DOCSLIB.ORG

A Conversation with Zhang Hongtu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Conversation with Zhang Hongtu De-nin Deanna Lee A Single Artwork: A Conversation with Zhang Hongtu rom October 18, 2015, to February 28, 2016, the Queens Museum, Zhang Hongtu, A Walking Man, 1985, acrylic on New York is exhibiting a retrospective of the work of Zhang Hongtu. canvas, 142.24 x 157.48 cm. FI spoke with Zhang Hongtu as he was preparing for the exhibition. Courtesy of the artist. De-nin Deanna Lee: The Queens Museum exhibition will be the first US survey of your work. How will it differ from your retrospective at the Kaohsiung Museum of Fine Arts in Taiwan last year? Zhang Hongtu: The Queens Museum show will be smaller, but the artworks will be drawn from a larger timespan, from as early as 1959, before I began studying at the high school of the Central Academy of Fine Arts. Another difference is that because the exhibition will take place in New York, it will feature more work from the 1980s and early 1990s. My artwork then was closely related to society, AIDS, and identity issues. 44 Vol. 14 No. 6 De-nin Deanna Lee: In working on this retrospective, have you found persistent themes or features in your artwork that surprised you? Zhang Hongtu: There weren’t any surprises because many of these things were exhibited in Kaohsiung. I wouldn’t call it a “surprise,” but what seemed apparent was the sense of myself as an artist who over the past decades has been working on a single artwork. It might look like I have different styles and periods, or skills and materials, but when I look at all of my work together, I see a single artwork. In terms of attitude and content, since the very beginning, my artwork has been about the relationship between society and myself. De-nin Deanna Lee: As you look back, do you have any regrets? Zhang Hongtu: Now that I’m getting on in years, I cannot avoid looking back at the past, at old materials. I have discarded many things, and I have only myself to blame. When I began studying art, at the approach of every lunar new year I would give myself the task of reviewing all the artwork I had done in the past year, and I would refuse to allow any work that I did not like to remain. The ones I disliked, I would be sure to tear up and throw out. De-nin Deanna Lee: Was it in 1960 that you began this yearly practice? Zhang Hongtu: Yes. I can’t quite remember whether it was Qi Baishi or another Chinese painter, who had a saying, “Leave to this world no inferior paintings.” I agreed with that sentiment, so I set myself a high standard. In fact, I was quite immature at the time, and some of my earlier works may not have been very good, but they have value in that they represent how I was thinking at that time. For example, there was the time I went to have my hair cut. At that time, I always had a sketchbook at my side. While I was having my hair cut, a white sheet covered my body, and my hands were underneath. I looked in the mirror and started to draw myself, and of course I could not see what I was drawing. After the haircut, I looked at my drawing and said to myself, “not good.” Of course it was not good. So I discarded it. This kind of thing happened again when I was older. In the school library there were books that only teachers could borrow. If you wished to see the books, you first needed to be friendly with your teacher. And then the teacher would invite you to his or her home, and there you could see them. I remember copying examples of painting in styles such as Pointillism, but I discarded all these. Later, some were destroyed during the Cultural Revolution. These are my regrets. On Living a Fully Human Life De-nin Deanna Lee: You left for America in 1982. Had you already made the decision to leave China permanently? If so, why? Zhang Hongtu: I don’t want to return to China to live, and I don’t struggle with this question. One of the reasons I haven’t returned is not merely Vol. 14 No. 6 45 about the artistic environment here, which gives me more freedom as an artist, but about being human. Life here has more dignity. In America, you can realize your potential and have autonomy, choosing how to live your life. I believe this is absolutely fundamental. Without this, in later years many