DOCSLIB.ORG

Press-Kit-2017Docx-2384.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press-Kit-2017Docx-2384.Pdf The International Art Museum of America ​ 1025 Market Street San Francisco, CA 94103 415-376-6344 www.iamasf.org General Information Mission: IAMA strives to create a bond between disparate cultures through ​ beauty, thus promoting harmony and peace. About: The International Art Museum of America (IAMA) is a public benefit, ​ nonprofit art museum that opened in October of 2011.While the initial intent of the museum was to provide audiences with a retrospective study of H.H. Dorje Chang Buddha III’s work, the Board of Directors soon decided to devote the gallery space instead to displaying works of art from all over the world in an effort to fulfill our mission. Since then, IAMA has amassed works from many parts of the world. Each piece chosen for display has an intrinsic personal beauty, an interesting artistic style and form, and an emphasis on innovative and creative technique. Our permanent collection includes works by Qi Baishi, Zhang Daqian, Huang Binghong, Yun Shouping, and Emperor Yongzheng of the Qing Dynasty. The museum also features works by European masters Maurice de Vlaminck, Evariste Carpentier, Frits Thaulow, and Rosa Bonheur. Location: IAMA is located at 1025 Market Street in San Francisco. The Museum is ​ a short walk from the Civic Center BART station. Admission: Admission to IAMA has been free since January 2013. ​ Public Information: 415-376-6344 or www.iamasf.org ​ Contact: Kevin Gordon, Administrative Assistant to the Director 1025 Market Street, San Francisco, CA 94103 415-376-6344x7003 [email protected] The Collection The International Art Museum of America embraces excellence in both Eastern and Western art and focuses on acquiring works with cultural significance, innovative artistic techniques, and innate beauty. At IAMA, Eastern and Western art histories are juxtaposed in a completely unique manner to create connections between cultures and promote peace and harmony. The permanent collection includes the work of contemporary Chinese master H.H. Dorje Chang Buddha III, masters Qi Baishi and Zhang Daqian, Emperor Yongzheng of the Qing Dynasty as well as works from European masters such as Maurice de Vlaminck, Evariste Carpentier, and Rosa Bonheur. Chinese Ink Painting and Calligraphy: Chinese ink painting is one of the oldest ​ art traditions still practiced today. The artist uses a brush dipped in ink and then applied to rice paper, called xuan zhi, or silk. Common topics of ink painting include landscapes, flowers, and animals. One important form of ink painting is Chinese calligraphy, which can be traced back to 4000 B.C. From the Shang Dynasty in the 18th Century B.C. to today, various calligraphy styles have been developed. The collection at IAMA includes landscapes by Zhang Daqian (1899-1983), paintings of flora by Yun Shouping (1633-1690), calligraphy by Emperior Yongzheng(1678-1735), and more. Contemporary Chinese Painting and Sculpture: Growing from this rich artistic ​ tradition, IAMA houses a small number of art works by H.H. Dorje Chang Buddha III that are on display in the United States. He has developed 16 unique and innovative styles of painting as well as unique Yun sculptures. He coined the term Yun Sculpture to reflect the natural harmony and melody these sculptures embody. Another contemporary artist whose works are in our collection is Professor Yu Hua Shouzhi Wang. Professor Wang uses wood and paint to create sculptures that resemble large coral clusters. th th 17 Century Golde​ n Age, 18th Century, and 19 Century Dutch Painting:​ The ​ ​ ​ th Dutch Golden Age in the 17 century was marked by a strong economy, a​ ​ reinvention of Dutch artistic traditions, and strong moral views in the newly formed Dutch Republic. During this time, still life paintings, history paintings, landscapes, portraits, and genre scenes were popular. The extremely life-like still life paintings, such as IAMA’s Interior Scene by Dirck Wyntrack (1625-1678), ​ ​ show the artists’ command of painting different textures and often include a theme of vanitas. Vanitas refers to the brevity of life and reminds the viewer of the emptiness of earthly luxuries. Landscape painting flourished in the Dutch Republic and conveyed the beauty and power of God’s creation to the Calvinist society. th 18 Century Europ​ ean Portraits: Our collection includes portraits from French, ​ ​ Scottish , Irish, and other artists, including Sir Martin Archer Shee (1769-1850) and David Martin (1737-1797), who painted over 300 portraits, including one of th Benjamin Franklin. In the 18 century, commissioning a formal portrait like the​ ​ ones on display in IAMA was a symbol of financial status and position in society. During this time, artists carefully used color, light and shadow, and specific props in these portraits to convey information about the sitter. For instance, the Full-Length Portrait of Captain Barneby by Sir Martin Archer Shee (1769-1850) ​ shows the Captain in the dress uniform for his station while he holds his sword and decorated