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Bringing in Darwin Bradley A. Thayer
Bringing in Darwin Bradley A. Thayer Evolutionary Theory, Realism, and International Politics Efforts to develop a foundation for scientiªc knowledge that would unite the natural and social sci- ences date to the classical Greeks. Given recent advances in genetics and evolu- tionary theory, this goal may be closer than ever.1 The human genome project has generated much media attention as scientists reveal genetic causes of dis- eases and some aspects of human behavior. And although advances in evolu- tionary theory may have received less attention, they are no less signiªcant. Edward O. Wilson, Roger Masters, and Albert Somit, among others, have led the way in using evolutionary theory and social science to produce a synthesis for understanding human behavior and social phenomena.2 This synthesis posits that human behavior is simultaneously and inextricably a result of evo- lutionary and environmental causes. The social sciences, including the study of international politics, may build upon this scholarship.3 In this article I argue that evolutionary theory can improve the realist theory of international politics. Traditional realist arguments rest principally on one of two discrete ultimate causes, or intellectual foundations. The ªrst is Reinhold Niebuhr’s argument that humans are evil. The second is grounded in the work Bradley A. Thayer is an Assistant Professor of Political Science at the University of Minnesota—Duluth. I am grateful to Mlada Bukovansky, Stephen Chilton, Christopher Layne, Michael Mastanduno, Roger Masters, Paul Sharp, Alexander Wendt, Mike Winnerstig, and Howard Wriggins for their helpful comments. I thank Nathaniel Fick, David Hawkins, Jeremy Joseph, Christopher Kwak, Craig Nerenberg, and Jordana Phillips for their able research assistance. -
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio Guide Script
The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script 400 Exhibition overview Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition. Xubaizhai was designated by the late collector of Chinese painting and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “Wu School”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”. This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists. 401.Exhibit no. 1 Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 Hanging scroll, ink and colour on paper 143 x 62.5 cm Xubaizhai Collection Shen Zhou, courtesy name Qinan, was a native of Suzhou in Jiangsu province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Huang Tingjian (1045 – 1105), while his students included Wen Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the Ming dynasty (1368 – 1644). Studying under Chen Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his paintings on the styles of Wang Fu (1362 – 1416) and the Four Masters of the Yuan dynasty (1279 – 1368), but he also extended his interest to the works of the Zhe School and incorporated its techniques into his art. -
Shanshui – Chinese Landscape Painting
Shanshui – Chinese Landscape painting Although China during the Tang Dynasty (618 – 906) was well known to many travellers and traders from many countries, this knowledge was lost with the collapse of the Tang. Before Marco Polo travelled to China in the 13th century there only a vague knowledge of an exotic land which was the source of silk. It was not until the 20th century that archaeologists have begun uncovering Chinese history. The Chess Pavilion by Hedda Morrison, shot at Hua Shan. Dynasties from the Tang Dynasty on Tang Dynasty 618 - 906 Five Dynasties / 10 Kingdoms 907 – 959 Sung Dynasty 960 - 1279 