realize that their lives have been controlled. I think this is tragic. You don’t need so many achievements; the important thing is whether you have lived with integrity. In America, this is possible. I don’t care what people think about my art, or how much it’s worth, or whether it’s in a prestigious collection. More important is the question of whether what I have done is what I wished to do. Is the relationship between my artwork and my life consistent? I don’t want to grow old and doubt my life, suspecting that I acted because of others or the market or the critics. Were that the case, I would believe that I had made a terrific error. Regardless of how much China has changed, so long as it is better to be human in America, I don’t think about returning. De-nin Deanna Lee: Was there a precipitating event that led to your decision to leave China? Zhang Hongtu: I had already lived in China for thirty, almost forty years, and I truly felt sick and tired of it. Were I to continue on in China, I felt, either I would have gone mad or given up my art. Since I was a child, I loved art. But at the time in China, there was no such thing as freelance work. The government determined all jobs. There wasn’t such a thing as an independent artist, and there were no galleries. You might fantasize about quitting your job. Well, there was no such thing as quitting your job unless you had committed a crime and your work unit had ejected you. If you didn’t work, then not only would you be jobless, you also would have no vouchers for food and no way to live. And if you had a family to raise, well, then you had no choice but to work. The job that the government assigned to me was at a jewelry company as a jewelry design advisor. But at the time, no one in China wore jewelry. Still, we had to design jewelry, which would be exported to acquire foreign currency. Think about how meaningless this work was. I did not enjoy it. Only on Sundays, when my wife would bring my child to my parents’ home, would I have some time and space to make art. It was like this for years. Several times I tried to change jobs, but none was successful, due to my own work unit. It’s like this: When the government assigns you to a work unit, then you belong to that work unit. They have your personal file, which they control. If they refuse to give you this file, then no other work unit can accept you. It’s very simple. After several failed attempts, I decided to leave China. I thought that only by leaving could I continue to make my art. 46 Vol. 14 No. 6 On Early Work De-nin Deanna Lee: Your sister found some of your early work among your mother’s belongings—is that right? Zhang Hongtu, Sky is My Zhang Hongtu: After my mother Home, 1980, ink on paper, 34.29 x 29.8 cm. Courtesy of passed away, my younger sister the artist. found some of my drawings. When I went back to China, I picked them up. I find this one especially interesting. I rarely make ink paintings: I’m not very good at it, and my calligraphy is poor. But here I wrote: “The sky is my home. Why do I have to stay at the bottom of the oil barrel? Open my eyes and wings. Outside everything is alive.” This small bird represents my hope and me. This painting isn’t a particularly important one, but it is an authentic expression, surpassing my ability with words. On Artwork in the Queens Exhibition De-nin Deanna Lee: Could you tell me more about artwork that will be included in the Queens Museum exhibition? Zhang Hongtu: In 1995, I had an exhibition at the Bronx Museum, and all of the works were of Mao Zedong. It was called Material Mao, a single- themed exhibition. After that, I decided to stop doing works on Mao. Why? First of all, I didn’t feel a need to do any more. When I first starting making them I used it as psychological therapy. Zhang Hongtu, Mesh Mao, When I first started making 1992, wire mesh, 91.4 x 69.85 x 21.59 cm. Courtesy these works, I had the feeling of the artist. of committing a crime, doing something wrong. Still, I felt that I must continue. At the time, George H. W. Bush was the American president, and I asked myself, would I have this same feeling if I did portraits of Bush? No, but why would I have this guilty feeling with Mao portraits? Moreover, Mao had already been dead for some years.
