Conference on South Asia
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Exhibitions (Paola Billi & Nicola Piccioli)
Exhibitions (Paola Billi & Nicola Piccioli) Welcome the Spirits and bring Happiness of Thousands of Families Worldwide Beijing World Art Museum at the China Millennium Monument, Beijing, China 2021. International Calligraphy Exhibition on Invitation to commemorate the 120th anniversary of the discovery of the Library Cave in Mogao caves, Dunhuang. Dunhuang Art Museum, Dunhaung, Cina 2020. “Ahead with Republic”. International collection of fomous calligraphers. Organizzata in occasione del 70° anniversario della Fondazione della Repubblica Popolare Cinese. Shanghai, Cina 2019. 23th International Calligraphy Art and Culture Great Exhibition Seoul, Korea - Beijing, China 2019 International Calligraphy Biennale. International Symposium on Kang Youwei’s Calligraphic Study & the First Qingdao. Qingdao, China 2018 The 13th International Calligraphy Exchange Singapore Exhibition Singapore 2018 International Exhibition and Competition of the Calligraphy and Painting Art of the Yanyuan Cup, Beida University of Beigjing Beida University, Beijing, China 2018 First International Chinese Calligraphy Building Exhibition Hefei, China 2018 22th International Calligraphy Art and Culture Great Exhibition Seoul, Korea - Beijing, China 2018 ⼥ (onna) Art Exhibition Borgo Pignano Art Gallery, Palazzo dei Priori Volterra, Italy 2018 24th International High School Shodo Exhibition Osaka City Museum, Osaka, Japan 2018 Arte Calligrafica Danza del pennello, Eco dell'inchiostro che risuona Consolato Generale Coreano, Milano, Italy 2018 Arte Calligrafica Danza del -
Towards Chinese Calligraphy Zhuzhong Qian
Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings. -
2017-18 AIPS Annual Report
2017-2018 Annual Report of the American Institute of Pakistan Studies 1 TABLE OF CONTENTS Cover Photo Credit: Edward Almasy Junior Scholars Conference ---------------------------------------------------------------------------------- 2-6 Fellowships ---------------------------------------------------------------------------------------------------------- 7 Funded by CAORC ---------------------------------------------------------------------------------------- 7 Funded by AIPS -------------------------------------------------------------------------------------------- 7 Travel Grants ---------------------------------------------------------------------------------------------------- 8-11 Funded by CAORC -------------------------------------------------------------------------------------- 8-9 Funded by AIPS -------------------------------------------------------------------------------------- 10-11 Short-Term Research Grants ------------------------------------------------------------------------------ 12-13 Junior Faculty Training and Exchange Program ------------------------------------------------------ 14-19 Exchanges: US Scholars to Pakistan ------------------------------------------------------------ 14-18 Exchanges: Pakistani Scholars to US Institutions ------------------------------------------------ 19 2016-17 AIPS Book Prize --------------------------------------------------------------------------------------- 20 Co-Sponsored Events --------------------------------------------------------------------------------------- 21-24 -
BVCM019114 Está Escrito Porque Está Escrito. Raqs Media Collective
Raqs Media Collective, Aquí, en otro lugar (Rueda de escape)—Now, Elsewhere (Escapement), 2009-2014 Publicado en colaboración con la Consejería de Empleo, Turismo y Cultura, Dirección General de Bellas Artes, del Libro y de Archivos de la Comunidad de Madrid, con motivo de la exposición Raqs Media Collective. Es posible porque es posible (12 de junio a 19 de octubre de 2014) CA2M, Centro de Arte Dos de Mayo, Madrid, España; MUAC, Museo Universitario Arte Contemporáneo. UNAM (7 de marzo a 28 de junio de 2015), Universidad Nacional Autónoma de México, México D.F.; Fundación PROA (2015), Buenos Aires, Argentina. — Published in collaboration with the Regional Ministry of Employment, Tourism and Culture, General Direction of Fine Arts, Books and Archives of the Regional Government of Madrid on the occasion of the exhibition Raqs Media