DOCSLIB.ORG

The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930) The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930) The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ren, Wei. 2015. The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930). Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465116 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Writer’s Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930) A dissertation presented by Ren, Wei to The Department of History of Art and Architecture in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History of Art and Architecture Harvard University Cambridge, Massachusetts April 2015 © 2015 Ren,Wei All rights reserved. Dissertation Advisor: Professor Eugene Y. Wang Ren, Wei The Writer’s Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930) Abstract The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design. As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and iii literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts. iv Table of Contents List of figures ................................................................................................................................. vii Acknowledgements ......................................................................................................................... xi Note on Chinese and Japanese terms ............................................................................................ xiii Introduction ..................................................................................................................................... 1 1 Lost and Found: Lu Xun’s Dilemma and Tao Yuanqing’s Design Solution ......................... 18 Introduction: The encounter 18 The ineffable image 21 “Writing characters is drawing pictures” 25 Old image, new context 35 The versatile female body 39 Form versus formless 42 Coda: Double vision 51 2 Loss and Gain in Translation: The Advent of Modern Chinese Design ............................... 56 Introduction: Chinese Ancient Designs (1925) 56 The price of self-orientalizing 59 Lessons from Paris 63 The weight of painting 68 The beginning – All-purpose design 73 Design and the aesthetic education 78 Design versus painting 82 The early pioneers of design 92 Coda: Growth and metabolism 98 3 The Games of Vision: Line, Linearity, and Lineage ................................................................ 105 Introduction: A beautiful book 105 Dis-enchantment and re-enchantment 108 Beauty and childlikeness 119 Perception over judgment 127 “Motion picture” 136 Coda: Figure, figuration and reconfiguration 145 v 4 Spellbound: Roots, Ruins, and Surface ...................................................................................... 152 Introduction: Tale gone awry 152 Spellbound 155 Enigma of the Big Red Robe 160 Xiangtu, volkskunde, and the nation 163 Provincial versus cosmopolitan 169 Apathy against affect 176 Coda: All about surface 184 Conclusion ................................................................................................................................... 191 Bibliography ................................................................................................................................. 196 Appendix – Chronology of Tao Yuanqing .................................................................................. 207 Figures ......................................................................................................................................... 208 vi List of Figures 1. Tao Yuanqing, Cover design of Guxiang (Hometown) by Xu Qinwen, published by Beixin Book Company, 1925. 2. Tao Yuanqing, Cover design of Kumen de xiangzheng (Symbols of Depression) by Kuriyagawa Hakuson, Lu Xun trans., published by Xinchao Society, 1924. 3. Photograph of Students at the Shanghai Fine Arts School, 1930. 4. Ding Song, Cover design of Saturday, issue 104, published by Shanghai Zhonghua Library, 1921. 5. Cover of Young Companion, first issue, published by Shanghai Liangyou Printing Company, February 15, 1926. 1.1 Cover of Didi lüxing (Voyage au Centre de la Terre) by Jules Verne, Lu Xun trans., published by Puji Book Company, 1906. 1.2 Cover of Dixin lüxing (Voyage au Centre de la Terre) by Jules Verne, published by Guangzhi Book Company, 1906. 1.3 Lu Xun and Chen Shizeng, Cover design of Yuwai xiaoshuo ji (Collected Stories from Abroad) by Zhou Shuren (Lu Xun), and Zhou Zuoren, published in Tokyo, 1909. 1.4 Lu Xun, Cover design of Nahan (Call to Arms) by Lu Xun, published by Beixin Book Company, 1924. 