Load more

Recommended publications
  • Zhang Hongtu / Hongtu Zhang: an Interview'
    An Interview with Zhang Hongtu 281 the roots - Chinese culture - had already become part of my life just as a tail is a part of a dog's body. I'm like a dog: the tail will be with me for 10 ever, no matter where I go. Sure, after nine years away from China, I forget many things, like I forget that when you buy lunch you have to pay Zhang Hongtu / Hongtu Zhang: ration coupons with the money, and how much political pressure there An Interview' was in my everyday life. But because I still keep reading Chinese books and thinking about Chinese culture, and especially because I have the opportunity to see the differences between Chinese culture and the Western culture which I learned about after I left China, my image of Chinese culture has become more clear. Su Dongpo (the poet, I036- Zhang Hongtu was born in Gansu province, in northwest China, in lIOI) said: Bu shi Lushan zhen mianmu / Zhi yuan shen zai si shan I943, but grew up in Beijing. After studies at the Central Academy of zbong, Which means, one can't see the image of Mt. Lu because one is Arts and Crafts in Beijing, he was later assigned to work as a design inside the mountain. Now that I'm outside of the mountain, I can see supervisor in a jewellery company. In I982, he left China to pursue a what the image of the mountain is, so from this point of view I would say career as a painter in New York.
    [Show full text]
  • Summer 2020 Degrees Conferred
    THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Australia Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor Fofanah, Osman Ngunnawal 2913 Bachelor of Science in Education THE OHIO STATE UNIVERSITY OSAS - Analysis and Reporting November 17, 2020 Page 1 of 42 THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Bangladesh Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor Helal, Abdullah Al Dhaka 1217 Master of Science Alam, Md Shah Comilla 3510 Master of Science THE OHIO STATE UNIVERSITY OSAS - Analysis and Reporting November 17, 2020 Page 2 of 42 THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Bolivia Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor Arrueta Antequera, Lourdes Delta El Alto Master of Science THE OHIO STATE UNIVERSITY OSAS - Analysis and Reporting November 17, 2020 Page 3 of 42 THE OHIO STATE UNIVERSITY Degrees Conferred SUMMER SEMESTER 2020 Data as of November 17, 2020 Brazil Sorted by Zip Code, City and Last Name Degree Student Name (Last, First, Middle) City State Zip Degree Honor dos Santos Marques, Ana Carolina Sao Jose Do Rio Pre 15015 Doctor of Philosophy Marotta Gudme, Erik Rio De Janeiro 22460 Bachelor of Science in Business Administration Magna Cum Laude Pereira da Cruz Benetti, Lucia Porto Alegre 90670 Doctor
    [Show full text]
  • The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin
    “Art Is to Sacrifice One’s Death”: The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin by Muyun Zhou Department of Asian and Middle Eastern Studies Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Supervisor ___________________________ Eileen Chow ___________________________ Leo Ching Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Department of Asian and Middle Eastern Studies in the Graduate School of Duke University 2021 ABSTRACT “Art Is to Sacrifice One’s Death”: The Aesthetic and Ethic of the Chinese Diasporic Artist Mu Xin by Muyun Zhou Department of Asian and Middle Eastern Studies Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Supervisor ___________________________ Eileen Chow ___________________________ Leo Ching An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Department of Asian and Middle Eastern Studies in the Graduate School of Duke University 2021 Copyright by Muyun Zhou 2021 Abstract In his world literature lecture series running from 1989 to 1994, the Chinese diasporic writer-painter Mu Xin (1927-2011) provided a puzzling proposition for a group of emerging Chinese artists living in New York: “Art is to sacrifice.” Reading this proposition in tandem with Mu Xin’s other comments on “sacrifice” from the lecture series, this study examines the intricate relationship between aesthetics and ethics in Mu Xin’s project of art. The question of diasporic positionality is inherent in the relationship between aesthetic and ethical discourses, for the two discourses were born in a Western tradition, once foreign to Mu Xin.