Collective. It’s possible because it’s possible (June RAQS MEDIA 12 to October 19, 2014) CA2M Centro de Arte Dos de Mayo, Madrid, Spain; MUAC, Museo Universitario Arte Contemporáneo. UNAM (March 7 to June 28, 2015), Universidad Nacional Autónoma de México, Mexico City; Fundación PROA (2015), Buenos Aires, Argentina. Textos—Texts COLLECTIVE Raqs Media Collective Cuauhtémoc Medina Traducción—Translation Omegar Martínez Oliver Davidson — Prefacio: Jaime Soler Frost ESTÁ ESCRITO PORQUE ESTÁ ESCRITO Coordinación editorial—Editorial Coordination IT’S WRITTEN BECAUSE IT’S WRITTEN Ekaterina Álvarez Romero · MUAC Víctor de las Heras Iglesias · CA2M Corrección—Proofreading Ekaterina Álvarez Romero · MUAC Omegar Martínez Asistente editorial—Editorial Assistant Ana Xanic López · MUAC Diseño—Design Cristina Paoli · Periferia Taller Gráfico Asistente de formación—Layout Assistant María Vázquez Fotografía—Photography Andrés Arranz Raqs Media Collective p. -
Impressions and Expressions
IMPRESSIONS AND EXPRESSIONS: THE ENTHRALLING ART OF CHINESE SEALS by Mike Harty, Although the seal is small, no longer than your finger and no larger that two square inches, it contains development and structure and, in its sweep and profundity, can be as satisfying as a fine work of literary art. ‘Lidai yinxue lunwenxuan’ A Treatise on the Study of Seals from Past Dynasties Han Tianheng born 1940 Seals exist in almost every civilisation. They have been used principally as a mark of power, to give authority to orders or directions from kings and emperors, governors and generals. They are often things of great beauty. The royal seals of Egypt and of Mesopotamia, for example, are featured in major museums and private collections, not only for their historical significance, but also for their intrinsic artistic value. In China, while it is suggested in various texts that seals have been used by people of power since very early times, the oldest authenticated seals date only from the Warring States period (480 — 221 BC); although references to seal impressions can be found in literature dating back to the Spring and Autumn period (722 — 481 BC). THE BAGUA The vast majority of seals, because they relate to names, involve writing; which means the development of seals is intimately aligned with the development of writing. The earliest Chinese writing dates back to the origins of Chinese culture. The Chinese believe that their writing began with the development in the third millennium BC, of the Bagua, the eight trigrams of the Yijing or Book of Changes. -
Seal Carving Collection of K S Lo Gallery
Seal Carving Collection of The K. S. Lo Gallery An Introduction to Seal Carving – Worksheet Welcome to the Exhibition of The K. S. Lo Gallery “Calligraphy on Stone: Seal Carving in Hong Kong”. You can appreciate the art of seal carving and know more about the history of seal carving in Hong Kong here. Let’s have fun in the world of seal carving together! 1. An Introduction to Seal Carving Over the dynasties in Imperial China, seals were used for official and private purposes. There were several types of seals, as distinguished by their inscriptions: name seals, collector’s seals, archaic verse seals, pictorial seals etc. Pictorial seals were also known as graphic seals. In ancient times, some of these pictorial seals combined picture and text that complemented each other. Do you know what they are? Please match each seal to its corresponding type. a. b. c. d. name seal collector’s seal archaic verse seals pictorial seal (1) Shapes Seals come in many different shapes: square, rectangular, round and oval, irregular as well as graphic icons like peach, fish, heart, gourd and bird. Can you differentiate which shape for the following seals? Please write the correct answer under each example. (2) Intaglio carving and Relief carving There are two methods of seal carving, namely, intaglio carving and relief carving. In intaglio carving, the strokes of characters are incised to create white text against a red background. This method is also called incised carving. In relief carving, the strokes of characters are in relief as the blank parts are incised. -
AIPS 2018 Newsletter