hat. th 19 Century Belgia​ n Painting: Belgium won its independence from the ​ ​ Netherlands in the 1830 Belgian Revolution. Many Belgian artists during this time period were strongly influenced by Impressionism. In works such as French ​ River Landscape with Figures by Charles Henri Joseph Leickert (1816-1907), the ​ attention to the way light hits the ocean landscape and the loose brushwork show the influence of Impressionism. Other Impressionist-like painters include Hubert Bellis, who focused on still-life painting with loose brushwork, and Paul Hermanus, who painted realist landscapes with the influence of Impressionism. The influence of the Orient can also be seen as interpreted by Belgian artists such as Jean-Francois Portaels (1818-1895). th 19 Century Europ​ ean Landscapes and Genre Scenes: Although history ​ ​ painting and portraits remained at the top of the painting hierarchy, landscape th and genre scenes gained much popularity during the 19 century. The Romantic​ ​ movement with its focus on the beauty of nature increased the prominence of Landscape painting, where the scene of the land or sea itself is the subject rather than merely the background. Examples in the IAMA collection include works by German artist Karl Schultze (1856-1935) and Norwegian artist Fritz Thaulow (1847-1906). Genre painting depicts scenes from everyday life, such as Interior ​ with a Girl Knitting by Flemish artist Pierre Joseph Toussaint (1822-1888). ​ th th 19 and 20​ Century French Painting:​ IAMA’s collection of paintings by French ​ ​ ​ artists exemplifies several of the major art and cultural movements of the time. The collection includes examples of Realism, landscapes, seascapes, portraits, and Fauvism. Realism was an important art movement that focused on what was visible in the world rather than the imaginative or subjective. One example of this is Repos du Betail by Rosa Bonheur (1822-1899), where the artist captures the ​ ​ image of animals at pasture. During this period in European art history, landscapes became more highly regarded by art institutions, and the type of landscapes artists preferred to paint changed. Artists started to move away from the Arcadian or mythological scenes. Many chose to paint what they observed th outdoors instead. In the early part of the 20 century, a group of artists known as​ ​ fauvists or “wild beasts” used colors and bold lines to elicit emotions rather than painting what they observed. The collection at IAMA includes Rue de Village by ​ ​ Maurice de Vlaminck (1876-1958), a fauvist painter that exhibited in the 1905 Salon d’automne along with Derian, Mauguin, and Matisse. In 2016, famous Russian contemporary artist Vladimir Semenskiy (1968-)donated a pointing “Night Swimmer” to add to the superb collection of IAMA’s Western art. International Art Museum of America Director Dr. Loretta Huang is the Director of Museum Operations at the International Art ​ Museum of America since January 2013. She brings to the museum her dedication to promoting lifelong learning and community engagement. Also President of the non-profit East-West Eclectic Society, she has over four decades of experience in education and administration—thirty years in Southern California public schools as a teacher, counselor, Instructional Specialist, Dean of Students, Principal, Director of Adult Education, and Director of Community Services; and fifteen years in higher education in Taiwan, Republic of China as a Professor and Program Officer at the Foundation for Scholarly Exchange (Fulbright, Taiwan). She served as President of the Kiwanis International in San Gabriel Valley and President of several professional organizations. Dr. Huang holds a Ph.D. and two Master’s Degrees. She also completed Leadership programs sponsored by Harvard University, California Department of Education, and Association of California School Administrators. She has received numerous awards for her professional and civic services, including the Association of California School Administrators Leadership Award, the National Conference of Christians and Jews Distinguished Service Award, Asian Pacific Family Center Shining Star Award, and multiple Los Angeles County Distinguished Services Awards. She is very excited to be a part of the IAMA family and continues to promote education and community service. Public Programs at the International Art Museum of America Children’s Art Class Every third Saturday at 2:30 pm, children under 12 are welcome to join our art class in exploring the museum collection, learning about colors and art techniques, and creating their own masterpieces! Story Time Every third Sunday of the month at 2:30 pm is Story Time with Barie! Children age 12 and younger are invited to gather around and hear stories such as Picasso ​ and the Girl with a Ponytail, The Magical Garden of Claude Monet and Rembrandt and ​ ​ ​ ​ the Boy Who Drew Dogs. After story time, guests can walk through our indoor ​ garden and visit our galleries of international art. Sketching in the Galleries Every weekend, visitors can explore our collection by putting pencil to paper.
