DOCSLIB.ORG

Dunhuang -‐ Song of Living Beings to Be Presented

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dunhuang -‐ Song of Living Beings to Be Presented 1 2016.01.06 Dunhuang - Song of Living Beings to be presented at Shanghai Himalayas Museum from November 29, 2015 to March 20, 2016 From the 4th century to the 14th century, people spent over a thousand years carving out the Dunhuang Grottoes spanning more than 1,680 meters from the south to the north. During the past seven decades, generations of “Dunhuangers,” from the National Dunhuang Art Institute (founded in 1944) to today’s Dunhuang Research Academy, have made enormous efforts to bring back to life the nearly extinct beauty and vitality of this medieval culture and art. From 2014 to 2015, the Shanghai Himalayas Museum and the Dunhuang Research Academy have tirelessly endeavored to present the beauty and vitality of Dunhuang to audiences in Shanghai. In addition to historical relics as well as expert replicas of grottoes and cave paintings, this unprecedented exhibition of Dunhuang in Shanghai will feature an enchanting dialogue between the treasures of Dunhuang and contemporary art. Dunhuang—Song of Living Beings, the first major exhibition of Dunhuang in Shanghai, showcases 165 sets of original works and artifacts representing all the core aspects of Dunhuang art and culture. Highlights include eight replica caves that embody the highest artistic value of the Dunhuang grottoes; eleven copies of painted stucco sculptures; sixty copies of cave murals produced by the founding pioneers of the National Dunhuang Art Institute (precursor to the Dunhuang Research Academy which included Mr. Chang Shuhong, Mr. Duan Wenjie and Ms. Chang Shana); twenty-five copies of silk paintings, ten carved brick replicas from the Dunhuang tombs of the Han Dynasty, and fifty-one cultural relics from Dunhuang. The eight replica caves featured in this exhibition present a rare opportunity for audiences in Shanghai to view the interior of these grottoes. Except for the Mogao Cave 17 (Dunhuang Library Cave), all of the caves on which the seven replicas are based, are not open to the public for the sake of preservation. Mogao Cave 275 of the Northern Liang period (397-439) is one of the oldest caves at Dunhuang. The cave is home to Maitreya, the future Buddha. With a round face, a robust physique and a calm expression, he sits cross-ankled wearing a crown containing three round jewels. His sitting pose and decoration, as well as the triangular brocade-patterned backrest, suggest the integration of traditional Chinese sculptural arts and influences of Buddhist art from Central Asia. Moreover, sixteen out of the fifty-one cultural relics on display have been designated “First-Class National Cultural Relics,” including the “Nature of the Tathagata in Nirvana Sutra (Northern Wei period).” Due to their protected status, these relics are rarely put on display to the public in the galleries at Dunhuang. Also on display will be Buddhist sutras written in Chinese, Tibetan, Khotan, Turkic, Uighur, Sanskrit, Sogdian and Hebrew scripts. Through the presentation and interpretation of these relics and historical documents, the exhibition aims to make the art and history of Dunhuang more accessible to the general public. In this vein, the Shanghai Himalayas Museum has invited a professional docent team from the Dunhuang Research