Northern Song Dynasty 960- 1127 Southern Song Dynasty 1127 – 1279 Yuan (Mongol) Dynasty 1279 - 1368 Ming Dynasty 1368 - 1644 Qing (Manchu) Dynasty 1644 – 1911 Republic of China 1911- 1949 People's Republic of China 1949 - Map of Tang Dynasty China Inventions Made in China. Some of humankind’s greatest and most world-changing inventions were made in China. For centuries Chinese technology and science were the most advanced in the world. In the Middle Ages (500-1400), many Chinese inventions were transported along The Diamond Sutra, the world’s oldest printed book, published in AD 868 the Silk Road to Europe where many had a during the Tang Dynasty (618–907) huge impact. Chinese inventions include: paper, printing, gunpowder (and fireworks), the compass, paper money, silk, porcelain, the paintbrush, boats equipped with the water-tight buoyancy, kites, umbrellas and the wheelbarrow. Ladies processing new silk, early 12th century painting in the style of Zhang Xuan, Song Dynasty REVISION - REMEMBER Detail of The Wilton THAT: Diptych c. -
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's Name Dates R Pinyin Romanization of Artist's
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's name ❍ Dates ❍ Pinyin Romanization of Artist's name Artists are listed alphabetically by Wade-Giles. This list is not comprehensive; it reflects the catalogue of visual resource materials offered by AAPD. Searches are possible in either form of Romanization. To search for a specific artist, use the find mode (under Edit) from the pull-down menu. Lady Ai-lien ❍ (late 19th c.) ❍ Lady Ailian Cha Shih-piao ❍ (1615-1698) ❍ Zha Shibiao Chai Ta-K'un ❍ (d.1804) ❍ Zhai Dakun Chan Ching-feng ❍ (1520-1602) ❍ Zhan Jingfeng Chang Feng ❍ (active ca.1636-1662) ❍ Zhang Feng Chang Feng-i ❍ (1527-1613) ❍ Zhang Fengyi Chang Fu ❍ (1546-1631) ❍ Zhang Fu Chang Jui-t'u ❍ (1570-1641) ❍ Zhang Ruitu Chang Jo-ai ❍ (1713-1746) ❍ Zhang Ruoai Chang Jo-ch'eng ❍ (1722-1770) ❍ Zhang Ruocheng Chang Ning ❍ (1427-ca.1495) ❍ Zhang Ning Chang P'ei-tun ❍ (1772-1842) ❍ Zhang Peitun Chang Pi ❍ (1425-1487) ❍ Zhang Bi Chang Ta-ch'ien [Chang Dai-chien] ❍ (1899-1983) ❍ Zhang Daqian Chang Tao-wu ❍ (active late 18th c.) ❍ Zhang Daowu Chang Wu ❍ (active ca.1360) ❍ Zhang Wu Chang Yü [Chang T'ien-yu] ❍ (1283-1350, Yüan Dynasty) ❍ Zhang Yu [Zhang Tianyu] Chang Yü ❍ (1333-1385, Yüan Dynasty) ❍ Zhang Yu Chang Yu ❍ (active 15th c., Ming Dynasty) ❍ Zhang You Chang Yü-ts'ai ❍ (died 1316) ❍ Zhang Yucai Chao Chung ❍ (active 2nd half 14th c.) ❍ Zhao Zhong Chao Kuang-fu ❍ (active ca. 960-975) ❍ Zhao Guangfu Chao Ch'i ❍ (active ca.1488-1505) ❍ Zhao Qi Chao Lin ❍ (14th century) ❍ Zhao Lin Chao Ling-jang [Chao Ta-nien] ❍ (active ca. -
Chinese Artist's View of African Art Theme of Beijing Display
Tuesday, September 18, 2018 17 LIFE CHINA DAILY HONG KONG EDITION From left: Robust and Vigorous Landscape by Wang Yuanqi; Shadows of Paulownia Trees in the Autumn Evening by Wang Hui; After the Spirit of the Four Yuan Masters by Wang Jian; and Autumn Mountains and White Clouds by Wang Shimin. PHOTOS PROVIDED TO CHINA DAILY CIRCLE OF FOUR An exhibition is showing important works of some Qing Dynasty artists who shared the same surname and aesthetic style, Wang Kaihao reports. t may seem like a coinci tion hall to recreate the simple Dynasty was because of the dence, but Chinese yet elegant atmosphere pre huge sway they held in the painting circles during ferred by the literati. imperial palace. For instance, the early Qing Dynasty “Sitting there and watching Wang Hui’s painting Southern I(16441911) were dominated the Four Wangs’ paintings, it Inspection Tour (Nanxun Tu) They venerated the by four artists sharing the feels like being in a