Load more

Recommended publications
  • At the End of the Stream: Copy in 14Th to 17Th Century China
    Renaissance 3/2018 - 1 Dan Xu At the End of the Stream: Copy in 14th to 17th Century China There were no single words in Chinese equivalent to By the 14th century the three formats became the form the English word copy. By contrast, there were four preferred by artists, and remained unchallenged until distinctive types of copy: Mo (摹 ), the exact copy, was the early 1900s, when the European tradition of easel produced according to the original piece or the sketch painting came to provide an alternative.[1] The album of the original piece; Lin (临 ) denotes the imitation of was the last major painting format to develop. It ar- an original, with a certain level of resemblance; Fang rived along with the evolution of leaf-books. The album (仿 ) means the artistic copy of a certain style, vaguely was first used to preserve small paintings, later being connected with the original; and the last one, Zao (造 ), adopted by artists as a new format for original work refers to purely inventive works assigned to a certain and also as teaching resource or notebook for the master’s name. artist himself. Pictorial art in China frst emerged as patterns on In the process of the material change, it’s note- ritual vessels, then was transmitted to wall paintings worthy that Mo, the faithful copy, was involved in three and interior screens; later it was realised on horizontal slightly different ways: 1. to transmit an image from hand scrolls, vertical hanging scrolls and albums. manuscript/powder version to final work; 2.
    [Show full text]
  • 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.
    [Show full text]
  • Dangerous Liaisons Revisited
    Asian Art hires logo 15/8/05 8:34 am Page 1 ASIAN ART The newspaper for collectors, dealers, museums and galleries june 2005 £5.00/US$8/€10 The Taj Mahal and the Battle of Air Pollution THE GOVERNMENT OF India buy the more expensive ticket if they courtyard and its cloisters were added announced earlier this year that it is to want to get around the limit. Night subsequently and the complex was restrict the number of daily visitors to viewing is still permitted, but restricted fnally completed in 1653, with the the Taj Mahal in an attempt to to fve nights a month (including full tomb being the central focus of the preserve the 17th-century monument. moon). entire complex of the Taj Mahal. One of the best known buildings in Smog and heavy air pollution has It was inscribed on the World the world, and arguably India’s greatest been yellowing the Taj Mahal for Heritage List in 1983. Although the monument, makes it one of the most- many years and conservationists have Taj Trapezium Zone (TTZ), which visited tourist attractions in the world. been fghting through the courts to looks after 40 protected monuments, Millions of mostly Indian tourists visit control the levels of pollution in Agra. including three World Heritage Sites, the Taj Mahal every year and their Te Taj faces numerous threats, not Taj Mahal, Agra Fort and Fatehpur numbers are increasing steadily, as only from air pollution, but also insects, Sikri, delivered a court ban on the use domestic travel becomes easier.
    [Show full text]
  • Representing Talented Women in Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion
    REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION By Copyright 2016 Janet C. Chen Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Marsha Haufler ________________________________ Amy McNair ________________________________ Sherry Fowler ________________________________ Jungsil Jenny Lee ________________________________ Keith McMahon Date Defended: May 13, 2016 The Dissertation Committee for Janet C. Chen certifies that this is the approved version of the following dissertation: REPRESENTING TALENTED WOMEN IN EIGHTEENTH-CENTURY CHINESE PAINTING: THIRTEEN FEMALE DISCIPLES SEEKING INSTRUCTION AT THE LAKE PAVILION ________________________________ Chairperson Marsha Haufler Date approved: May 13, 2016 ii Abstract As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716–97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women’s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities.
