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Christian History & Biography
Issue 98: Christianity in China As for Me and My House The house-church movement survived persecution and created a surge of Christian growth across China. Tony Lambert On the eve of the Communist victory in 1949, there were around one million Protestants (of all denominations) in China. In 2007, even the most conservative official polls reported 40 million, and these do not take into account the millions of secret Christians in the Communist Party and the government. What accounts for this astounding growth? Many observers point to the role of Chinese house churches. The house-church movement began in the pre-1949 missionary era. New converts—especially in evangelical missions like the China Inland Mission and the Christian & Missionary Alliance—would often meet in homes. Also, the rapidly growing independent churches, such as the True Jesus Church, the Little Flock, and the Jesus Family, stressed lay ministry and evangelism. The Little Flock had no pastors, relying on every "brother" to lead ministry, and attracted many educated city people and students who were dissatisfied with the traditional foreign missions and denominations. The Jesus Family practiced communal living and attracted the rural poor. These independent churches were uniquely placed to survive, and eventually flourish, in the new, strictly-controlled environment. In the early 1950s, the Three-Self Patriotic Movement eliminated denominations and created a stifling political control over the dwindling churches. Many believers quietly began to pull out of this system. -
Zeng Jing's Informal Portraits of the Jiangnan Litera
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. I owe a special debt of gratitude to Susan Tai, Elizabeth Atkins Curator of Asian Art at the Santa Barbara Museum of Art. She was my Santa Barbara mother, and she helped made my eight-year sojourn in the American Riviera one that I will cherish forever. -
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. -
ED222436.Pdf
DOCUMENT RESUME ED 222 436 SQ 014 341 TITLE Traditional and-Contemporary Painting in-China. A Report of the 1,isit of the Chinese Painting Delegation to the People's Republic af China. INSTITUTFON National Academy of Sci'ences, Washington, D.C. Cothmittee on Scholarly Communication with the People's Republic of China. SPONS AGENCY National Endowment for the Humanities (NFAH), Washington, D.C. PUB DATE 80 NOTE 170p. 'AVAILABLE FROM Chinese Painting Delegation ReporX, CSCPRC, National ,Academy of Sciences, 2101 tonstitution Avenue, N.W,, , Washington, DC 20418 (free). EDRS PRICE MF01/PC07 Plus- Postage. DESCRIPTORS Administration; Archaeology; Art Appreciation; Art Education; *Art aistory; *Asian Studies; *Chinese Culture;.Higher Education; Manuscript Writing (Handlettering); Museums; *Painting (Visual Arts); Religion;' Travel IDENTIFIERS *China ABSTRACT A group of American scholars who visited the,People's Republic of China in October and November of 1977 to study Chinese paintings report on their trip. The purpose of the report is to provide informatioh and insights which will be useful to other scholars,in the fierd and which will help promote the development of strong ties between U.S. and Chinese art histbrians. Reports on the following are provided: Chinese paintings in Chinese4 museums; religious paintings;'/Iian and Ming paintings; contemporary painting"; Chinese;calligraphy; art and archaeological finds on display in museums; and museums in China. Included in the appendices are the trip itinerary, names of the people met, and a listing of the paintings seen in China. (RM) ******************************************************.***************** Reproducti.ons supplied by EDRS are the best that can b'a made * 'from the original document. -
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. -
British Women Missionaries, Chinese Women, and the Protestant Rescue Project in Hong Kong and China, 1850-1940
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 British women missionaries, Chinese women, and the Protestant rescue project in Hong Kong and China, 1850-1940 Tamara Cooper Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] BRITISH WOMEN MISSIONARIES, CHINESE WOMEN, AND THE PROTESTANT RESCUE PROJECT IN HONG KONG AND CHINA, 1850-1940 Tamara Cooper Supervisors: Associate Prof. -
7.Format-IJHSS-Comparative Analysis of Chinese and Western Arts From