water town featured a grand procession of same surname. in southern China (where the Kangxi emperor. literati styles of Wang Shimin, Wang Jian, artists came from),” Tian Yimin, Some of their students were Wang Hui and Wang Yuanqi, curator of the exhibition, says. later hired as court painters, southern China who are colloquially referred “They venerated the literati and were favored by the to by Chinese historians as the styles of southern China and emperors, who labeled their and stressed the “Four Wangs”, shared similar stressed the imitation of works as “orthodox”. artistic styles and enjoyed sta ancient and classical styles Nevertheless, this connec imitation of tus in the art world at that and techniques,” she says. -
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. -
ざた/ / Artsinfo 12/ 11/2015 1. れ」 Meimei Rado, Hui-Wen Lu, Joyce Tsai Jungeun Lee, Susan Huang, Peggy Ho, Kevin Mcloughl
ざた// ArtsInfo 12/ 11/2015 1. れ」MeiMei Rado, Hui-wen Lu, Joyce TsaiJungeun Lee, Susan Huang, Peggy Ho, Kevin McLoughlin, Joseph Scheier-Dolberg イ ジ Nixi Cura ◇わ Arts of China Consortium 2. るイ イ 3. あざたるり ジ 4. (Big5)(IME) 5. 6. クらあ ら ■ 1.! 2.! や 3. ■ 1.! ざた 2.! 3.! 4.! 5.! 6.! 7.! 8.! 9.! ざた 10.! 11.! 12.! づ 13.! 14.! 15.! 16.! 17.! 18.! 19.! レ ■ 、 1. Freer and Sackler Galleries 2.! The Metropolitan Museum of Art 3.! Nelson-Atkins Museum of Art 4.! Newark Museum 5.! Cleveland Museum of Art 6.! Getty Center 7.! Princeton University Art Museum 8.! Staatliche Museen zu Berlin 1.! 1し—さ ほ 2014/08/01~ 106 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04005700 2 2014/11/29~ 304 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04005847 3—さ 2015/03/31~2016/02/28 303 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04006182 4す─さ 2015/07/18~2016/01/10 104 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04006450 5) - : 2015/10/06-2016/01/04 : 202/204/206/210/212 6): : 2015/10/06-2016/01/06 : 103/105/107 2.! や 110/7 -12/30 2)10/14 3) 10/21 http://museum.sinica.edu.tw/exhibition.php 3. ─ http://www.fgsbmc.org.tw/news_exhibition_c.aspx?Id=20151004 : / :2015-11-14 2016-02-28 1.! ざた 1いク 2014.7.23 – () http://www.lcsd.gov.hk/CE/Museum/Arts/zh_TW/web/ma/teaware03.html 2ー ざ () http://www.lcsd.gov.hk/CE/Museum/Arts/zh_TW/web/ma/mt-permanent-exhibition.html 2.! 1さ 2015 10 17 2016 1 31 I http://www.cuhk.edu.hk/ics/amm/index_c.htm 1970 2090 さ 70 20 レささ さてさ きさづさ へ さーささ さ さ (らとン) 3.! 1) ふ2015 5 2)——か ふ2015 9 22 12 21 -
The Screen in Fresco Paintings: a Study of the ‘Screen-Style Frescoes’ in the Temples of Gaoping County in China
arts Article The Screen in Fresco Paintings: A Study of the ‘Screen-Style Frescoes’ in the Temples of Gaoping County in China Wei Liu School of Architectural and Artistic Design, Henan Polytechnic University, Jiaozuo 454000, China; [email protected] Academic Editor: Annetta Alexandridis Received: 26 July 2017; Accepted: 2 September 2017; Published: 12 September 2017 Abstract: Screen-style frescoes, found in the temples of Gaoping County, Shanxi Province, China, and originating mostly from the Qing Dynasty, present a unique painting form. Folk artists not only painted the screen, a common object in everyday life in ancient China, on the wall surfaces, but also created a variety of paintings inside the screen panels, whereby the viewer sees a painting within a painting. This article, based on multiple field trips, aims to analyze screen-style frescoes in terms of their locations, styles, and unique artistic characteristics such as subject matter, color usage, and brushwork. By studying the influence of literati paintings from the Ming and Qing Dynasties, the author also reveals the aesthetic transition from religious scenes to secular life as presented