable URL: http://www.jstor.org/stable/3249762 . Accessed: 05/08/2011 12:40 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Artibus Asiae Publishers is collaborating with JSTOR to digitize, preserve and extend access to Artibus Asiae. http://www.jstor.org PETER C. STURMAN THE DONKEY RIDER AS ICON: LI CHENG AND EARLY CHINESE LANDSCAPE PAINTING* he countryis broken,mountains and rivers With thesefamous words that lamentthe "T remain."'I 1T catastropheof the An LushanRebellion, the poet Du Fu (712-70) reflectedupon a fundamental principle in China:dynasties may come and go, but landscapeis eternal.It is a principleaffirmed with remarkablepower in the paintingsthat emergedfrom the rubbleof Du Fu'sdynasty some two hundredyears later. I speakof the magnificentscrolls of the tenth and eleventhcenturies belonging to the relativelytightly circumscribedtradition from Jing Hao (activeca. 875-925)to Guo Xi (ca. Ooo-9go)known todayas monumentallandscape painting. The landscapeis presentedas timeless. We lose ourselvesin the believabilityof its images,accept them as less the productof humanminds and handsthan as the recordof a greatertruth.
    [Show full text]
  • Proquest Dissertations
    TO ENTERTAIN AND RENEW: OPERAS, PUPPET PLAYS AND RITUAL IN SOUTH CHINA by Tuen Wai Mary Yeung Hons Dip, Lingnan University, H.K., 1990 M.A., The University of Lancaster, U.K.,1993 M.A., The University of British Columbia, Canada, 1999 A THESIS SUBIMTTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Asian Studies) THE UNIVERSITY OF BRITISH COLUMBIA September 2007 @ Tuen Wai Mary Yeung, 2007 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-31964-2 Our file Notre reference ISBN: 978-0-494-31964-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Nnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these.
    [Show full text]
  • Seeing and Transcending Tradition in Chen Shuren's Guilin Landscape
    Seeing and Transcending Tradition in Chen Shuren’s Guilin Landscape Album by Meining Wang A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History of Art, Design and Visual Culture Department of Art and Design University of Alberta ©Meining Wang, 2019 Abstract In 1931, the Chinese Lingnan school painter and modern Chinese politician Chen Shuren 陈树人 (1884-1948) went on a political retreat trip to Guilin, Guangxi China. During his trip in Guilin, Chen Shuren did a series of paintings and sketches based on the real scenic site of Guilin. In 1932, Chen’s paintings on Guilin were published into a painting album named Guilin shanshui xieshengji 桂林山水写生集 (The Charms of Kwei-Lin) by the Shanghai Heping Publishing House. By discussing how Chen Shuren’s album related with the past Chinese painting and cultural tradition in the modern context, I interpret it as a phenomenon that unified various Chinese painting concepts in modern Chinese history. I argue that by connecting the landscape of Guilin with a past Chinese cultural tradition and foreshowing a modern aesthetic taste, Chen Shuren merged Guilin into the 20th century Chinese cultural landscape. ii Acknowledgements This thesis would not have been completed without enormous help and encouragement from various aspects. I am grateful to Professor Walter Davis, for always patiently instructing me and being an excellent academic model for me. Not only in the academic sense, his passion and preciseness in art history also taught me knowledge about life. I am also very thankful for Professor Betsy Boone’s instruction, her intellectual approach always inspired me to move in new directions when my research was stuck.
    [Show full text]
  • The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950S
    COMMUNIST OR CONFUCIAN? THE TRADITIONALIST PAINTER LU YANSHAO (1909-1993) IN THE 1950S THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Yanfei YIN B.A. Graduate Program in History of Art The Ohio State University 2012 Master's Examination Committee: Professor Julia F. Andrews Advisor Professor Christopher A. Reed Copyright by Yanfei YIN 2012 Abstract The establishment of the People’s Republic of China in 1949 triggered a deluge of artistic challenges for the Chinese ink painter. Lu Yanshao (陸儼少 1909-1993), an artist skilled in poetry, painting and calligraphy, had built his renown on landscape paintings following a traditionalist style. As of 1949, however, Lu began to make figure paintings that adhered to the guidelines established by the Communist Party. Dramatic social and political changes occurred in the 1950s under the new Communist regime. The Anti-Rightist Campaign, launched in 1957, targeted a large number of educated people, including many artists. Lu Yanshao was condemned as a Rightist and was forced to endure four years of continuous labor reform (laodong gaizao 勞動改造) in the countryside before finally ridding himself of the label of Rightist in 1961. Starting in 1957, Lu shifted his focus from making figure paintings for the country’s sake to his personal interest – creating landscape paintings. In 1959, the artist completed the first twenty five leaves of his famous Hundred-Leaf Album after Du Fu’s Poems. The surviving fourteen leaves combined painting, calligraphy and poetry, and are considered to be early paintings of Lu’s mature phase.
    [Show full text]
  • University of Florida Thesis Or Dissertation Formatting
    MAZU WORSHIP IN LATE IMPERIAL CHINA: GENDER, POLITICS, RELIGION, AND IDENTITY CONSTRUCTION By YANCHAO ZHANG A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2018 © 2018 Yanchao Zhang To people I love ACKNOWLEDGMENTS As this dissertation has taken shape over the past few years, some individuals and organizations have provided all kinds of support for me throughout its different stages. Since I started my doctorial study in Religion Department of University in 2011, I have received full support from my advisor, Dr. Mario Poceski. I deeply appreciate all his helps in both academic and personal lives. During the past few years, I took many courses with Dr. Poceski that laid foundation for my dissertation project. In addition, he continued offering guidance and feedback throughout my dissertation research and writing. Dr. Poceski also read and commented in detail on earlier versions of my dissertation. His consistent support and helpful feedback were crucial in completing my dissertation. I consider myself extremely fortunate to have him as my advisor. I would also like to thank the other wonderful members of my dissertation committee for supporting me and working with me since I started my dissertation proposal. First, I own a big debt of gratitude to Dr. Richard Wang for helping me with translating the classic Chinese texts featuring Mazu into English. He also read and commented on the chapter of Daoist canonization. I have benefited a lot from his rich knowledge on Daoism and Chinese culture.
    [Show full text]