International Journal of Humanities and Social Sciences (IJHSS) ISSN(P): 2319-393X; ISSN(E): 2319-3948 Vol. 8, Issue 4, Jun - Jul 2019; 71-84 © IASET COMPARATIVE ANALYSIS OF CHINESE AND WESTERN ARTS FROM 18 TH CENTURY TO ONWARDS Nujaba Binte Kabir 1 & Farjana Rahman 2 1Assistant Professor, Department of Architecture, The Ahsanullah University of Science & Technology, Dhaka, Bangladesh, South Asia 2Lecturer, Department of Architecture, The Ahsanullah University of Science & Technology, Dhaka, Bangladesh, South Asia ABSTRACT The Jesuits shaped the head of European cultural access to China. It was their pictures, prints, books that produced the first signs of European influence in Chinese Painting, and their writings that turn into the first detailed explanation of the arts of China in 17 th century Europe. But the question is how the two paintings of Europe and China merge with each other and what are the differences between them in terms of painting theory. For this purpose, one example of Chinese paintings of Wu Li (1632- 1718) who was a landscape painter and another example from Casper David Friedrich (1774-1840) from Germany who is known as Romantic painter have been taken. Jesuit missionaries centered around Confucianism that under the leadership of Matteo Ricci after 1592. Landscape paintings were based on Confucian philosophy. On the other hand Casper David Friedrich (1774-1840), a Romantic painter, explains that landscape paintings are the replacement of human actions to express human emotions. The aim of this paper is to make a visual or formal analysis of the two paintings from the 18 th and 19 th century as according to the painting theory. -
Chinese Paintings in Chinese Publications, 1956-1968: an Annotated Bibliography and an Index to the Paintings
THE UNIVERSITY OF MICHIGAN CENTER FOR CHINESE STUDIES MICHIGAN PAPERS IN CHINESE STUDIES Chang Chun-shu, James Crump, and Rhoads Murphey, Editors Ann Arbor, Michigan Chinese Paintings in Chinese Publications, 1956-1968: An Annotated Bibliography and An Index to the Paintings by E. J. Laing Michigan Papers in Chinese Studies No. 6 1969 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Copyright 1969 by Center for Chinese Studies The University of Michigan Ann Arbor, Michigan 48104 Printed in the United States of America ISBN 978-0-89264-124-6 (hardcover) ISBN 978-0-89264-006-5 (paper) ISBN 978-0-472-12789-4 (ebook) ISBN 978-0-472-90185-2 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ C ontents Foreword and Acknowledgments BIBLIOGRAPHY Notes on the Bibliography 1 Annotated Bibliography 1 INDEX Guide to the Index 33 Key to Biographical Sources 35 Abbreviations used in the Index 37 Key to Short Titles used in the Index 37 Index 41 Foreword and Acknowledgments Among the many contributions to scholarly endeavor in the field of Chinese painting made by Dr. Osvald Siren were his "Annotated Lists of Paintings and Reproductions of Paintings by Chinese Artists. TT These "Annotated Lists" were published as a part of his Chinese Painting, Leading Masters and Principles (The Ronald Press Company, New York, 19 56-58, 7 volumes). Since 19 56, the publication of reproductions of Chinese paint- ings has continued at a great pace throughout the world. -
Wu Zhen's Poetic Inscriptions on Paintings1 - School of Oriental and African Studies
Wu Zhen's poetic inscriptions on paintings1 - School of Oriental and African Studies Introduction Wu Zhen (1280–1354), style name Zhonggui, also called himself Meihua Daoren (Plum Blossom Daoist Priest), Mei Shami (Plum Priest) and Meihua Heshang (Plum Blossom Priest). He came from Weitang, now known as Chengguan, in Zhejiang Province. Along with Huang Gongwang (1269–1354), Ni Zan (1301–74), and Wang Meng (1308–85), he is known as one of the ‘Four Great Painters of the Yuan Dynasty’.2 Wu Zhen was also one of the leading figures of Chinese literati painting at the height of its popularity. When painting landscapes, or bamboo and rocks, he would usually inscribe his works with poems, and his contemporaries praised his perfection in poetry, calligraphy and painting, or the phenomenon of sanjue, ‘the three perfections’.3 Research to date has concentrated on Wu Zhen's paintings,4 but his poetic inscriptions have been relatively neglected. This article seeks to redress the balance by focusing on Wu Zhen's poetic inscriptions on paintings, both his own and those of past masters, and argues that inscriptions and colophons are an essential key to understanding literati art. Wu Zhen's family background is difficult to ascertain, since only very limited accounts of his life can be found in Yuan period sources.5 Sun Zuo (active mid to late fourteenth century)mentions Wu Zhen's residential neigh- bourhood, painting skills and character, without going into any depth.6 After the mid-Ming period, legends about Wu Zhen developed, and these provide us with some useful material. -
Protestant Medical Missionary Experience During the War in China 1937–1945: the Case of Hubei Province