    [Show full text]
  • Chinese Art Outside China Published by Edizioni Charta
    Breakout: Chinese Art Outside China Published by Edizioni Charta. Milano, Italy, 2007 Jonathan Goodman ell conceived and well written, Melissa Chiu’s Breakout: Chinese Art Outside China Wconsiders the Chinese artistic diaspora— painters and sculptors, performance artists and conceptual practitioners who left the Mainland in favour of greater aesthetic freedom in America, Europe, and Australia. After the events on June 4, 1989, at Tian’anmen Square, the democracy movement in China was crushed, and many artists sought to escape what had become a prison house for the intelligentsia. At the same time, however, as Chiu points out in a perceptive introduction, there was a general exodus that had to do with cultural restlessness as much as political oppression. She finds that not everybody wanted to leave; she quotes Ah Xian, Cover of Breakout: Chinese Art Outside China. a ceramic artist who settled in Australia: “Once we had Image: Ah Xian, Human Human—Landscape 1, 00-00. Courtesy Edizioni Charta, Milano. the chance to go overseas, we tried as hard as we could to stay” . And most recently, many Chinese artists have returned to China, including such major figures as Zhang Huan, who never gave up his Chinese passport while working in America, and Xu Bing, who has accepted the post of vice president at the Central Academy of Fine Arts in Beijing, where he received his Bachelor’s and Master’s degrees more than two decades ago. Chiu rightly suggests that the ebb and flow of immigration by Chinese artists is complicated, and much of her book, which is devoted to case studies of individual artists, claims a greater complexity for these figures than what the general perception might assert.
    [Show full text]
  • Mao in Tibetan Disguise History, Ethnography, and Excess
    2012 | HAU: Journal of Ethnographic Theory 2 (1): 213–245 Mao in Tibetan disguise History, ethnography, and excess Carole MCGRANAHAN, University of Colorado What Does ethnographic theory look like in Dialogue with historical anthropology? Or, what Does that theory contribute to a Discussion of Tibetan images of Mao ZeDong? In this article, I present a renegaDe history told by a Tibetan in exile that Disguises Mao in Tibetan Dress as part of his journeys on the Long March in the 1930s. BeyonD assessing its histori- cal veracity, I consider the social truths, cultural logics, and political claims embeDDeD in this history as examples of the productive excesses inherent in anD generateD by conceptual Disjunctures. KeyworDs: History, Tibet, Mao, Disjuncture, excess In the back room of an antique store in Kathmandu, I heard an unusual story on a summer day in 1994. Narrated by Sherap, the Tibetan man in his 50s who owned the store, it was about when Mao Zedong came to Tibet as part of the communist Long March through China in the 1930s in retreat from advancing Kuomintang (KMT) troops.1 “Mao and Zhu [De],” he said, “were together on the Long March. They came from Yunnan through Lithang and Nyarong, anD then to a place calleD Dapo on the banks of a river, anD from there on to my hometown, Rombatsa. Rombatsa is the site of Dhargye Gonpa [monastery], which is known for always fighting with the Chinese. Many of the Chinese DieD of starvation, anD they haD only grass shoes to wear. Earlier, the Chinese haD DestroyeD lots of Tibetan monasteries.
    [Show full text]
  • Mao Fever and the Story of a Mao Book Ross Terrill
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln The hinC a Beat Blog Archive 2008-2012 China Beat Archive 2010 Mao Fever and the Story of a Mao Book Ross Terrill Follow this and additional works at: https://digitalcommons.unl.edu/chinabeatarchive Part of the Asian History Commons, Asian Studies Commons, Chinese Studies Commons, and the International Relations Commons Terrill, Ross, "Mao Fever and the Story of a Mao Book" (2010). The China Beat Blog Archive 2008-2012. 703. https://digitalcommons.unl.edu/chinabeatarchive/703 This Article is brought to you for free and open access by the China Beat Archive at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in The hinC a Beat Blog Archive 2008-2012 by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Mao Fever and the Story of a Mao Book February 26, 2010 in Watching the China Watchers by The China Beat | Permalink By Ross Terrill When Mao died I wrote: “China does not have, and does not need, a real successor to the bold and complex Mao. Now the revolution is made, another Mao would be as unsuitable as a sculptor on an assembly line” (Asian Wall Street Journal, 9/10/76). I ended the first edition of my biography of Mao in 1980 with the expectation: “‘Raise High the Banner of Mao Zedong’s Thought,’ cry official voices now that Mao is safely in his crystal box. Up it goes higher and higher, until no one can read what is written on its receding crimson threads” (Mao, Harper & Row, 1980, p.