in the temple frescoes in ancient Gaoping County. Keywords: screens in fresco paintings; screen-style frescoes; temples in Gaoping County; painting form; literati painting; secularization 1. Introduction The screen, as a common type of furniture and architectural element in ancient China, serves the multiple purposes of shielding from the wind; partitioning interior spaces, most often to create privacy; and functioning as both a painting medium and a decorative artwork (Wu 2009). Mural paintings of the screen have been primarily found in tomb chambers and grottoes dating back to the Han Dynasty, Tang Dynasty, and the period of Northern and Southern dynasties in China. -
Celebrating the Life, Works, and Legacy of Henry David Thoreau
THOREAU SOCIETY BICENTENNIAL ANNUAL GATHERING 2017 Celebrating the Life, Works, and Legacy of Henry David Thoreau Be it life or death, we crave only reality. Henry D. Thoreau JULY 11TH-16TH 2017 CONCORD, MA THOREAU SOCIETY STAFF ANNUAL GATHERING STAFF Michael J. Frederick, Executive Director Clarissa Eaton, Registration Coordinator & Program Editor Chynna Lemire, Business Manager Rachel Gulick, Registration Coordinator Magdalena Bermudez, Annual Gathering Coordinator Finley Janes, Director of Hospitality Jon Fadiman, Shop Supervisor William Bermudez, Audio-Visual Technician Richard Smith, Shop Manager & Thoreau Living History Conrad Demasi, Audio-Visual Technician HONORARY ADVISOR Edward O. Wilson BOARD OF DIRECTORS Michael Schleifer, CPA Brooklyn, New York Tom Potter President Martinsville, IN Robert Clarke Rochelle Johnson, PhD Woodbury, CT Caldwell, ID Treasurer Paul Schacht, PhD Gayle Moore Rochester, NY Martinsville, IN Clerk Michael Stoneham, PhD Washingtonville, NY Barry Andrews, D.Min. Bainbridge Island, WA Andrew Celentano Stoneham, MA Harrison A. Glasgow Manassas, VA Allen Harding Matamoras, PA Ronald Hoag, PhD Grimesland, NC Michael Lorence Williamsburg, VA The Thoreau Society Annual Gathering & Bicentennial EVENT MAP Old Manse Thoreau Farm & Thoreau Birthhouse 341 Virginia Road Monument Street Bedford Street Virginia Road Lowell Street Colonial Inn Masonic Temple Old Bedford Road Keyes Road Alcott House Keyes Road Parking Lot First Parish Church Lexington Road Concord Museum Main Street Emerson House Concord Free Public Library -
Harvard Museums of Science & Culture
FALL 2013 PROGRAMS HARVARD MUSEUMS OF SCIENCE & CULTURE • One world…four museums The Harvard Museums of Science and Culture (HMSC) offer outstanding permanent galleries, dynamic special exhibits, and captivating public programs for all ages and interests. From a 42-foot long Kronosaurus to exquisite glass flowers; from massive Maya and Egyptian monuments to finely-calibrated scientific instruments used by Benjamin Franklin; and from exceptional faculty lectures to gala celebrations, and children’s programs, the HMSC museum partnership is a portal to Harvard University’s world-renowned collections and vital research on human civilizations, biodiversity, Earth’s origins, and the history of science. Come see the world, in four museums. • Collection of Scientific Historical Instruments • Harvard Museum of Natural History • Harvard Semitic Museum • Peabody Museum of Archaeology & Ethnology • 1 •SEPTEMBER• Bee Day at Harvard Special Event. HMSC All activities are free and open to the public. For event details, visit the HMSC website: www.hmsc.harvard.edu Tuesday, September 10, 12:00–9:00 pm. The Plaza and the Science Center, 1 Oxford St. Jointly sponsored by the Harvard Museum of Natural History, Harvard Undergraduate Beekeepers, the Harvard Farmers’ Market, the Food Literacy Project, and the Cambridge Entomological Club Participate in a day of events and activities highlighting the importance of honey bees and beekeeping to biodiversity, the food supply, and human health. Learn more about the alarming decline of beehives (colony collapse disorder) widely documented in the U.S. and Europe. Event Schedule 12:00–6:00 pm: The Plaza (in front of the Science Center) Enjoy organic honey tasting at the Harvard Farmers’ Market. -