Protestant Medical Missionary Experience During the War in China 1937–1945: The Case of Hubei Province Jocelyn Mary Chatterton School of Oriental and African Studies, University of London Submitted for the Degree of Doctor of Philosophy 1 Declaration I undertake that all material presented for examination is my own work and has not been written for me, in whole or in part, by any other person(s). I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged. ______________________________________________________ 2 Abstract During the war medical missionaries were able to demonstrate fully their raison d’être of service and professionalism to the Chinese and their fellow countrymen. In retrospect it can be seen that the war proved to be a golden age of opportunity for individual medical missionaries providing them with professional, personal and religious opportunity. It was a period when they felt both needed and wanted in China, and they showed great resourcefulness in response to the constraints placed upon their professional work as a result of military action. When those in occupied China lost all contact with their home bases medical missionaries shouldered additional administrative responsibilities which increased their already heavy workload. Whether in Free, or occupied China, medical missionaries were forced to make their own decisions in the field, and the bureaucratic-professional relationship with their home bases became strained. On the ground they experienced a flowering of inter-denominational co-operation. While responsible for the health of their fellow internees in the internment camps some medical missionaries were unexpectedly subjected to accusations of inexperience and nepotism. -
Inter-Religio 26
Asian Christian Writers in the l6th-l8th Centuries John England The first part of this bibliography was published in the previous issue of Inter- Religio (No. 25). In that issue, the data covered Korea, Philippines, Sri-Lanka and Vietnam. In this issue, John England focuses on China. PART 2 A SELECTION FROM CHINA Sixteenth to seventeenth centuries: Writings by Chinese Christians in the period include letters, essays and treatises, dialogues, poetry and memoirs. Amongst these should be noted: 1. “The letters of Antonio”(Chinese companion of Francis Xavier), written from Cochin, 1554. Written two years after the death of Xavier, it gives the full story of Xavier’s last months. The original appeared in Monumenta Historica Societatis Iesu II, 894-6; Many parts of the text are translated in St Francis Xavier by James Broderick, London 1952, 524- 526. Amongst the Chinese colleagues of Matteo Ricci and Michelle Ruggieri were: 2. Li Chih-tsao (c.1540-1630) who completed the Tien-hsueh chu han (First Anthology of Christian Learning) 6 vols. (Taipei, Hsueh-sheng, 1966). A collection of writings by the Jesuits and their colleagues concerning Christianity and science. Li also wrote many prefaces for the Jesuit writings which he edited. Others who have also contributed to these include Xu Xu-chen, Zhang Wen-dao and Yang Ting-yun (below). 3. Yang Tin-yun (1557-1627) was both a Neo-Confucian scholar and an orthodox Christian and his works are central to the dialogue between Neo-Confucianism and Christianity. His writings, from the years 1617- 1627 include: INTER-RELIGIO 26/ Winter 1994 77 —Tianshi Mingbian (Clear Discussion on [the teaching of] Heaven and Buddhism), n.d., last printed in Tianxhujiao dongchuan wenxian xubian (TDWX — Second Collection of Documents on the Spread of Catholicism in the East) 3 vols., Taipei, 1966, I. -
The Dreaming Mind and the End of the Ming World
The Dreaming Mind and the End of the Ming World The Dreaming Mind and the End of the Ming World • Lynn A. Struve University of Hawai‘i Press Honolulu © 2019 University of Hawai‘i Press This content is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0), which means that it may be freely downloaded and shared in digital format for non-commercial purposes, provided credit is given to the author. Commercial uses and the publication of any derivative works require permission from the publisher. For details, see https://creativecommons.org/licenses/by-nc-nd/4.0/. The Creative Commons license described above does not apply to any material that is separately copyrighted. The open-access version of this book was made possible in part by an award from the James P. Geiss and Margaret Y. Hsu Foundation. Cover art: Woodblock illustration by Chen Hongshou from the 1639 edition of Story of the Western Wing. Student Zhang lies asleep in an inn, reclining against a bed frame. His anxious dream of Oriole in the wilds, being confronted by a military commander, completely fills the balloon to the right. In memory of Professor Liu Wenying (1939–2005), an open-minded, visionary scholar and open-hearted, generous man Contents Acknowledgments • ix Introduction • 1 Chapter 1 Continuities in the Dream Lives of Ming Intellectuals • 15 Chapter 2 Sources of Special Dream Salience in Late Ming • 81 Chapter 3 Crisis Dreaming • 165 Chapter 4 Dream-Coping in the Aftermath • 199 Epilogue: Beyond the Arc • 243 Works Cited • 259 Glossary-Index • 305 vii Acknowledgments I AM MOST GRATEFUL, as ever, to Diana Wenling Liu, head of the East Asian Col- lection at Indiana University, who, over many years, has never failed to cheerfully, courteously, and diligently respond to my innumerable requests for problematic materials, puzzlements over illegible or unfindable characters, frustrations with dig- ital databases, communications with publishers and repositories in China, etcetera ad infinitum.