    [Show full text]
  • Federal Register/Vol. 81, No. 197/Wednesday, October 12, 2016
    70490 Federal Register / Vol. 81, No. 197 / Wednesday, October 12, 2016 / Notices DEPARTMENT OF STATE compilation includes reports of both are being reported in 2015 as the Office tangible gifts and gifts of travel or travel of the Chief of Protocol, Department of [Public Notice: 9749] expenses of more than minimal value, State, did not receive the relevant as defined by the statute. Also included information to include them in earlier Office of the Chief of Protocol; Gifts to are gifts received in previous years reports. Federal Employees From Foreign including one gift in 1997, one gift in Publication of this listing in the Government Sources Reported to 2001, one gift in 2002, one gift in 2003, Federal Register is required by Section Employing Agencies in Calendar Year one gift in 2004, five gifts in 2006, thirty 7342(f) of Title 5, United States Code, as 2015 gifts in 2007, twenty-two gifts in 2008, added by Section 515(a)(1) of the The Department of State submits the sixty-one gifts in 2009, twenty-seven Foreign Relations Authorization Act, following comprehensive listing of the gifts in 2010, twenty-one gifts in 2011, Fiscal Year 1978 (Pub. L. 95–105, statements which, as required by law, forty-six gifts in 2012, twenty-five gifts August 17, 1977, 91 Stat. 865). federal employees filed with their in 2013, fifty gifts in 2014, and twelve Dated: September 22, 2016. employing agencies during calendar gifts with unknown dates. With the Patrick F. Kennedy, year 2015 concerning gifts received from exception of the gifts reported by the Under Secretary for Management, U.S.
    [Show full text]
  • Loa N C O Py
    LOAN COPY Booklet English UPPER LEVEL KULTUR FORUM OF CHINA OF FACES UPPER LEVEL UPPER PLAN SITE With Faces of China: Portrait Painting of the Ming and Qing Dynasties (1368-1912) the Staatliche Museen zu Berlin are hol- ding the first-ever European exhibition on Chinese portrait art. The show pre- sents over one hundred works covering a period of more than 500 years. The majority of the works from the collec- tions of the Palace Museum in Beijing and the Royal Ontario Museum in Toron- to have never before been shown in Europe. One focus of Faces of China relates to the unique works of the Qing dynasty (1644-1912), a heyday of the 1368 – 1912 and Qing Dynasties Ming the of Painting Portrait genre with portraits of members of the imperial court, military portraits and portraits in informal style of artists and 4. Literati 3. Portraits Portraits of Officials famous woman. 5. Military Portraits 4. Literati 2. Emperor Portraits Portraits 6. Religious 1. Introduction Portraits 1. INTRODUCTION: ANCESTORS AND ANCESTORS 1. INTRODUCTION: LITERATI, CHINA AND EUROPE AND CHINA LITERATI, Portraits play an important role in the art of all 1.1 world cultures. In China, two main genres in por- Portrait of Yang Woxing trait painting exist: large-format remembrance Unidentified Painter portraits of deceased ancestors and usually much smaller, informal portraits of various kinds. 佚名 楊我行神像 Ancestor portraits are only unrolled on certain 16th–17th cent. Hanging scroll, ink and colours on silk holidays. On these occasions the persons depi- Royal Ontario Museum, Toronto, The George Crofts Collection, 921.1.149 cted receive offerings and for a short time they become living members of the family again.