1.5 Lu Xun, Cover design of Er yi ji (And That’s That) by Lu Xun, published by Beixin Book Company, 1928. 1.6 Tao Yuanqing, Cover design of Zhaohua xishi (Dawn Blossoms Plucked at Dusk) by Lu Xun, published by Weiming Society, 1928. 1.7 Wu Changshi, Cover calligraphy of Shenzhou guoguang ji (Chinese National Glory), vol. 11, no. 5, published by Shanghai shenzhou guoguangshe, 1909. 1.8 Tao Yuanqing, Cover design of Chule xiangya zhi ta (Out of the Ivory Tower) by Kuriyagawa Hakuson, Lu Xun trans., published by Weiming Society, 1925. 1.9 Lu Xun, Cover design of Tao se de yun (The Pink Cloud) by Vasili Eroshenko, Lu Xun trans., published by Xinchao Society, 1923. 1.10 Ink rubbing of carvings from Wu Family Shrine in Jiaxiang, collected by Lu Xun, undated. 1.11 Lu Xun, Cover design of Guoxue jikan (National Learning Quarterly), edited by Gu Jiegang, published by Peking University, 1923. 1.12 Illustration page, Shenzhou guoguang ji (Chinese National Glory), vol.8, no.2, published by Shanghai shenzhou guoguangshe, 1909. 1.13 Ding Song, Cover design of Libai liu (Saturday), no.22, published by Shanghai Zhongguo Book Company, 1914. 1.14 Lu Xun, Vignettes traced from Ausgewählte Gedichte Paul Verlaine, edited by Graf Wolf v. Kalckreuth, published by Leipzig Insel-Verlag, 1906. 1.15 Lu Xun, Border designs traced from Germany publications including the cover of Ausgewählte Gedichte Paul Verlaine, edited by Graf Wolk v. Kalckreuth, published by Leipzig Insel-Verlag, 1906. vii 1.16 Xu Beihong, Female Nude, charcoal and white chalk on paper, 50 x 32 cm, Xu Beihong Memorial Museum Beijing, 1924. 1.17 Dan Duyu, Page from Shizhuang Duyu baimeitu zheng ji (Duyu’s Fashionable One Hundred Beauties), published by Shanghai xinmin tushuguan xiongdi gongsi, 1923. 1.18 Tao Yuanqing, Cover design of Fangfu ruci (It Seems Like That) by Xu Qinwen, published by Beixin Book Company, 1928. 1.19 Tao Yuanqing, Cover design of Wang xing zhong (To the Stars) by Leonid Andreyev, Li Jiye trans., published by Weiming Society, 1926. 1.20 Tao Yuanqing, Cover design of Fen (The Grave) by Lu Xun, published by Weiming Society, 1927. 2.1 Ge Gongzhen, Chinese Ancient Designs, published by Shanghai Youzheng Book Company, 1925. 2.2 Catalogue of the Collection of Chinese Exhibits at the Louisiana Purchase Exposition, 1904. 2.3 Catalogue Spécial des Objets Exposés dans la Section Chinoise, Liège, 1905. 2.4 Catalogue Section de Chine Exposition Internationale des Arts Décoratifs et Industriels Modernes à Paris, 1925. 2.5 Rubbing of stone carving of mythical bird from Xinjin cliff tombs, Xinjin County, Sichuan, China, 206 BCE – 220 AD, Han dynasty. 2.6 Entrance to the Chinese Section, L’Exposition Internationale des Arts Décoratifs et Industriels Modernes à Paris, 1925. 2.7 Detail of the Chinese Section, L’Exposition Internationale des Arts Décoratifs et Industriels Modernes à Paris, 1925. 2.8 Detail of
Load more

Recommended publications
  • Darán Jóvenes Panistas 30 Mil Votos a Martha
    Gómez Mont: E.U. Women’s Championship PRETENDEN LA SEGURIDAD Logra OCHoa CAMBIAR colocarse en sexta NO SE NEGOCIA SISTEMA posición NACIONAL A 10 DE SALUD DEPORTES C 1 INTERNACIONAL C 11 Año 56. No. 18,564 $6.00 Colima, CoIima Viernes 6 de Marzo de 2009 www.diariodecolima.com En Los Asmoles OtrosEstaban atados de las manos y con vendasdos ejecutados en los ojos; nuevamente los sicarios dejan mensaje; van siete asesinatos en menos de un mes Sergio URIBE ALVARADO 30 y 35 años de edad; complexión delgada, tez morena clara, de 1.60 Dos hombres fueron ejecutados la metros de estatura, pelo negro cor- madrugada de ayer en el camino to, lampiño; vestía pantalón color sacacosechas Los Asmoles-Monte azul de mezclilla, cinto color café, Grande, frente al cerro denomina- playera tipo sport color blanco con do “El Gallo”, estaban atados de las franjas a los costados color negro y manos y también tenían vendados calzaba tenis blanco con negro. los ojos; uno de ellos tenía pegada En el libramiento Los Limones, a su pecho una cartulina color aproximadamente a 1 kilómetro de blanco con la leyenda: “Esto me la autopista Colima-Manzanillo, paso por andar de chapulin y no se localizó una camioneta marca aliniarme como la gente”. Toyota, tipo Hilux, color blanco, Uno de los hoy occisos era modelo 2007, con placas de circu- Carlos César Salazar Sánchez, lación FE-35693, donde viajaban quien tenía su domicilio en los finados. el poblado de Ticuicitán. Fue Un hermano de Carlos César, consignado el 14 de septiembre de de nombre Ignacio Salazar Sán- 2003 por el agente del Ministerio chez, es trabajador del ayunta- Público Federal por delitos contra miento de Colima.
