China from the Outside: China's Impact on Surrounding Cultures
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Interaction Between Traditional Opera and Movie
Open Journal of Social Sciences, 2019, 7, 333-339 http://www.scirp.org/journal/jss ISSN Online: 2327-5960 ISSN Print: 2327-5952 Interaction between Traditional Opera and Movie Zhequn Zhao Nanjing University of the Arts Institute, Nanjing, China How to cite this paper: Zhao, Z.Q. (2019) Abstract Interaction between Traditional Opera and Movie. Open Journal of Social Sciences, 7, When the movie was introduced into China from the West, the traditional 333-339. opera art had no connection with it. Until the movie “Ding Jun Mountain” https://doi.org/10.4236/jss.2019.77028 had published in 1905, the relationship between traditional opera and movie Received: June 28, 2019 changed. In China, the two arts began to connect because of some common Accepted: July 27, 2019 attributes, and effected their respective development trajectories. When mov- Published: July 30, 2019 ies just entered into China, the art of traditional opera nurtured the growth of movies, and now the mature art of movie brings new opportunities for the Copyright © 2019 by author(s) and Scientific Research Publishing Inc. development of traditional opera. In the process of interaction between movie This work is licensed under the Creative and traditional opera, movie and traditional opera had complement on each Commons Attribution International other, and constantly enrich and improve their artistic expression. These two License (CC BY 4.0). arts are constantly merging, forming a subtle relationship, learning from each http://creativecommons.org/licenses/by/4.0/ other, never leaving, and integrating with each other. It is of great significance Open Access for the development of traditional opera art in the new media, to analyze the relationship from beginning to the end. -
Female Images in the Late Ming-Dynasty Chinese Erotic Paintings
A Political Fantasy: Female Images in the Late Ming-Dynasty Chinese Erotic Paintings Senior Honors Thesis Department of Art and Art History By Yuhan Qin Tufts University Medford, Massachusetts TABLE OF CONTENTS List of Illustrations ···························································································································iii Introduction········································································································································1 CHAPTER 1: Is Ming Erotic Painting Art or Pornography? ···················································9 CHAPTER 2: Gender and Body Structure··················································································23 CHAPTER 3: Gaze and Spectatorship·························································································31 Conclusion·········································································································································43 Plates··················································································································································45 Bibliography······································································································································61 ii LIST OF ILLUSTRATIONS Figure 1: Tang Yin, Tao Gu Presenting a Poem (陶穀赠词). Ming Dynasty, hanging scroll, ink and colors on silk, 168.8*102.1 cm. National Palace Museum, Taipei. Figure 2: Anonymous, “Enjoy erotic albums together” (共赏春画). Ming -
Emerging from Anonymity: E First Generation of Writers of Songs and Drama in Mid-Ming Nanjing*
T’OUNG PAO T’oung Pao 96 (2010) 125-164 www.brill.nl/tpao Emerging from Anonymity: e First Generation of Writers of Songs and Drama in Mid-Ming Nanjing* Tian Yuan Tan (School of Oriental and African Studies) Abstract is article traces the first generation of writers of songs and drama in Nanjing who emerged from the anonymous context of early Ming court entertainment and established their name and reputation in the second half of the fifteenth century. ese writers—Shi Zhong (1437-after 1516), Chen Duo (1454?-1507?), and Xu Lin (1462- 1538)—represented a different mode of writing songs and drama. For them it was no longer a professional occupation, as in the case of the court performers, but became part of their cultural and social life. e extent to which our knowledge of these first- generation qu writers depends on local sources and on acts of remembrance by later Nanjing authors is also examined. Résumé Cet article s’intéresse à la première génération d’auteurs d’airs à chanter et de pièces de théâtre ayant émergé à Nankin de l’anonymat des divertissements de cour du début des Ming; ces auteurs — Shi Zhong (1437-après 1516), Chen Duo (1454?-1507?), et Xu Lin (1462-1538) — se sont fait un nom pendant la seconde moitié du xve siècle. Ils sont représentatifs d’une manière différente de composer chansons et pièces de théâtre : il ne s’agissait plus pour eux d’exercer un métier, comme dans le cas des artistes de cour, mais de se consacrer à une occupation intégrée à leurs activités culturelles et sociales. -
Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9. -
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. -
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. -
An Analysis on the Gardens Reflecting Democratic Revolution in the Republic of China
International Conference on Arts, Design and Contemporary Education (ICADCE 2015) An Analysis on the Gardens Reflecting Democratic Revolution in the Republic of China Xiaohui Zhang Huanghe Science and Technology College Zhengzhou, China e-mail: [email protected] Abstract—Gardens concentrically demonstrated Chinese public gardens. He came up with the Three People's traditional arts, up to the Republic of China (1912-1949), Principles (Nationalism, Democracy, the People's Livelihood) because of continuous wars and warlord regime, many respectively in 1905 and 1924 and new three principles of traditional gardens are damaged. But the upsurge of the people, both of the two involved citizen livelihood issues democratic revolutions drove the establishment of public in detail. While the public gardens, served to improve gardens objectively, highlighted its function as a place for people’s life quality in nature, embodied the equality of all public meeting and public leisure, it also had a social function people and public owned in form. So Sun Yat-sen vigorously to memory. In addition, warlord and bureaucrat built private promoted the development of public gardens at spare time, gardens to show off their status and how much money they and made it a public place for people to assembly and own. Together with the running wine shops, the gardens celebration. become social custom of the Republic of China (1912-1949) and one bright landscape of the development of gardens art. The influence of democratic revolution promoted the construction of public gardens to some extent in Guangdong Keywords—garden; social custom of the Republic of China; Province, in1912, Sun Yat-sen advocated to plant trees in democratic revolution; privation of warlord and bureaucrat Guangzhou and led revolutionists to plant four masson pines at Huang Huagang and one of them was still alive. -
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's Name Dates R Pinyin Romanization of Artist's
CHINESE ARTISTS Pinyin-Wade-Giles Concordance Wade-Giles Romanization of Artist's name ❍ Dates ❍ Pinyin Romanization of Artist's name Artists are listed alphabetically by Wade-Giles. This list is not comprehensive; it reflects the catalogue of visual resource materials offered by AAPD. Searches are possible in either form of Romanization. To search for a specific artist, use the find mode (under Edit) from the pull-down menu. Lady Ai-lien ❍ (late 19th c.) ❍ Lady Ailian Cha Shih-piao ❍ (1615-1698) ❍ Zha Shibiao Chai Ta-K'un ❍ (d.1804) ❍ Zhai Dakun Chan Ching-feng ❍ (1520-1602) ❍ Zhan Jingfeng Chang Feng ❍ (active ca.1636-1662) ❍ Zhang Feng Chang Feng-i ❍ (1527-1613) ❍ Zhang Fengyi Chang Fu ❍ (1546-1631) ❍ Zhang Fu Chang Jui-t'u ❍ (1570-1641) ❍ Zhang Ruitu Chang Jo-ai ❍ (1713-1746) ❍ Zhang Ruoai Chang Jo-ch'eng ❍ (1722-1770) ❍ Zhang Ruocheng Chang Ning ❍ (1427-ca.1495) ❍ Zhang Ning Chang P'ei-tun ❍ (1772-1842) ❍ Zhang Peitun Chang Pi ❍ (1425-1487) ❍ Zhang Bi Chang Ta-ch'ien [Chang Dai-chien] ❍ (1899-1983) ❍ Zhang Daqian Chang Tao-wu ❍ (active late 18th c.) ❍ Zhang Daowu Chang Wu ❍ (active ca.1360) ❍ Zhang Wu Chang Yü [Chang T'ien-yu] ❍ (1283-1350, Yüan Dynasty) ❍ Zhang Yu [Zhang Tianyu] Chang Yü ❍ (1333-1385, Yüan Dynasty) ❍ Zhang Yu Chang Yu ❍ (active 15th c., Ming Dynasty) ❍ Zhang You Chang Yü-ts'ai ❍ (died 1316) ❍ Zhang Yucai Chao Chung ❍ (active 2nd half 14th c.) ❍ Zhao Zhong Chao Kuang-fu ❍ (active ca. 960-975) ❍ Zhao Guangfu Chao Ch'i ❍ (active ca.1488-1505) ❍ Zhao Qi Chao Lin ❍ (14th century) ❍ Zhao Lin Chao Ling-jang [Chao Ta-nien] ❍ (active ca. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C. -
Wen Zhengming Wintry Trees