Academy to provide audiences with insight into exhibited works as well as a myriad of stories behind Dunhuang. In the past few years, the art of Dunhuang has travelled to the National Art Museum of China (Beijing), Guan Shanyue Art Museum (Shenzhen), Zhejiang Art Museum (Hangzhou) and the Hong Kong Heritage Museum, each iteration garnering popular acclaim from local audiences. For this unprecedented exhibition of Dunhuang in Shanghai, in addition to historical relics and expert replicas of grottoes and 上海·浦东新区樱花路 869 号 3-4F 上海喜玛拉雅美术馆 Tel: 021-50339801 2 2016.01.06 cave paintings, the Shanghai Himalayas Museum will feature a probing dialogue between the treasures of Dunhuang and contemporary art. A selection of contemporary artworks, including works by Li Lei, Ding Yi, Qiu ZhiJie, Li Yongzheng, and Nam June Paik will be placed in conversation with the art of Dunhuang to reflect on the multiple relationships—inspirational, conflicting, and transformative—that obtain between historical and contemporary art and culture as well as in the mode of approaching and representing religion and spirituality. As a major stop on the ancient Silk Road, Dunhuang was of strategic importance in terms of connecting China and the West. The history of Dunhuang as an official county dated back to the ruling period of Emperor Wu of the Western Han Dynasty (156 BC- 87 BC). As an extension of the exhibition space, iconic landmarks such as the Yumen Pass, the Great Wall of the Han Dynasty and the Beacon Tower at Yangguan will be re-created at the Himalayas Center plaza to give visitors a vivid sense of the scenery of ancient Dunhuang. At the same time, a series of lectures by masters of Dunhuang art including Fan Jinshi and Wang Xudong will be presented during the exhibition period. As Ji Xianlin, renowned Chinese scholar has stated: “Globally speaking, there are only four cultural systems that truly have a long history, span vast geographical areas and could be considered one of a kind, namely China, India, ancient Greece and Islam…. Moreover, the four cultural systems all converge at one point: Dunhuang and the Xinjiang area in China.” Dunhuang - Song of Living Beings will be unveiled on November 29, 2015 at the Shanghai Himalayas Museum. The exhibition is co-curated by Mr. Wang Xudong, Director of Dunhuang Research Academy, and Mr. Wong Shun-kit, Advisor to Shanghai Himalayas Museum. Dr. Yongwoo Lee, Director of Shanghai Himalayas Museum is the Artistic Director, and Ms. Fan Jinshi, Honorary Director of the Dunhuang Research Academy, and popularly known as the “Daughter of Dunhuang,” the exhibition’s chief Academic Advisor. This exhibition is made possible through the generous support of Mr. Dai Zhikang, Chairman of Zendai Group. ------------- Dunhuang - Song of Living Beings Artistic Director: Yongwoo Lee Academic Advisor: Fan Jinshi Curators: Wang Xudong, Wong Shun-kit Opening Ceremony and Press Preview: November 29, 2015 (Sun.) Exhibition Dates: December 1, 2015 - March 20, 2016 Opening Hours: 10:00 am - 6:00 pm (closed on Mondays) Organized by: Shanghai Himalayas Museum, Dunhuang Research Academy Contemporary Art Section (Artists’ names are listed in alphabetical order): Ding Yi, Guo Gong, He Chengyao, He Wenque, Huang Yong, Jiang Zhenggen, Kong Baiji, Li Hongbo, Li Lei, Li Yongzheng, Nam June Paik, Ni Youyu, Qiu Zhijie, Shao Yinong & Mu Chen, Shi Zhiying, Wen Hao, Xu Jing, Xie