    [Show full text]
  • Beat the Heat
    To celebrate the opening of our newest location in Huntsville, Wright Hearing Center wants to extend our grand openImagineing sales zooming to all of our in offices! With onunmatched a single conversationdiscounts and incomparablein a service,noisy restaraunt let us show you why we are continually ranked the best of the best! Introducing the Zoom Revolution – amazing hearing technology designed to do what your own ears can’t. Open 5 Days a week Knowledgeable specialists Full Service Staff on duty daily The most advanced hearing Lifetime free adjustments andwww.annistonstar.com/tv cleanings technologyWANTED onBeat the market the 37 People To Try TVstar New TechnologyHeat September 26 - October 2, 2014 DVOTEDO #1YOUTHANK YOUH FORAVE LETTING US 2ND YEAR IN A ROW SERVE YOU FOR 15 YEARS! HEARINGLeft to Right: A IDS? We will take them inHEATING on trade & AIR for• Toddsome Wright, that NBC will-HISCONDITIONING zoom through• Dr. Valerie background Miller, Au. D.,CCC- Anoise. Celebrating• Tristan 15 yearsArgo, in Business.Consultant Established 1999 2014 1st Place Owner:• Katrina Wayne Mizzell McSpadden,DeKalb ABCFor -County HISall of your central • Josh Wright, NBC-HISheating and air [email protected] • Julie Humphrey,2013 ABC 1st-HISconditioning Place needs READERS’ Etowah & Calhoun CHOICE!256-835-0509• Matt Wright, • OXFORD ABCCounties-HIS ALABAMA FREE• Mary 3 year Ann warranty. Gieger, ABC FREE-HIS 3 years of batteries with hearing instrument purchase. GADSDEN: ALBERTVILLE: 6273 Hwy 431 Albertville, AL 35950 (256) 849-2611 110 Riley Street FORT PAYNE: 1949 Gault Ave. N Fort Payne, AL 35967 (256) 273-4525 OXFORD: 1990 US Hwy 78 E - Oxford, AL 36201 - (256) 330-0422 Gadsden, AL 35901 PELL CITY: Dr.
    [Show full text]
  • 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]
  • The Heritage of Non-Theistic Belief in China
    The Heritage of Non-theistic Belief in China Joseph A. Adler Kenyon College Presented to the international conference, "Toward a Reasonable World: The Heritage of Western Humanism, Skepticism, and Freethought" (San Diego, September 2011) Naturalism and humanism have long histories in China, side-by-side with a long history of theistic belief. In this paper I will first sketch the early naturalistic and humanistic traditions in Chinese thought. I will then focus on the synthesis of these perspectives in Neo-Confucian religious thought. I will argue that these forms of non-theistic belief should be considered aspects of Chinese religion, not a separate realm of philosophy. Confucianism, in other words, is a fully religious humanism, not a "secular humanism." The religion of China has traditionally been characterized as having three major strands, the "three religions" (literally "three teachings" or san jiao) of Confucianism, Daoism, and Buddhism. Buddhism, of course, originated in India in the 5th century BCE and first began to take root in China in the 1st century CE, so in terms of early Chinese thought it is something of a latecomer. Confucianism and Daoism began to take shape between the 5th and 3rd centuries BCE. But these traditions developed in the context of Chinese "popular religion" (also called folk religion or local religion), which may be considered a fourth strand of Chinese religion. And until the early 20th century there was yet a fifth: state religion, or the "state cult," which had close relations very early with both Daoism and Confucianism, but after the 2nd century BCE became associated primarily (but loosely) with Confucianism.