Wen Zhengming (1470-1559) Wintry Trees 1543 British Museum Medium: Hanging scroll, ink on paper Size: 90.5cm high x 31cm width unmounted Location: made in Suzhou, S.E. China now in the British Museum ART HISTORICAL TERMS AND CONCEPTS Subject matter: Chinese scroll painting had a high status, particularly when the subject was landscape. “China had a highly literate society that greatly valued poetry and brush-written calligraphy, which, along with painting, were called the Three Perfections, reflecting the esteemed position of the arts in Chinese life.” 1 “Landscape painting is traditionally at the top of the hierarchy of Chinese painting styles. It is very popular and is associated with refined scholarly taste. The Chinese term for 1 https://smarthistory.org/imperial-china-an-introduction/ Art History in Schools CIO | Registered Charity No. 1164651 |www.arthistoryinschools.org.uk “landscape” is made up of two characters meaning “mountains and water.” It is linked with the philosophy of Daoism, which emphasizes harmony with the natural world… Chinese artists do not usually paint real places but imaginary, idealized landscapes. The Chinese phrase ‘woyou’ expresses this idea of “wandering while lying down.” 2 The subject of the scroll, a landscape with bare trees in winter shows a stream meandering through a grove of trees without human presence. The latter is unusual. The calligraphic inscriptions in Chinese on the image are highly valued and Craig Clunas explains they are both the “best index of the personality of the artist” and of his “moral character”. 3 The inscription top left is explained by the British Museum as “The painter's inscription explains that he made the painting for a Mr. -
Monarchs, Merchants, and Devotees Sponsored by the Society for Asian Art
Arts of Asia Lecture Series Spring 2016 Patronage in Asian Art: Monarchs, Merchants, and Devotees Sponsored by The Society for Asian Art Exchange, Indebtedness, and Artistic Production: Artists and Collectors in the Ming Dynasty (1368–1644) Dora C.Y. Ching, Princeton University Friday, 15 April 2016 Part One Imperial Patronage Part Two Xiang Yuanbian and His Circle Key Ming Emperors Reign Title Reign period Family Name Temple Name Hongwu 1368–1398 Zhu Yuanzhang Taizu Yongle 1403–1424 Zhu Di Chengzu or Taizong Xuande 1426–1435 Zhu Zhanji Xuanzong Chenghua 1465–1487 Zhu Jianshen Xianzong Hongzhi 1488–1505 Zhou Youtang Xiaozong Jiajing 1522–1566 Zhu Houcong Shizong Wanli 1573–1620 Zhu Yijun Shenzong Selected Artists, Collectors, Works (in alphabetical order by surname) Chen Hongshou (1598–1652). Artist and scholar; earned a living through painting and making designs for playing cards and woodblock illustrations. From Zhuji, Zhejiang province. • Hermit in a Landscape. Asian Art Museum (B79D8) • Artist Inebriated, 1627. The Metropolitan Museum of Art (1999.521 Dong Qichang (1555–1636). Scholar, painter, calligrapher, statesman and art theorist. From Huating (modern Songjiang). • Wanluan Thatched Cottage, 1597. Private collection, Taipei. • Landscape after Old Masters, 1621–1624. The Nelson-Atkins Museum of Art (86-3) Qiu Ying (d. 1552). One of the Four Masters of the Ming (with Shen Zhou, Wen Zhengming, and Tang Yin). • Garden for Self-Enjoyment. The Cleveland Museum of Art (1978.67) Shang Xi (active ca. 1426–1435). Court artist during the Xuande period (1426–1435). • Xuande Emperor on an Outing (Ming Xuanzong xingle tu) • Guan Yu Capturing Pang De (Guan Yu qinjiang tu) Shen Zhou (1427–1509). -
Commercial Paintings and Prints from China and European Painting Techniques in Late Chosŏn Court Painting
ACTA KOREANA Vol. 22, No. 1, June 2019: 61–87 doi:10.18399/acta.2019.22.1.004 A New Way of Seeing: Commercial Paintings and Prints from China and European Painting Techniques in Late Chosŏn Court Painting SEO YOONJUNG It is noted that European pictorial technique was introduced during the Chosŏn dynasty via China and that Western objects exchanged through diplomatic activities by Chosŏn envoys played a significant role in the spread of this new painting style in Korea. However, it is not fully understood how Chosŏn people perceived Western painting techniques, which elements they favored and which were less appreciated. Nor do we know by what routes the new visual elements were transmitted. Focusing on multiple channels through which various images were imported and the diverse agents who took part in the cultural transmission between Chosŏn Korea and Qing China, this study explores Chosŏn Korea’s reception and understanding of Western painting techniques and the application of this new style in their works of art, such as “Han Palace” or “Towers and Pavilions” in the late eighteenth and nineteenth centuries. In addition, Chinese paintings and prints, which were mass-produced for larger markets and circulated throughout China as well as exported to other foreign countries are investigated as possible sources for the Chosŏn works. Taking paintings by professional painters in Beijing working outside of the Qing imperial court and Suzhou prints as vehicles of carrying the new artistic taste and pictorial techniques, this research proposes the assumption that these Chinese visual materials infused with Western style were imported to and circulated in Korea from the late eighteenth century onward and that these foreign images contributed to Korea’s (mis)perception and (mis)understanding of Chinese art and European pictorial conventions.