DOCSLIB.ORG

1. an Introduction to the Development of Western Painting. When Did People Start Painting?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1. an Introduction to the Development of Western Painting. When Did People Start Painting? Hong Kong Visual Arts Appreciation – Web-based course for secondary school teachers (Painting) Author: Ivy LIN 1. An Introduction to the Development of Western Painting. When did people start painting? This question is fundamental yet complex. In the West, the earliest known wall paintings from as early as 15,000-10,000 B.C. were discovered in the Altamira Cave in Spain (Fig. 1) and in the Lascaux Cave in France (horse) (Fig.2). These wall paintings demonstrate how people from the Stone Age began painting vivid and life-like representations of objects through careful observation. Primitive Western paintings were used in religious rituals, and as painting developed, religious art became central to Western art. Most ancient Western paintings were painted on vessels or on the walls of caves. They had several functions: chronicling history, glorifying certain deeds and prayer. Stone Age cave paintings principally depict scenes of herding and hunting, whereas paintings on tomb walls from the Egyptian and Assyrian Empires show mythological representations and scenes of everyday reflecting man’s quest for eternal life. The introduction of the “foreshortening” technique1 (Fig. 3) in early Greek art marked one of the major accomplishments of Archaic Greek art. It laid the foundation for perspective adopted by later painters and paved the way for the use of an objective, rational and analytic method to represent nature. The Roman Empire adopted the fine artistic traditions of Greece as exemplified by Christian painting which began to flourish in Europe during the time of Emperor Constantine. Byzantine mosaic art was followed by Gothic stained glass in the Middle Ages. In turn a revolutionary artistic movement, the Renaissance2, began in Italy in the 14th century, sparked off by social and economic changes which produced a new merchant class. Painters began to seek new solutions to formal and visual problems and started scientific experimentation in pursuit of realism and perfect human form. Based on scientific experimentation they developed perspective by using theories of anatomy they created a system by which all objects in a painting are related both proportionally and rationally. This made it possible to represent three-dimensional space convincingly on a flat surface. The Italian Renaissance promoted creativity and this allowed the style of Western painting to mature. This period is significant because it laid the foundation for the theory of painting and perfected the techniques which would greatly influence artists over the subsequent centuries. Emerging in Italy in the mid-17th century, Baroque art, which followed Mannerism3, used illusion, colour, light and movement to enhance the emotional power of subjects. Baroque evolved into Rococo 4 art which emphasised decoration characterized by lightness, delicacy, and elaborate ornamentation. It was popular for a short period in France in the 18th century. After the mid-18th century, Rococo art was gradually superseded by Neoclassicism5, which was marked by the emulation of Graeco-Roman forms. This, in turn, was replaced © All rights reserved. No portion of the material may be reproduced in any form by any means, without written consent. Hong Kong Museum of Art and Arts Education Section, Education and Manpower Bureau 1 Hong Kong Visual Arts Appreciation – Web-based course for secondary school teachers (Painting) Author: Ivy LIN by Romanticism6, which dominated Europe in the early 19th century. Inspired by social, political and historical changes, and even by the discovery of ancient relics, artists discarded the rational and harmonious principles of painting in pursuit of an expression of emotion to represent an imperfect world. The period from the late 19th century to the early 20th century witnessed the emergence of Impressionist 7 paintings in France and the rise of Modernism following the French and Industrial Revolutions. Impressionists rejected the formalism and sentimentality of academic art, seeking to use new technological devices and find new answers to the question of how to represent art. The rise of an increasingly powerful middle class (bourgeoisie) also changed demand and tastes in the art market and the kinds of serious subjects previously favoured by noble patrons were gradually replaced by light-hearted, easily comprehensible images. By this time, traditional painting seemed too unpopular to ever be reinstated in mainstream art. Impressionist painters chose to paint transient moments in order to deride the quest for eternity in traditional painting. They portrayed an emotional response and used scientific analytic methods to capture the effect of natural light and colour on objects at a particular moment in time. They were unconcerned about the traditional demands of incorporating morals and ideals into paintings. Instead, they used primary colors, the naturalness and juxtaposition of these bright colours and patterns reflecting a playfulness and light-hearted consumerist attitude. Neo-Impressionism 8 grew out of Impressionism. As a reaction against the loose painting requirements of Impressionism, artists gradually developed other techniques by moving away from naturalism. Paul Cezanne 9 (1839-1906) aimed to create a harmonious composition, exploring the interaction between the properties of line, plane and colour, while Vincent Van Gogh (1853-1890) and Paul Gauguin (1848-1903) emphasized the expression of emotions through every possible distortion and combination of colour. The revolutionary works by the Impressionists paved way for the development of Cubism10 and Fauvism11 in France in the early 20th century. While Cubism stresses the structure of the pictorial surface, Fauvism emphasises the expressiveness of colour and line. Yet, another contemporary movement, Expressionism12, developed in Germany, sought to depict a movement or tendency striving to express subject feelings and emotion rather than reality or objectivity in nature. Like Expressionists, Surrealists13 emphasised the depiction of dreams and subconscious fantasies in their work. With social, industrial and urban advances, during the 19th century, naturalism was no relevent to society. Painters were now confronted with tall buildings and machinery. In the early 20th century, given © All rights reserved. No portion of the material may be reproduced in any form by any means, without written consent. Hong Kong Museum of Art and Arts Education Section, Education and Manpower Bureau 2 Hong Kong Visual Arts Appreciation – Web-based course for secondary school teachers (Painting) Author: Ivy LIN this new view of the world, many artists reacted against the tradition of imitating nature by using forms, colours and abstract space to represent or to create a “reality” which dated back to 10th century European painting. The antecedents of abstract art can be traced back to the 19th century and to styles of painting in which the accurate depiction of reality was losing its primacy as the painter's aim. There are two main tendencies in abstract art: to have the subject of an artwork “abstracted” from natural appearance or pure abstraction, where non-representational forms and colours are used without any reference to the external appearance of the physical world in order to express the artist’s personality and feelings. Sometimes inspired by music, nature or urban landscapes, paintings in the former group are composed of independent forms and colours. This tendency has led to the rise of New Objectivity 14 in Germany and Neo-plasticism15 in the Netherlands. Pure abstraction later developed into two different styles, lyrical abstraction16 and geometric abstraction17. The former became the precursor of abstract expressionism and action painting18 which became popular in the United States and Art Informal in France in the 1950s. Following this, artists began to concentrate on the exploration of spirituality and symbolism in the artistic vocabulary and media. This resulted in n ascetic, pure and serious kind of art which was then overtaken by allegorical or mannerist art in the 1980s with the rise of Postmodernism19. It used figurative images to allude to tradition and mythology and represents a reversal of progressive, avant-garde modernism. © All rights reserved. No portion of the material may be reproduced in any form by any means, without written consent. Hong Kong Museum of Art and Arts Education Section, Education and Manpower Bureau 3 Hong Kong Visual Arts Appreciation – Web-based course for secondary school teachers (Painting) Author: Ivy LIN II. Early Western Painting in China 2.1 The Influx of Western Culture to China The influx of western culture to China can be traced back to the Ming(1368–1644) and Qing(1644-1911) Dynasties when Catholic and Jesuit missionaries introduced Western religion, culture and art to China. Unlike the literati tradition of Chinese painting, humanities and sciences were combined in Western painting. To the court of the Ming and Qing Dynasties, Western painting was no doubt something unique and new. During the Ming Dynasty, the Italian missionary Matteo Ricci(1552-1610) offered the Chinese emperor Shen Zong two religious paintings, thereby opening the eyes of the courtiers to Western art. The key figure who systematically introduced Western painting to China was an Italian Jesuit, Lang Shining20, (Giuseppe Castiglione, 1688-1766). He came to China in 1715 (the 54th year of the reign of Kangxi) and worked as a court painter under three successive reigns: Kangxi(1662-1722), Yongzheng(1723-1735)
Load more

Recommended publications
  • The Storm Society Primary Sources in Translation from Shanghai Modern
    The Storm Society Primary sources in translation from Shanghai Modern The Storm Society. Guan Liang. Mount Xiqiao. 1935. Oil on canvas; 50.5 x 57 cm. National Art Museum of China, Beijing. Guan Liang. Seated Nude. 1930. Oil on canvas; 60.5 x 45.5 cm. Private Collection. (Shanghai Modern, p. 183). Chen Baoyi. Scenery of West Shanghai. 1944. Oil on canvas; 44 x 52 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 184) Yan Wenliang. Red Sea. 1928. Oil on paperboard; 179 x 25.7 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 185). Ni Yide. Portrait of a Lady. 1950s. Watercolor on paper; 31.5 x 275 cm. China Academy of Art, Hangzhou. Situ Qiao. Lassoing Horses. 1944. Oil on canvas; 59 x 99 cm. National Art Museum of China, Beijing (Shanghai Modern, p. 188). Chen Qiucao. Sawing Wood. 1936. Oil on canvas; 67 x 67 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 189). Chen Qiucao. Flowers in the Trenches. 1940. Oil on canvas; 45.6 c 61 cm. National Art Museum of China, Beijing. (Shanghai Modern, p. 191) LEFT: Pang Xunqin. Winter. 1931. Oil on canvas; 47 x 36 cm. Private Collection. RIGHT: Qiu Ti, Shanghai View. 1947. Oil on canvasl 46 x 38 cm. Artist’s family. (Shanghai Modern, pp. 194-95). Chen Chengbo. Beach of the Putuo Mountain. 1930. Oil on canvas; 60 x 72 cm. (Shanghai Modern, p. 199). Liu Haisu (1896-1994). Girl Draped in Fox Fur. 1919. Oil on canvas; 60 cm x 45.5 cm.
    [Show full text]
  • Tiancheng Press Release
    PRESS RELEASE FOR IMMEDIATE RELEASE TIANCHENG INTERNATIONAL’S SPRING AUCTION OF MODERN AND CONTEMPORARY ART WILL BE HELD ON 6 APRIL 2013 AT HONG KONG Hong Kong, 28 February - Tiancheng International will present its Spring SaLe of Modern and Contemporary Art on 6 April at The Connaught Room, 1/F of Mandarin Oriental Hong Kong. Seeking to promote the thread of Chinese culture and traditions, Tiancheng International attempts to demonstrate the artists’ contribution of their inheriting and spreading traditional Chinese aesthetic spirits. Inspired by the musical arrangement, the auction is divided into three sections including Overture, Concerto and Symphony to present the development of Chinese Modern and Contemporary Art over the course from the early 20th century till nowadays. Public preview will start from 4 to 5 April at Hong Kong. THE FIRST SECTION – OVERTURE Around the 1920’s, the Qing Dynasty came to an end and the Republic of China was established. Many of those with aspirations flocked to the West to study Western art, building up a robust “New China”. From then on, a series of art revolutions started off. The advocate of art magazines, the birth of many Western art groups and the establishment of specialised art institutions all conceived the tone set for the development of China’s modern art education in the early 20th Century. In particular, as an advocate of “East meets West” and creative freedom, the Hangzhou Arts School paved the way for the eXtension of China’s art history onto far- reaching cultural axes. In the midst of all the collisions between East and West, they composed a passionate overture for the first half of the 20th century.
    [Show full text]
  • Jean-Auguste-Dominique Ingres, Attr., Seated Male Nude Seen from the Rear, First Decade of the Nineteenth Century (?)