    [Show full text]
  • PDF of This Issue
    MIT's The Weather , (-' Oldest and Largest Today: Cloudy, damp, 48°F (9°C) Tonight: Cool, 43°F (6°C) Newspaper Tomorrow: Mostly cloudy, 50°F (10°C) Details, Page 2 Volume 119, Number 20 Cambridge, Massachusetts 02139 Friday, April 15, 1999 Zhu Speaks to Kresge Audience ..' On Sino-American Relationship " By Kevin R. Lang noting that the total U.S. deficit with are more than $30 billion apart. ASSOCIA TE NEWS EDITOR all nations was less than $200 bil- "I'm not trying to comment on On the final day of his six-city lion last year. While this figure may which number is the more accu- U.S. tour, Premier Zhu Rongji of the seem large, Zhu said, it amounts to rate," Zhu said. Zhu discussed a People's Republic of China dis- less than two percent of the U. S. Stanford University study which cussed trade relations and education- Gross National Product. "This is found that both nations use incon- al cooperation between the United very common in many countries," sistent methods regarding shipping States and China before a full-capac- Zhu said, speaking with simultane- and insurance on imports and ity Kresge Auditorium audience, ous English translation. "This is not exports, and that neither accounts Wednesday. such a serious problem." for value added in Hong Kong to Much of Zhu's address focused Chinese products. The actual U.S. M on Sino-American trade relations, Trade deficit values inconsistent trade deficit is most likely around notably the substantial U.S. trade Zhu also noted that U.S.
    [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]
  • An Explanation of Gexing
    Front. Lit. Stud. China 2010, 4(3): 442–461 DOI 10.1007/s11702-010-0107-5 RESEARCH ARTICLE XUE Tianwei, WANG Quan An Explanation of Gexing © Higher Education Press and Springer-Verlag 2010 Abstract Gexing 歌行 is a historical and robust prosodic style that flourished (not originated) in the Tang dynasty. Since ancient times, the understanding of the prosody of gexing has remained in debate, which focuses on the relationship between gexing and yuefu 乐府 (collection of ballad songs of the music bureau). The points-of-view held by all sides can be summarized as a “grand gexing” perspective (defining gexing in a broad sense) and four major “small gexing” perspectives (defining gexing in a narrow sense). The former is namely what Hu Yinglin 胡应麟 from Ming dynasty said, “gexing is a general term for seven-character ancient poems.” The first “small gexing” perspective distinguishes gexing from guti yuefu 古体乐府 (tradition yuefu); the second distinguishes it from xinti yuefu 新体乐府 (new yuefu poems with non-conventional themes); the third takes “the lyric title” as the requisite condition of gexing; and the fourth perspective adopts the criterion of “metricality” in distinguishing gexing from ancient poems. The “grand gexing” perspective is the only one that is able to reveal the core prosodic features of gexing and give specification to the intension and extension of gexing as a prosodic style. Keywords gexing, prosody, grand gexing, seven-character ancient poems Received January 25, 2010 XUE Tianwei ( ) College of Humanities, Xinjiang Normal University, Urumuqi 830054, China E-mail: [email protected] WANG Quan International School, University of International Business and Economics, Beijing 100029, China E-mail: [email protected] An Explanation of Gexing 443 The “Grand Gexing” Perspective and “Small Gexing” Perspective Gexing, namely the seven-character (both unified seven-character lines and mixed lines containing seven character ones) gexing, occupies an equal position with rhythm poems in Tang dynasty and even after that in the poetic world.