AIPS AMERICAN INSTITUTE OF PAKISTAN STUDIES 2018 NEWSLETTER 2 President’s Report Dear friends of AIPS, stepped into the role of AIPS president on We have worked hard to create a stable financial and ad- October 1, 2017, with excitement and confi- ministrative structure for AIPS. In the past several years we grew Idence. My confidence stems from the fact our reserve funds, developed transparent procedures for making that Kamran Asdar Ali and his predecessor decisions and expanded the network of universities and scholars Mark Kenoyer and members of the Executive in Pakistan and the US taking advantage of opportunities offered Committee and the Board of Trustees have by AIPS. The good news is that after two years of persistence and worked hard to provide a stable foundation intensive negotiations by Nadeem Akbar, the AIPS Director in the for AIPS. And my excitement comes from Islamabad office, the federal cabinet of the government ofP akistan the role played by AIPS in nurturing Paki- approved the signing of a Memorandum of Understanding (MoU) stan Studies in the US and an increasingly between the Ministry of Inter-Provincial Coordination & the Ameri- important role it plays in fostering academic can Institute of Pakistan Studies. This MoU will ensure the status of linkages between the higher education com- AIPS as a bi-national institution with support from US and Pakistani Farhat Haq, munities in Pakistan and the United States. governments. Under the able leadership of past presidents of AIPS, AIPS President we have expanded our funding sources, most importantly from the public affairs section of the US embassy in Pakistan; it is also the AIPS 2018 NEW S LE TTER case that the treacherous political terrains challenge the stability of our funding sources. -
Power, Identity and Antiquarian Approaches in Modern Chinese Art
Power, identity and antiquarian approaches in modern Chinese art Chia-Ling Yang Within China, nationalistic sentiments notably inhibit objective analysis of Sino- Japanese and Sino-Western cultural exchanges during the end of the Qing dynasty and throughout the Republican period: the fact that China was occupied by external and internal powers, including foreign countries and Chinese warlords, ensured that China at this time was not governed or united by one political body. The contemporary concept of ‘China’ as ‘one nation’ has been subject to debate, and as such, it is also difficult to define what the term ‘Chinese painting’ means.1 The term, guohua 國畫 or maobihua 毛筆畫 (brush painting) has traditionally been translated as ‘Chinese national painting’. 2 While investigating the formation of the concept of guohua, one might question what guo 國 actually means in the context of guohua. It could refer to ‘Nationalist painting’ as in the Nationalist Party, Guomindang 國民黨, which was in power in early 20th century China. It could also be translated as ‘Republican painting’, named after minguo 民國 (Republic of China). These political sentiments had a direct impact on guoxue 國學 (National Learning) and guocui 國粹 (National Essence), textual evidence and antiquarian studies on the development of Chinese history and art history. With great concern over the direction that modern Chinese painting should take, many prolific artists and intellectuals sought inspiration from jinshixue 金石學 (metal and stone studies/epigraphy) as a way to revitalise the Chinese -
Highlights of the Development of Seal Carving in Hong Kong Over the Past 150 Years
Highlights of the Development of Seal Carving in Hong Kong over the Past 150 Years LAU Ho-man Samantha Hong Kong has played an integral role in the development of the Lingnan seal community for a significant amount of time. As early as the 1930s and 1940s, the number of migrant scholars, epigraphers (jinshi jia) and seal carvers in Hong Kong dramatically increased as a result of the ongoing civil war in Mainland China. These artisans and scholars often either stayed in Hong Kong briefly, settled permanently, or regularly travelled between Guangdong and Hong Kong. Over the course of several decades, countless seal carvers, scholars, influential figures and activities were involved in the burgeoning seal community. Through teaching, cultural gatherings, publishing, organising exhibitions and establishing societies, these participants laid the cornerstone for