Christie's Hong Kong Fall 2013 Chinese Paintings Sales Highlights
P R E S S RELEASE | HONG KONG | 4 N O V E M B E R 2 0 1 3 FOR IMMEDIATE RELEASE CHRISTIE’S HONG KONG FALL 2013 CHINESE PAINTINGS SALES HIGHLIGHTS With Highlights Including the Continuing Sale of the Former Dr. K S Lo Collection An Important Single-Owner Sale, The Su Zhu An Collection of Chinese Paintings and Inkstones Chinese Contemporary Ink Paintings Private Sale Exhibition A Non-Selling Exhibition of The Feng Wen Tang Collection of Paintings by Qi Baishi |Fine Chinese Classical Paintings and Calligraphy, James Christie Room, November 25, 10am, Sale 3260| |The Su Zhu An Collection of Chinese Paintings and Inkstones (Paintings Section), James Christie Room, November 25, 4pm, Sale 3262| |Fine Chinese Modern Paintings, Part I, James Christie Room, November 25, 5pm, Sale 3261| |Fine Chinese Modern Paintings, Part II, James Christie Room, November 26, 10:00am & 2:30pm, Sale 3261| |Chinese Contemporary Ink Private Sales Exhibitions, November 21 – 26| |Exhibition of The Feng Wen Tang Collection of Paintings by Qi Baishi, November 21 – 26| Hong Kong – Christie’s Hong Kong 2013 autumn sales of Chinese Classical Paintings & Calligraphy and Modern Paintings will take place on November 25 and 26. Comprising nearly 790 lots that are estimated to realize in excess of HK$300 million/US$39 million, the sales will present works from various epochs and with a wide range of estimates. Highlights of the season include the continuing sale of an important selection of Chinese paintings, which once in the Dr. K. S. Lo Collection (Dr. Lo was the founder of Vitasoy). -
Men and Force: Saying Yes to Aggression and No to Violence
Thomas Owen-Towle Minns lecture V MEN AND FORCE SAYING YES TO AGGRESSION AND NO TO VIOLENCE Men are not flawed by nature. We become destructive when our masculinity is damaged. Violence springs from desperation and fear rather than authentic manhood. Aaron Kipnis Introduction If you haven’t discerned by now, I’m neither a cynic nor an optimist. Instead I’m a pragmatic hoper. In the final analysis, I agree with Stephen Boyd who says that “men are not inherently or irreversibly violent, relationally incompetent, emotionally constipated, and sexually compulsive. To the extent that we manifest these characteristics, we do so not because we are male, but because we have experienced violent socialization and conditioning processes that have required or produced this kind of behavior and we have chosen to accept, or adopt, these ways of being, thinking, and acting.” I contend that men can transform our histories of damaged and damaging masculinity. We can, indeed must, become more mature liberal religious brothers. Changing men will change our world. I behave my life on that premise and promise. One of the thorny yet useful distinctions for contemporary men to negotiate lies at the heart of lecture V: namely, saying yes to aggression or soul-force and saying no to violence, or unwarranted destruction. Our Demonic Male Legacy 1 There is no such thing as paradise, not in the South Seas, not in southern Greece, not anywhere. There never has been. To find a better world we must look not to a romanticized and dishonest dream forever receding into the primitive past, but to a future that rests on a proper understanding of ourselves.