    [Show full text]
  • Exhibition: Alternative Dreams: 17Th-Century Chinese Paintings from the Tsao Family Collection on View: August 7–December 4, 2016 Location: Resnick Pavilion
    Exhibition: Alternative Dreams: 17th-Century Chinese Paintings from the Tsao Family Collection On View: August 7–December 4, 2016 Location: Resnick Pavilion Image captions on page 7 (Los Angeles—June 17, 2016) The Los Angeles County Museum of Art (LACMA) presents Alternative Dreams: 17th-Century Chinese Paintings from the Tsao Family Collection, one of the finest existing collections of Chinese paintings in the United States, formed over a period of 50 years by the late San Francisco Bay Area collector and dealer Jung Ying Tsao (1923–2011). The 17th century witnessed the fall of the Chinese-ruled Ming dynasty (1368– 1644), the founding of the Manchu-ruled Qing dynasty (1644–1911), and was one of the most turbulent and creative eras in the history of Chinese art. Comprising over 120 paintings, the exhibition explores ways in which artists of the late Ming and early Qing dynasties used painting, calligraphy, and poetry to create new identities as a means of negotiating the social disruptions that accompanied the fall of the Ming dynasty. Alternative Dreams presents work by over 80 artists, many of whom are the most famous painters of this period—including scholars, officials, and Buddhist monks. “Alternative Dreams is a window into a lost world. The window comprises Chinese paintings and their accompanying calligraphies, through which one can explore key aspects of Chinese culture,” says Stephen Little, Florence & Harry Sloan Curator of Chinese Art at LACMA. “Among these is the respect for antiquity and the importance—for an artist—of transforming the past into something new and relevant for the present.” About the Exhibition Alternative Dreams is divided into nine sections arranged both chronologically and geographically: Dong Qichang and Painting in Songjiang; the Nine Friends of Painting; Painting in Suzhou and Hangzhou; Painting in Fujian and Jiangxi; Painting in Nanjing; The Anhui School; The Orthodox School; Buddhist Monks; and Flower and Bird Painting.
    [Show full text]
  • Cleveland Museum of Art Photograph Library National Palace Museum
    Cleveland Museum of Art Photograph Library National Palace Museum, Taipei Collection Artist Index: Painting & Calligraphy Prepared by K. Sarah Ostrach Updated July 31, 2020 Contents Unknown Dynasty ........................................................................................................... 2 Age of Disunion ............................................................................................................... 2 Sui Dynasty ..................................................................................................................... 2 Tang Dynasty .................................................................................................................. 2 Five Dynasties ................................................................................................................. 3 Song Dynasty .................................................................................................................. 3 Yuan Dynasty .................................................................................................................. 7 Ming Dynasty ................................................................................................................ 10 Qing Dynasty ................................................................................................................. 15 Unknown Dynasty Box # Unknown Artists 1, 2, 3, 4, 5 Wu Gengsheng (Wu Keng-sheng --更生) 4 Zhang (Chang) 4 Age of Disunion Box # Gu Kaizhi (Ku K'ai-chih 顾恺之) 6 Wang Xizhi (Wang Hsi-chih 王羲之) 6 Zhang Sengyou (Chang
    [Show full text]
  • Translation Strategies for Art Translation in the Origins and Developments of the Lingnan School of Painting
    Linguistics and Literature Studies 2(7): 179-184, 2014 http://www.hrpub.org DOI: 10.13189/lls.2014.020701 Translation Strategies for Art Translation in the Origins and Developments of the Lingnan School of Painting Tzu-Fan Ma*, Jia-Chen Chuo Department of Applied Foreign Languages, Shih Chien University, Taipei, Taiwan *Corresponding Author: [email protected] Copyright © 2014 Horizon Research Publishing All rights reserved. Abstract Taiwan’s National Palace Museum published a achievements of these Lingnan School masters [2]. picture album of Chinese paintings, Origins and This paper focus on analyzing the translation strategies of Developments of the Lingnan School of Painting, when this bilingual album. First, I briefly introduce the Lingnan focusing on major works by Lingnan founders and masters. School’s history, including its origin and painting style. The The Lingnan School, a realistic school of art incorporating main purpose of this study is to find the problems in the western elements, has played an important role in modern translation of painting titles, including the word choice, Chinese painting development during the early twentieth untranslatability and tanslationese language, discussing century, and it has had great impact on contemporary art whether the translation matches the meaning of its source circles. Based on the bilingual album, this paper aims to language and the painting itself. Since the characteristics of analyze the translation strategies of art in Taiwan. The main Chinese culture and language are different from that of the purpose of this study is to find the problems in the translation West, not all source language can be translated perfectly into of the titles of paintings, including the word choice, the target language, especially when words are used to paint untranslatability and tanslationese language.