    [Show full text]
  • ART in TURMOIL
    ART in TURMOIL King hi_res.pdf 1 12/21/2009 3:15:46 PM Contemporary Chinese Studies This series, a joint initiative of UBC Press and the UBC Institute of Asian Research, Centre for Chinese Research, seeks to make available the best scholarly work on contemporary China. Volumes cover a wide range of subjects related to China, Tai- wan, and the overseas Chinese world. Glen Peterson, The Power of Words: Literacy and Revolution in South China, 1949-95 Wing Chung Ng, The Chinese in Vancouver: The Pursuit of Power and Identity, 1945-80 Yijiang Ding, Chinese Democracy after Tiananmen Diana Lary and Stephen MacKinnon, eds., Scars of War: The Impact of Warfare on Modern China Eliza W.Y. Lee, ed., Gender and Change in Hong Kong: Globalization, Postcolonialism, and Chinese Patriarchy Christopher A. Reed, Gutenberg in Shanghai: Chinese Print Capitalism, 1876-1937 James A. Flath, The Cult of Happiness: Nianhua, Art, and History in Rural North China Erika E.S. Evasdottir, Obedient Autonomy: Chinese Intellectuals and the Achievement of Orderly Life Hsiao-ting Lin, Tibet and Nationalist China’s Frontier: Intrigues and Ethnopolitics, 1928-49 Xiaoping Cong, Teachers’ Schools in the Making of the Modern Chinese Nation- State, 1897-1937 Diana Lary, ed., The Chinese State at the Borders Norman Smith, Resisting Manchukuo: Chinese Women Writers and the Japanese Occupation Hasan H. Karrar, The New Silk Road Diplomacy: China’s Central Asian Foreign Policy since the Cold War King hi_res.pdf 2 12/21/2009 3:16:06 PM ART in TURMOIL The Chinese Cultural Revolution 1966-76 Edited by Richard King With Ralph Croizier, Shengtian Zheng, and Scott Watson King hi_res.pdf 3 12/21/2009 3:16:06 PM © UBC Press 2010 All rights reserved.
    [Show full text]
  • Jerome Silbergeld
    SILBERGELD.CV 1 JEROME SILBERGELD P.Y. and Kinmay W. Tang Professor of Chinese Art History Director, P. Y. and Kinmay W. Tang Center for East Asian Art Affiliate Professor, East Asian Studies Department Member, East Asian Studies Program Executive Committee, Committee for Film Studies Princeton University 105 McCormick Hall Princeton, New Jersey 08544 609-258-6249 FAX 609-258-0103 [email protected] Education B.A., Stanford University, 1966 (History, with Departmental Honors) M.A., Stanford University, 1967 (History) Stanford University, 1967-68 (Ph.D. Program in History) Princeton University, 1968-69 (Ph.D. Program in Chinese Art and Archaeology) M.A., University of Oregon, 1972 (Art History, with University Honors) Ph.D., Stanford University, 1974 (Art History, with Departmental Distinction) Dissertation: "Political Symbolism in the Landscape Painting and Poetry of Kung Hsien (ca. 1620-1689)" Faculty Appointments University of Oregon, Department of Art History, Visiting Assistant Professor, 1974-75 University of Washington, Art History Program, China Studies Affiliate (Jackson School of International Studies), Cinema Studies Faculty; Assistant Professor, 1975-81; Associate Professor, 1981-87; Professor, 1987-2001; Donald E. Petersen Professor of Arts, 2000-2001; Affiliate Professor of Art History, 2001- Harvard University, Department of Fine Arts, Visiting Professor, 1996 Princeton University, P.Y. and Kinmay W. Tang Professor of Chinese Art History, Director Tang Center for Chinese and Japanese Art, Affiliate Professor of East Asian
    [Show full text]