    Philippe Cinquini Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?) Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Philippe Cinquini, “Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?),” Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.5. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Cinquini: Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?) by Philippe Cinquini During the winter of 2019–20, the Shanghai Museum hosted a major loan exhibition of late eighteenth-century and early nineteenth-century French academic art called La Naissance des Beaux-Arts (The Birth of the Fine Arts). [1] To the eighty-five works borrowed from France, the Shanghai Museum was able to add a single work from its own collection: an academic drawing of a seated male nude, probably dating from the early years of the nineteenth century (fig. 1). The drawing, long attributed to Jean-Auguste-Dominique Ingres, has been in the possession of the museum since 1977, but it had never been shown by the institution before.
    [Show full text]
  • 1 Xu Beihong
    1 The Asian Modern © John Clark, 2013 Xu Beihong (1895-1953) Chronology of Xu Beihong [simplified after Boorman, 1967-79; Wang & Xu, 1994 [the most detailed chronology]; Low &Chow, 2008; Xu & An, 2009] 1895 July 19, born in Jiangsu, father a schoolmaster and craftsman who taught painting, family of three boys and one girl. 1904 began to study painting with father, copied Wu Youru’s illustrations for lithographic pictorial Dianshizhai Huabao. 1908 fled from flood in Yiying with father. 1912 father ill, went to Shanghai and studied Western painting at Shanghai Drawing and Fine Arts Academy but left after several months due to lack of money. Returned to Yixing, where married due to parental order. Became painting and drawing instructor at a middle school. 1913 1914 father died, went to Shanghai. 1915 went back to Shanghai did illustrations and advertising. First met Jiang Biwei 将碧微, began study of French. Asked Gao Jianfu and Gao Qifeng for instruction. 1916 met painter and educationalist Zhou Xiang. Entered Zhentan University (Université Aurore), continued study of French. 1917 First wife died of illness. Married Jiang Biwei, with whom later two children. May, went to Tokyo with Jiang Biwei where studied painting until November when returned to Shanghai because could to pay his expenses. December, Kang Youwei wrote him a letter of introduction to Beijing. 1918 January, received a scholarship from North Sea Government in Beijing to study in France. March early, through Cai Yuanpei (1868-1940) became tutor at Painting Research Institute of Peking University. 1919 March 20, left Beijing with Jiang Biwei for France.
    [Show full text]
  • UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Abstract Art in 1980s Shanghai / Permalink https://escholarship.org/uc/item/16g2v1dm Author Jung, Ha Yoon Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Abstract Art in 1980s Shanghai A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Ha Yoon Jung Committee in charge: Professor Kuiyi Shen, Chair Professor Norman Bryson Professor Todd Henry Professor Paul Pickowicz Professor Mariana Wardwell 2014 The Dissertation of Ha Yoon Jung is approved, and it is acceptable in quality and form for publication on microfilm and electronically. ____________________________________________________________________ ____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii TABLE OF CONTENTS Signature Page ………………………………………………………………....……. iii Table of Contents ………………………………………………………….…...……. iv List of Illustrations …………………………………………………………………... v Vita ……………………………………………………………………….……….… vii Abstract ……………………………………………………….………………..……. xi Chapter 1 Introduction ……………………………………………………….……………….. 1 Chapter 2 Abstract
    [Show full text]
  • Urban Demolition and the Aesthetics of Recent Ruins In
    Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起，我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦，时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”，太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后，在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦，写作，生育，繁衍，结果，死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着，这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天，今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想，这能是新一轮 una tienda, 通天塔建造工程：设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里，就像卡夫卡的鼹鼠， de modo que para ella también resulta cómodo este modo 或锡安城的心脏，谁在乎呢？ de vida, 多少人满怀信心，一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量，完成日期倒成了次要的 obra, 我们这个时代，也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切，不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria.