    [Show full text]
  • Institute of Fine Arts Alumni Newsletter, Number 55, Fall 2020
    Number 55 – Fall 2020 NEWSLETTERAlumni PatriciaEichtnbaumKaretzky andZhangEr Neoclasicos rnE'-RTISTREINVENTiD,1~1-1= THEME""'lLC.IIEllMNICOLUCTION MoMA Ano M. Franco .. ..H .. •... 1 .1 e-i =~-:.~ CALLi RESPONSE Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents Letter from the Director In Memoriam ................. .10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ..........16 and the Spirit of Community ........ .3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...............17 Conversations with Alumni ....... .4 Leatrice Mendelsohn, Alumni Updates ...............22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 .................34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 .........34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences .... .8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 .................34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36 Institute of Fine Arts Alumni Association Offcers: Alumni Board Members: Walter S. Cook Lecture Susan Galassi, Co-Chair President Martha Dunkelman [email protected] and William Ambler [email protected] Katherine A. Schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne Elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter Lisa Schermerhorn Rebecca Rushfeld Reva Wolf, Editor Lisa.Schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A.
    [Show full text]
  • Foundation for Chinese Performing Arts 中華表演藝術基金會
    中華表演藝術基金會 FOUNDATION FOR CHINESE PERFORMING ARTS [email protected] www.ChinesePerformingArts.net The Foundation for Chinese Performing Arts, is a non-profit organization registered in the Commonwealth of Massachusetts in January, 1989. The main objectives of the Foundation are: * To enhance the understanding and the appreciation of Eastern heritage through music and performing arts. * To promote Chinese music and performing arts through performances. * To provide opportunities and assistance to young Asian artists. The Founder and the President is Dr. Catherine Tan Chan 譚嘉陵. AWARDS AND SCHOLARSHIPS The Foundation held its official opening ceremony on September 23, 1989, at the Rivers School in Weston. Professor Chou Wen-Chung of Columbia University lectured on the late Alexander Tcherepnin and his contribution in promoting Chinese music. The Tcherepnin Society, represented by the late Madame Ming Tcherepnin, an Honorable Board Member of the Foundation, donated to the Harvard Yenching Library a set of original musical manuscripts composed by Alexander Tcherepnin and his student, Chiang Wen-Yeh. Dr. Eugene Wu, Director of the Harvard Yenching Library, was there to receive the gift that includes the original orchestra score of the National Anthem of the Republic of China commissioned in 1937 to Alexander Tcherepnin by the Chinese government. The Foundation awarded Ms. Wha Kyung Byun as the outstanding music educator. In early December 1989, the Foundation, recognized Professor Sylvia Shue-Tee Lee for her contribution in educating young violinists. The recipients of the Foundation's artist scholarship award were: 1989 Jindong Cai 蔡金冬, MM conductor ,New England Conservatory, NEC (currently conductor and Associate Professor of Music, Stanford University,) 1990: (late) Pei-Kun Xi, MM, conductor, NEC; 1991: pianists John Park and J.G.
    [Show full text]
  • A 110-Year-Old Wise Man: Professor Libin T. Cheng, One of the Founders of Biochemistry and Nutrition in China
    Protein Cell 2020, 11(2):79–81 DOI 10.1007/s13238-017-0428-0 Protein & Cell RECOLLECTION A 110-year-old wise man: Professor Libin T. Cheng, one of the founders of biochemistry and nutrition in China He Zhang1,2& 1 Department for the History of Science and Scientific Archaeology, University of Science and Technology of China, Hefei 230026, China 2 School of Marxism, Bengbu Medical College, Bengbu 233030, China & Correspondence: [email protected] (H. Zhang) Cell Do you believe in so-called food-combination poisoning? Do with the famous biochemists at that time, such as plant & you have the courage to eat crab and Chinese persimmon protein chemistry experts and nutritionists L. B. Mendel and together? In fact, there is no need to worry about poisoning. H. B. Vickery, Vitamin B nutritionist G. R. Cowgill, and min- As early as 80 years ago, it was proved that so-called food- eral nutritionist A. H. Smith. Because of a strong interest in combination poisoning is a superstition, through experiments protein chemistry and nutrition, he chose to conduct by a man named Libin T. Cheng (1900–2010), who was one research on the extraction and physicochemical properties Protein of the founders of biochemistry and nutrition in China and of soybean protein in the laboratory of R. T. Hartman at who also became a 110-year-old wise man. Indiana University, from which he received a doctor’s degree. Libin T. Cheng (Fig. 1) was born in Nanxi County, One of his important reasons for choosing soybean protein Sichuan Province, in 1900.
    [Show full text]
  • Zhang Guangyu and the Pictorial Imagination of Manhua Journey to the West
    3 Zhang Guangyu and the Pictorial Imagination of Manhua Journey to the West Manhua Journey to the West is an entertaining, colorful long-form manhua with a comical storyline, but grounded in reality for its penetrating satiri- cal treatment of inflation, forced recruitment of soldiers, rigid ideological training, and the duplicity of the Japanese surrender. This is what makes for good manhua! —Hen, Commerce Daily (Shangwu ribao, Chongqing), November 25, 1945 The artist uses the satirical tenor of manhua to probingly turn these per- verse phenomena into images for the gaze of all Chinese people, awaken- ing the souls of every Chinese person and reminding them never to forget the crimes and sorrows of the war. Manhua Journey to the West is thus more than a manhua exhibition. It is a history of modern Chinese society, a milestone for China’s War of Resistance. —Hsin-Min Bao Wankan (Xinmin bao wankan, Chengdu), February 7, 1946 Mr. Zhang has adapted the experience of Tripitaka’s journey west for the Buddhist sutras, or in this case the Book of Heaven [Tianshu], to relate the process of democratic development. The hardships Tripitaka faces heading west for the sutras are the same as the obstacles facing democracy. —Zhong Yuan, Xinxin News (Xinxin xinwen, Chengdu), February 8, 1946 I would predict . two kinds of viewers. One will feel that it is quite good indeed, a feast for the mind and the eye, rather like looking at a beautiful woman. The other kind, beyond finding it attractive and interesting, will get a strange sensation of déjà vu from everything pictured.
    [Show full text]
  • A Abbasid Caliphate, 239 Relations Between Tang Dynasty China And
    INDEX A anti-communist forces, 2 Abbasid Caliphate, 239 Antony, Robert, 200 relations between Tang Dynasty “Apollonian” culture, 355 China and, 240 archaeological research in Southeast Yang Liangyao’s embassy to, Asia, 43, 44, 70 242–43, 261 aromatic resins, 233 Zhenyuan era (785–805), 242, aromatic timbers, 230 256 Arrayed Tales aboriginal settlements, 175–76 (The Arrayed Tales of Collected Abramson, Marc, 81 Oddities from South of the Abu Luoba ( · ), 239 Passes Lĩnh Nam chích quái liệt aconite, 284 truyện), 161–62 Agai ( ), Princess, 269, 286 becoming traditions, 183–88 Age of Exploration, 360–61 categorizing stories, 163 agricultural migrations, 325 fox essence in, 173–74 Amarapura Guanyin Temple, 314n58 and history, 165–70 An Dương Vương (also importance of, 164–65 known as Thục Phán ), 50, othering savages, 170–79 165, 167 promotion of, 164–65 Angkor, 61, 62 savage tales, 179–83 Cham naval attack on, 153 stories in, 162–63 Angkor Wat, 151 versions of, 170 carvings in, 153 writing style, 164 Anglo-Burmese War, 294 Atwill, David, 327 Annan tuzhi [Treatise and Âu Lạc Maps of Annan], 205 kingdom, 49–51 anti-colonial movements, 2 polity, 50 371 15 ImperialChinaIndexIT.indd 371 3/7/15 11:53 am 372 Index B Biography of Hua Guan Suo (Hua Bạch Đằng River, 204 Guan Suo zhuan ), 317 Bà Lộ Savages (Bà Lộ man ), black clothing, 95 177–79 Blakeley, Barry B., 347 Ba Min tongzhi , 118, bLo sbyong glegs bam (The Book of 121–22 Mind Training), 283 baneful spirits, in medieval China, Blumea balsamifera, 216, 220 143 boat competitions, 144 Banteay Chhmar carvings, 151, 153 in southern Chinese local Baoqing siming zhi , traditions, 149 224–25, 231 boat racing, 155, 156.
    [Show full text]