  • K-State News » News » K-State News
    9/20/2018 | Kansas State University | News and Communications Services K-State home » DCM » K-State News » News » K-State News Artist Zhan Hongtu brings his varied cultural roots to new exhibition at Beach Museum of Art Monday, Seot. 17, 2018 Zhang Hongtu's "Shitao-van Gogh #10" is from his "On-going Shan Shui" series. The 2003 oil on canvas, 36 by 30 inches, is courtesy of the artist. | Download this photo. (/media/images/sept18/shitao-vangogh.jpg) MANHATTAN — "Culture Mixmaster Zhang Hongtu," the first solo show of this internationally acclaimed artist in the Midwest, opens Tuesday, Sept. 25, at Kansas State University's Marianna Kistler Beach Museum of Art. This large exhibition brings together early and recent works highlighting Zhang's expressions of his hybrid cultural roots. Zhang grew up in China as a member of the Muslim minority, suffering persecution for his religion and his political beliefs under the regime of People's Republic of China founder and Communist Party Chairman Mao Zedong. Zhang's travels around China as a young artist, most especially his study trip to Dunhuang in the western province of Gansu, proved seminal to his development. Dunhuang was an important stop along the network of trade routes known as the Silk Road, which connected Europe and Africa to the Middle East and Asia. Through the Silk Road, Buddhism traveled from India to China, resulting in the establishment of Buddhist cave temples around Dunhuang between the fourth and 14th centuries. The cave temples featured https://www.k-state.edu/media/newsreleases/2018-09/zhang91718.html#_msocom_1 1/3 9/20/2018 | Kansas State University | News and Communications Services painting styles different from what Zhang had learned in art school and showed signs of the mural artists' awareness of European painting.
    [Show full text]
  • November/December 2015 Volume 14, Number 6 Inside
    NOVEMBER/DECEMBER 2015 V OLUME 14, NUMBER 6 INSI DE Artist Features: Bingyi, Huang Rui, Ma Yanling, Zheng Chongbin Conversations: David Diao, Liang Kegang, Sun Yuan, Wei Jia, Zhang Hongtu US$12.00 NT$350.00 P R I NTE D IN TA I WAN 6 VOLUME 14, NUMBER 6, NOVEMBER/DECEMBER 2015 C ONTENTS 38 2 Editor’s Note 4 Contributors 6 Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin Maya Kóvskaya 44 22 Seeing the Unseen World: The Art of Bingyi Amjad Majid 38 A Conversation with Wei Jia Daniel Chen 44 A Single Artwork: A Conversation with Zhang Hongtu De-nin Deanna Lee 58 Huang Rui: Painting with Words 66 Jonathan Goodman 66 This Actually Happened—On Objectivity Without Universality: A Conversation with David Diao David Xu Borgonjon 76 Tangled Up in Blue: Women in the Art of Ma Yanling Patricia Eichenbaum Karetzky 76 87 The Traditional and the Contemporary— Musings About Art and Philosophy: A Conversation with Liang Kegang Alice Schmatzberger 94 Unlived by What Is Seen: A Conversation with Sun Yuan Anthony Yung 107 Chinese Name Index Cover: Zhang Hongtu, Little Monkey (detail), 2013, ink and 94 oil on rice paper mounted on panel, 123.19 x 116.84 cm. Courtesy of the artist. We thank JNBY Art Projects, D3E Art Limited, Chen Ping, Mr. and Mrs. Eric Li, and Stephanie Holmquist and Mark Allison for their generous contribution to the publication and distribution of Yishu. 1 Vol. 14 No. 6 Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C.