    [Show full text]
  • The Art Market in 2020 04 EDITORIAL by THIERRY EHRMANN
    The Art Market in 2020 04 EDITORIAL BY THIERRY EHRMANN 05 EDITORIAL BY WAN JIE 07 GEOGRAPHICAL BREAKDOWN OF THE ART MARKET 15 WHAT’S CHANGING? 19 ART BEST SUITED TO DISTANCE SELLING 29 WHO WAS IN DEMAND IN 2020? AND WHO WASN’T? 34 2020 - THE YEAR IN REVIEW 46 TOP 500 ARTISTS BY FINE ART AUCTION REVENUE IN 2020 Methodology The Art Market analysis presented in this report is based on results of Fine Art auctions that oc- cured between 1st January and 31st December 2020, listed by Artprice and Artron. For the purposes of this report, Fine Art means paintings, sculptures, drawings, photographs, prints, videos, installa- tions, tapestries, but excludes antiques, anonymous cultural goods and furniture. All the prices in this report indicate auction results – including buyer’s premium. Millions are abbreviated to “m”, and billions to “bn”. The $ sign refers to the US dollar and the ¥ sign refers to the Chinese yuan. The exchange rate used to convert AMMA sales results in China is an average annual rate. Any reference to “Western Art” or “the West” refers to the global art market, minus China. Regarding the Western Art market, the following historical segmentation of “creative period” has been used: • “Old Masters” refers to works by artists born before 1760. • “19th century” refers to works by artists born between 1760 and 1860. • “Modern art” refers to works by artists born between 1860 and 1920. • “Post-war art” refers to works by artists born between 1920 and 1945. • “Contemporary art” refers to works by artists born after 1945.
    [Show full text]
  • Searching for Yield in Real Assets
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Searching for yield in real assets https://eprints.bbk.ac.uk/id/eprint/40263/ Version: Full Version Citation: Velez, Tara Michelle (2017) Searching for yield in real assets. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Searching for Yield in Real Assets Tara Michelle Velez PhD Thesis Birkbeck, University of London 22nd June 2017 1 Abstract Three empirical chapters addressing investments in real, alternative assets are presented in this thesis. Chapter 2 focuses on fine art as an investment. In recent years, the art market has been characterized by final auction prices greatly exceeding the ex- ante estimates published by international auction houses. We define this difference as a rarity premium and build a ‘Rarity Index’ by aggregating the premia relative to the mean. We also investigate the benefits, outside financial performance, associated with art ownership and introduce the term of ‘ownership yield’, meant to encapsulate both aesthetic yield and features of conspicuous consumption. This ownership yield may account for the large differences between the values of rarity indexes we construct for three famous families of paintings over the period 2003 to 2013. In Chapter 3, we turn our attention to residential real estate in alpha cities. We argue that relative price changes in prime property markets have greatly deviated from non-prime markets on a national level, while similarities across prime markets in different countries have increased.
    [Show full text]
  • Art Market Trends 2010
    ART MARKET TRENDS 2010 TM THE WORLD LEADER IN ART MARKET INFORMATION Art Market Trends 2010 p 5. Editorial p 7. Roller coaster p 8. Post-War and Contemporary Art in the global market p 8. 2010: Renewed competition p 10. A mixed return for Contemporary signatures: the “successes” of Hirst, Murakami and Koons p 12. China: the new global leader p 13. New York vs. Beijing p 14. Catching up on Old Masters and imposing their Contemporary artists p 15. France’s place in the art world: doomed to decline p 18. Art Market Confidence Index – 2010, a positive year p 21. Twitter: 2010 in 140 characters p 22. Top 10 Artists p 30. Top 100 auction performances in 2010 p 32. Top 500 artists by auction revenue in 2010 3 ART MARKET TRENDS 2010 Editorial In the words of Thierry Ehrmann, the After the previous art market meltdown founder and CEO of Artprice, the world in 1991, it took 4 years of patience before leader in art market information, China’s prices began to recover. This time round it accession to the lead- took only 18 months. ing position in global Fine Art sales repre- During the past decade, two strong sents an “electroshock trends have emerged: firstly we have seen in the history of the a veritable mutation in the commerce of global art market...”. art. The market’s structure has changed It took just three years with the evolution of Internet (with the ac- for China to jump celeration of online sales), the competition from third place (pre- generated by the more than 2601 art fairs Thierry Ehrmann viously occupied by organised each year around the world and France) in 2007 to first place in 2010, ahead the importance of investors and invest- of the UK and the USA, the grand masters ment funds in the market.