the development of the Hong Kong seal community. Despite this, there has not yet been any significant research regarding the history of seal carving in Hong Kong – only a very small number of scholars have conducted research in this area, and only several articles have been written about it in the past century. Tang Cheong-shing, a contemporary seal carver, first wrote “Xianggang zhuanke fazhan gaikuang (An overview of the development of seal carving in Hong Kong)” in 1988 and the content of this article has been more or less repeated in his subsequent writings, including “Xianggang zhuanke fazhan shi (The history of seal carving development in Hong Kong)” (1989) and “Seal Carving in Hong Kong – Retrospection” (1995), which provided an overview of the development of Hong Kong seal carving between the 1940s and 1980s. -
Advisory Board
Editorial Board Editor-in-Chief Dr. Humaira Masood Dar GC Women University, Sialkot [email protected] Editor Hafza Yaqoob GC Women University, Sialkot [email protected] Advisory Board 1. Dr. Iram Khalid 9. Dr. Bonita Aleaz University of the Punjab Lahore University of Calcutta, India [email protected] [email protected] 2. Dr. Ishtiaq Ahmad Ch. 10. Dr. Gyasudeen Molla University of Islamabad University of Dhaka, Bangladesh [email protected] [email protected] 3. Dr. Manzoor Khan Afridi 11. Dr. K. M. Sajad Ibrahim International Islamic University Islamabad University of Kerala, India [email protected] [email protected] 4. Dr. Muhammad Ilyas 12. Dr. Jie Ma GC Women University, Sialkot Xian Jiatong University, China [email protected] [email protected] 5. Dr. Hafiz Khalil Ahmad 13. Dr. Kamar ul zaman Askandar GC Women University, Sialkot University Sains, Malaysia [email protected] [email protected] 6. Dr. A. Z. Hilali 14. Dr. Zahid Yaseen University of Peshawar [email protected] [email protected] 7. Dr. Muhammad Mushtaq 15. Dr. Muhammad Muzaffar University of Gujarat GC University Faisalabad [email protected] [email protected] 8. Dr. Umber Ibad 16. Dr. Muhammad Arshad Javaid F.C. University Lahore University of Education Lahore [email protected] [email protected] Orient Research Journal of Social-Sciences ISSN Print December 2016, Vol.1, No.2 [65-81] ISSN Online Labour Movement in West Pakistan 1947-1958: A Perspective on Punjab Shahbaz Ahmad1 Abstract This paper explores the growth and development of Trade Union activities in post-colonial Pakistan from 1947-58 and to address the problems of workers in newly established Pakistan. -
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. -
TIMELINE – 1800S in China
Joslyn Art Museum TIMELINE – 1800s in China China, 1800-1900 A.D. Overview After the reign of Qianlong (r. 1736–95), China encounters a succession of economic and political crises that shake the foundation of the empire. Around the mid-nineteenth century, foreign powers force open several ports along the Chinese coast for international trade. Shanghai flourishes and becomes a commercial magnet for artists and craftsmen from all over the country. In the urban centers especially, a growing demand for household and personal items fosters diverse styles in wood carving, textiles, painting, and ceramics. Auspicious symbols, folk deities, and literary characters feature regularly in aesthetic objects for popular consumption. A noted development of the nineteenth century is the full blossoming of the Stele School. Using archaic inscriptions on stones, seals, and bronze vessels as references, exponents of the school create new calligraphic expressions that emphasize lucid structure and raw strength. These works offer an aesthetic alternative to the fluid elegance associated with the canonical brushed-calligraphy of Wang Xizhi, Zhao Mengfu, and Dong Qichang. Key Events • 1816–34 Britain's Lord Amherst and Lord Napier, like their predecessor Lord Macartney, fail to obtain China's consent to open its markets for international trade. • ca. 1821–1911 Between the reign of Emperor Daoguang (r. 1821–50) and the end of the Qing dynasty, new discoveries and publications of stone and bronze artifacts inspire an unprecedented variety of styles within the Stele School. Representative masters of this period include Wu Rangzhi (1799–1870), Xu Sangeng (1826– 1890), and Zhao Zhiqian (1829–1884).