    [Show full text]
  • AAS Caricaturing Valjakka.Pdf
    ASIAN AND AFRICAN STUDIES Journal of the Department of Asian and African Studies University of Ljubljana – Faculty of Arts Chinese Art between Tradition and Modernity Volume XV, Issue 1 Ljubljana, May 2011 ASIAN AND AFRICAN STUDIES, Volume XV, Issue 1, Ljubljana, May 2011 Editor-in-chief: Jana S. Rošker Guest editor: Nataša Vampelj Suhadolnik Managing and layout editor: Nataša Viso nik Copy editor: Chikako Shigemori Bu ar Editorial Board: Andrej Bekeš, Jana S. Rošker, Chikako Shigemori Bu ar, Andrej Ule, Mitja Saje, Maja Lavra , Takemoto Takahashi, Yuriko Sunakawa, Wang Yi, Raul David Findeisen, Gou Chengyi, Nataša Vampelj Suhadolnik, Tamara Ditrich, Nikolai Jeffs, Nataša Hrastnik, Mateja Petrov i , Kristina Hmeljak Sangawa, Nataša Viso nik, Nagisa Moritoki, Luka Culiberg © University of Ljubljana, Faculty of Arts, 2011. All rights reserved. Published by: Znanstvena založba Filozofske fakultete Univerze v Ljubljani/Faculty of Arts, University of Ljubljana For: Oddelek za azijske in afriške študije/Department of Asian and African Studies For the publisher: Prof. dr. Valentin Bucik, Dean of Faculty of Arts Ljubljana, 2011, First edition Number printed: 200 copies Graphic Design: Mare Kova i Printed by: Birografika Bori, d. o. o. Price: 7,00 EUR ISSN 1408-5429 This publication is indexed in the Cobiss database. This journal is published three times per year. Yearly subscription: 18 EUR, (Account No.: 50100-603-40227) Ref. No.: 001-033 ref. »Za revijo« Address: Filozofska fakulteta, Oddelek za azijske in afriške študije, Ašker eva 2, 1000 Ljubljana, Slovenija tel.: +386 (0)1 24 11 450, +386 (0)24 11 444 faks: +386 (0)1 42 59 337 This journal is published with the support of the Slovene Book Agency (JAK).
    [Show full text]
  • Islamic Modernism in China: Chinese Muslim Elites, Guomindang Nation-Building, and the Limits of the Global Umma, 1900-1960
    Islamic Modernism in China: Chinese Muslim Elites, Guomindang Nation-Building, and the Limits of the Global Umma, 1900-1960 John Tseh-han Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 John Tseh-han Chen All rights reserved ABSTRACT Islamic Modernism in China: Chinese Muslim Elites, Guomindang Nation-Building, and the Limits of the Global Umma, 1900-1960 John Tseh-han Chen Modern Chinese Muslims’ increasing connections with the Islamic world conditioned and were conditioned by their elites’ integrationist politics in China. Chinese Muslims (the “Hui”) faced a predicament during the Qing and Ottoman empire-to-nation transitions, seeking both increased contact with Muslims outside China and greater physical and sociopolitical security within the new Chinese nation-state. On the one hand, new communication and transport technologies allowed them unprecedented opportunities for transnational dialogue after centuries of real and perceived isolation. On the other, the Qing’s violent suppression of Muslim uprisings in the late nineteenth century loomed over them, as did the inescapable Han-centrism of Chinese nationalism, the ongoing intercommunal tensions between Muslims and Han, and the general territorial instability of China’s Republican era (1911-49). As a result, Islamic modernism—a set of positions emphasizing both reason and orthodoxy, and arguing that true or original Islam is compatible with science, education, democracy, women’s rights, and other “modern” norms— took on new meanings in the context of Chinese nation-making. In an emerging dynamic, ethos, and discourse of “transnationalist integrationism,” leading Chinese Muslims transformed Islamic modernism, a supposedly foreign body of thought meant to promote unity and renewal, into a reservoir of concepts and arguments to explain and justify the place of Islam and Muslims in China, and in so doing made it an integral component of Chinese state- and nation-building.
    [Show full text]