    [Show full text]
  • Art Museum Education in China: the NAMOC Case Study
    Art Museum Education in China: The NAMOC Case Study Dr. YANG Yingshi Deputy Director Public Education Department National Art Museum of China This paper examines the new trends of art museum education in China, taking the National Art Museum of China (NAMOC) as a primary example. The first part discusses art museums as educators in the global context, noting the fact that the growing importance of the public educational role of museums has emerged to be a focus of wide concern among scholars, museum professionals and government officials worldwide. The second part introduces art museums as educators in China, reviewing the history of museums and art museums as well as their increasingly active roles as educators to the general public. Also touched is the emergence of art museum education as a professional field in the country. The third part gives a detailed description of the public educational programs of the NAMOC. This part particularly presents four major areas of the museum’s educational work: academic and adult programs; children, school and family programs; volunteer programs; and collaboration with other institutions. The paper also points out the opportunities and challenges brought about by the free admission policy and the construction of the new museum building of NAMOC. The conclusion part shares some thoughts on art museum education in China. I. Art Museums as Educators: An Introduction For what purposes does a museum exist, and what is its first and primary purpose? The most recent (2007) definition of “museum” according to International Council of Museums (ICOM) statues is: “A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment” (ICOM Website, 2008).
    [Show full text]
  • Sdbwgysyqz.Pdf
    定价：360.00元 ბፇॺܾๆዜ౎ٷ൪ጁႎฉ࡛ CELEBRATION FOR THE 20TH ANNIVERSARY OF THE FOUNDING OF NEW SHANGHAI UNIVERSITY ᬝᮻ̎ ˟ᎄ TAO FEIYA CHIEF EDITOR 002 㿓䄜 ĄᎲ⺉᫜̶⊣๓႒㏰ᐦθ࡭ঔᎠ喝̶⊣๓႒ࢆ➕亲㞦ᱛ䖬䄣ᆁą᭛̶⊣๓႒ࢆ➕亲౔⇖̶㞦 ᱛ⩸⮰仂⁍ϚⰤȠ ᱘⁍࣮ᆁ⮰㞦ᱛტ喏ᬌ䃦᭛ܦ⩋κ ͂㏖θ̵࡭ᎠЏȟผह᭪䊗⮰㞦ᱛ๓ტ喏䔄᭛ᑿ϶㞦ಇ ͙≭ⵑᴝ⮰ ȟ ऺ喏ួᝂᎠ䒧㇪䔇⮰ ȟ ऺ喏ЂИ౔⩋঩͙⮰᳼⃡ᬢ䬠䘩̶̺⊣๓႒ᰵⱬ㉓ ჲ⮰㖀㈧喏ᝂ᭛጑҈Ч᪅喏ᝂ᭛႒Ό⌝䕌喞Ꭲ̀喏䔅⻹㖀㈧̬Ⱐᐢ㐙ݜβ϶๕喏ጴ⩋ͷ䬠ȟस႒ͷ 䬠⮰㞦ᱛϐ≭Ϟܳ㔸ಒ䄆喏Ⱔᥦ䬚䕿喏Ⅾ㉎̹₎Ƞ ᪇̹๝ڱ᭛̬Ꮣᐬᩪ⮰೺ጮ喏Ⴏᝬ⠘ᰵ⮰䲕঩ᕓȟ࠱ქᕓБࣶᬢᅆᕓ喏ᒎ᜼β̶⊣㒺ᱛ⊢̶ ๓⅀ȟᎰ䛹̹๝䆖䓴⮰㞦ᱛ৭ᵨȠₐ⁍ᆁܦ⮰҈৭喏ь㐋̺⣜Џȟ͈᫥̺㺫᫥ȟಆႴ̺݇᫜喏ϐ㏳ 䲎౜ᆁ⹦β̶⊣㞦ᱛტ౔ᑿЏᣎ㉎⮰䲎䆸Ƞڔႄ喏Ⱔξⷜ᧊喏ॴ⣜βๆᵣȟ凈ᬺ⮰䷺ᵨ喏䒯ͦڝ β̬๓ឥф⻬⮰㞦ᱛϦ᝹喏ᰵ߇౜ᣔߔβ̶⊣㒺ᱛη͆ڧπ࡭ๆᎠᲑ喏̶⊣๓႒㒺ᱛ႒䮎ഥ 喏͆͆ڎڎ⮰ࣽᆁȠ᜽⌝⌝ᙋᔬκ⃹ᵍ౔㞦ᱛ̶ᄥ᜽⮰ᠳᑁ喏̵࡭Ꭰຮ̬ᬑ喏౔㞦ᱛᣎ㉎⮰䕿䌛̶ Ꭲ໷㏴ႄᰵ᪘⩻ͷᓯȠ স㞦ᱛⵀΌ⮰䕿䌛̶䊜ᓃᰠߌಆ჆ȟ⽟֑喏ጸ᱇̶⊣๓႒ڧᰬऺ喏⺉ᙫ̶⊣๓႒౔㞦ᱛϦ᝹ഥ ࢆ➕亲̹᫙ᣔܦф⻬ᆁ㻴喏ᠭ㐙ᩢ㫻⊣̶㞦ᱛҟ҈Ƞ 㬊⫔㸘 ͙఩㒺ᱛტࡻцޛͧፙ ̶⊣ጮ᪳㖀ͧፙ ̶⊣ጮ㒺ᱛტࡻцͧፙ Ꭰ ᰴ 003 Preface ĉ The Invitation Art Exhibition of Shanghai University Museum is the debut of the museum in the art circles of Shanghai. Whether they are distinguished masters born during the second and third decades of the 20th century, or the mainstays born in 0s and 0s, or the ambitious generation of their forties and Ņfties, all of the SarticiSating artists are closely related to Shanghai University in means of ZorNing, teaching or studying. Whatģs more, the relationshiS is still tight today, Zhich maNes it Sossible for the teachers and students to communicate kindly and sincerely with each other in order to searching for the Muse of art.
    [Show full text]
  • Zhang Chongren and Tushanwan Chen Youwang in Shanghai, at The
    Zhang Chongren and Tushanwan Chen Youwang In Shanghai, at the riverside near Zhaojiabang, south of Xujiahui, many years of dredging had piled tons of river mud in a bend on the river. Eventually, this formed a small hill which people called Tushanwan (‘wan’ means ‘bay’, Tushanwan means a bay formed by local soil’). In 1864, the Catholic Church leveled part of the hill and on the site built a massive and well-equipped orphanage named the Tushanwan Orphanage. That was 140 years ago. By now, the name of Tushanwan has long since vanished and been forgotten. The main building and all other construction extensions, after more than half a century of urban development, have been entirely replaced by sweeping highways and skyscrapers. The only building remaining, which has witnessed so many changes and all vicissitudes in life through all these years, is a three-storey red brick house. It was built by the elderly Mr. Ma Xiangbo 马相伯 and was the main school building in the Orphanage, now located on Pu Hui Tong Road. Tushanwan has certainly been a window for West meeting East, because a great number of innovations, new handicrafts and modern techniques originated here in this part of China. Tushanwan has been the cradle for many early Western-style painters, sculptors and photographers. Among them, Zhang Chongren 张充仁 was by all means one of the most prominent artists yet his childhood growing up in Tushanwan is known to few. This great artist, Zhang Chongren, was born in China in the early twentieth century. He became one of the founders of modern Chinese sculpture, as famous as Liu Kaiqu 刘开渠.
    [Show full text]