    [Show full text]
  • The Scientific Gaze and Ink Painting in Modern China
    Beggars, Black Bears, and Butterflies: The Scientific Gaze and Ink Painting in Modern China Lisa Claypool, University of Alberta Abstract The ink brushes of the painters Chen Shizeng (1876–1923), Liu Kuiling (1885–1967), and Gao Jianfu (1879–1951) were employed as tools of the nation in early twentieth-century China. Yet the expression of a radical idealism about the new republic in their ink paintings was tempered early on by a tentative and self-conscious exploration of new ways of seeing. By synthesizing a “universal” scientific gaze with their idiosyncratically trained vision as artists, they created pictures that encouraged their viewers to cross the boundaries and binaries that would come to define the discourse about guohua, or “national painting”: East versus West, oil versus ink, modernity versus tradition, painting versus graphic arts, and elite versus folk. This article explores that extended moment of synthesis and experimentation. It argues that it was through the scientific gaze of these brush-and-ink artists that idealism and learning came to cooperate, and through their paintings that possibilities for news ways of seeing the nation emerged. Keywords: scientific gaze, modern Chinese painting, Chen Shizeng, Gao Jianfu, Liu Kuiling In 1919, Cai Yuanpei (1868–1940), chancellor of Peking University (1917–1926) during its most vibrant period as a revolutionary cultural force, presented a lecture in which he proposed that the relationship between science and art was one that tracked culturally: China’s art, like its literature, philosophy, or studies of morality, he averred, depended on the copy, whereas “Western art” relied scientifically on firsthand observation of objects in the flesh.
    [Show full text]
  • Chinese Women Artists in the National and Global Art Worlds, 1900S - 1970S
    Redefining Female Talent: Chinese Women Artists in the National and Global Art Worlds, 1900s - 1970s Doris Ha Lin Sung A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Graduate Program in Humanities, York University Toronto, Ontario June 2016 © Doris Ha Lin Sung, 2016 Abstract This study examines the art practices of three generations of Chinese women who were active between the 1900s and the 1970s. Its conceptual focus is on the reassessment of female talent and virtue, a moralized dichotomy that had been used to frame women’s social practices and cultural production for centuries in China. The study opens in the period when female poetic practice was harshly vilified by reformists of the late Qing era (1890s-1911). It questions why women’s art production was not directly condemned and examines how women’s increasingly public displays of artistic talent were legitimized through the invocation of long-standing familial norms, the official sanction of new education, and the formulation of various nationalist agendas. Most importantly, this study demonstrates how women artists joined female writers, educators, and political figures in redefining gender possibilities in the early Republican period. Women artists discussed in this study practiced both Chinese-style and Western-style art. It examines their participation in several different public contexts, including art education, exhibitions, art societies, and philanthropic organizations. Representatives of the first generation, Wu Xingfen (1853-1930) and Jin Taotao (1884-1939), advanced the artistic legacy of their predecessors, the women of the boudoir (guixiu), while at the same time expanding the paradigm of traditional women’s art practices.
    [Show full text]
  • Application of XML Based EDI in Logistics Bills
    3rd International Conference on Education, Management and Computing Technology (ICEMCT 2016) On the Evolution of Chinese Poetic Painting in Successive Dynasties Wu Hao College of Humanities, Bohai University, Jinzhou, 121013, China [email protected] Key words: poetic painting; ancient; successive dynasties; evolution Abstract: As an artistic form that combined the poetry with painting, poetic painting originated in the Han Dynasty. Before the Tang Dynasty the poetry was mainly written on the Book of Odes and the Luoshen Appraisal. The Tang Dynasty, closer integration of poetry and painting, was an important period of giving birth to poetic painting. In the Song Dynasty poetic painting developed into great maturity. On one hand, the concept of blending poetry with painting was established that could be transformed into each other; on the other hand, the application of poetry into painting became a conscious behaviour of artists. The painter, Zhao Mengtiao, Ni Zan and others in the Yuan Dynasty truly led realistic painting into freehand brushwork, expressing the ideal of literati in their mind. The Ming and Qing Dynasties were the flourishing period of poetic painting. The poetic painting of the Ming Dynasty was more flexible and conscious but formal in selecting poems. Poetic painting in the Qing Dynasty basically followed the style of the Ming Dynasty, and paid more attention to the importance and inheritance of the art experience of former generation. Introduction Poetic painting was an artistic form that combined the poetry with painting. Pound once remarked that there was a common connection and some artistic qualities between different artistic styles. It was based on the common connection and qualities that the chorus between poetry and painting left the countless moving stories.
    [Show full text]