Shenghai, Zhang Kechun, Zhu Legeng 上海·浦东新区樱花路 869 号 3-4F 上海喜玛拉雅美术馆 Tel: 021-50339801 3 2016.01.06 Media contacts: Xian Chen: [email protected] About Shanghai Himalayas Museum Designed by Arata Isozaki, Shanghai Himalayas Museum (formerly known as Shanghai Zendai MoMA), established by Shanghai Zendai Group in 2005, is a privately funded, non-profit art institute focusing on art exhibition, education, collection, research and academic exchanges. With vision and an open mind, the museum plays an active role in promoting cultural and art developments, exploring new patterns for museums in the context of the contemporary society, discovering new art forces, and promoting communication and collaboration between China and abroad and among different disciplines to showcase and interpret eastern values and spirit with a contemporary touch. Since 2011, the museum has presented a series of international art projects including “Designing Design / The Exhibition of Kenya Hara in China 2011”, “Tony Cragg: Sculptures and Drawings”, Ink Art Exhibition Series, “Ateliers – Ofer Lellouche Solo Exhibition”, 2014 John Moores Painting Prize (China) Exhibition, solo exhibitions of Sean Scully and Michael Craig-Martin. www.himalayasmuseum.org 上海·浦东新区樱花路 869 号 3-4F 上海喜玛拉雅美术馆 Tel: 021-50339801 4 2016.01.06 在上海遇见敦煌 “敦煌：生灵的歌” 将于上海喜玛拉雅美术馆展出至 2016 年 3 月底 从公元4世纪到14世纪，古人花了一千多年开凿出南北长1680米的敦煌石窟群；从1944年国立敦煌艺术研究所 成立到如今的敦煌研究院，一代代“敦煌人”用七十余年把中古时代的繁华之地再现于世人面前；从2014年到 2015年底，上海喜玛拉雅美术馆与敦煌研究院合作，花了两年的时间，联合敦煌博物馆将敦煌位移至上海。 2015年11月29日，“敦煌：生灵的歌”大型展览于上海喜玛拉雅美术馆开幕。展览由敦煌研究院院 长王旭东、上海喜玛拉雅美术馆顾问王纯杰联合策展；上 海 喜 玛 拉 雅 美 术 馆 馆 长 李龙雨为艺术总监，有“敦 煌的女儿”之誉的敦煌研究院名誉院长樊锦诗担任学术顾问，并由上海喜玛拉雅美术馆理事会主席、证大 集团董事长戴志康先生大力支持。在带来大型敦煌臻品艺术的同时，首次， 丝路上的艺术瑰宝与当代艺 术亲密接触。 “敦煌：生灵的歌”还原 8 个(其中北凉 275 窟展出至 2016 年 1 月 4 日)最具艺术价值敦煌石窟，并展出 经典的彩塑临摹 11 件、壁画临摹品（常书鸿、段文杰、常沙娜等敦煌艺术顶级大师作品）60 件、藏经洞绢 纸画复制品 25 组件、藏经洞文物五十余件等共计一百六十余组件源自敦煌的艺术沉淀。在 7 个石窟中， 除莫高窟晚唐第 17 窟（藏经洞）之外其它洞窟因保护的原因不对外开放，而在本次上海展中，公众将有机会一 睹其容颜。其中第 3 窟是元代晚期最重要的代表窟，是敦煌现存唯一以观音为主题的洞窟。画像以焦墨勾勒， 色彩淡雅，造型蕴藉、庄重，特别令人称赏的是丰富多彩的线描，洞窟虽小，但具有很高的艺术水平。在特别展 出的五十余件珍品文物中，其中 16 件为国家一级文物，包括“大般涅槃经如来性品经（北魏）”等在内的 源自藏经洞的绘画、古代写本、刻本的作品，都是在敦煌的陈列厅都是很少拿出来展览的宝贝。写本和刻本 所使用的语言文字除汉文外，还有藏文、于阗文、突厥文、回鹘文、梵文、粟特文、希伯来文等。通过对文物及 文献的展示和重新演绎，此次展览，公众将能够更透彻了解敦煌的艺术及历史。同时，上海喜玛拉雅美术馆邀请 到了敦煌研究院专业的解说团队，使展览本身不仅仅是作品的陈列，更有一个个关于敦煌的故事将随展览在上 海传颂。 作为一个成熟的“展览”，敦煌展在近年中国美术馆、深圳关山月美术馆、浙江美术馆、香港文化博物馆等巡展 中每每引起轰动，不同于以往，在呈现最经典之敦煌艺术的同时，上海喜玛拉雅美术馆作为当代艺术馆，首次实 现敦煌艺术与当代艺术的对话。通过白南准的《蓝佛》（Blue Buddha），孔柏基的《莫高窟佛像》， 邱志杰的《总会有人信》,李磊的《佛不语》，丁乙的《十示系列》……等作品，“敦煌：生灵的歌”将 带领公众立基于敦煌石窟的视觉体验之后重新审视当代艺术里面关于佛教/宗教的创作。 作为古代“丝绸之路”的重镇，总绾中西交通的“咽喉之地”,敦煌郡设立于汉武帝时期，作为本次展览的延伸， 展期内的喜玛拉雅广场上，玉门关、汉长城、阳关烽燧等具有代表性的建筑以及地貌，将以相应比例实景复原， 古代敦煌历史人文之景将得以在上海再现；此外包括樊锦诗等敦煌大师系列讲座也将于展览期间展开。国学大 师季羡林曾说：“世界上历史悠久、地域广阔、自成体系、影响深远的文化体系只有四个：中国、印度、 希腊、伊斯兰，再没有第五个；而这四个文化体系汇流的地方只有一个，就是中国的敦煌和新疆地区。” 正因如此，憧憬敦煌并不需要其他的理由。 上海·浦东新区樱花路 869 号 3-4F 上海喜玛拉雅美术馆 Tel: 021-50339801 5 2016.01.06 开展以来，整个江浙沪地区亦是掀起一股敦煌热，喜玛拉雅美术馆门口也是常常排起长队。主办方建议合理安排 观展时间，完整看完此展览至少需要 2 个小时，如能安排平日观展的观众，建议平日参观，一来门票相对便宜，
Load more

Recommended publications
  • RESEARCH on CLOTHING of ANCIENT CHARACTERS in MURALS of DUNHUANG MOGAO GROTTOES and ARTWORKS of SUTRA CAVE LOST OVERSEAS Xia
    Global Journal of Arts, Humanities and Social Sciences Vol.8, No. 1, pp.41-53, January 2020 Published by ECRTD-UK ISSN: 2052-6350(Print), ISSN: 2052-6369(Online) RESEARCH ON CLOTHING OF ANCIENT CHARACTERS IN MURALS OF DUNHUANG MOGAO GROTTOES AND ARTWORKS OF SUTRA CAVE LOST OVERSEAS Xia Sheng Ping Tunhuangology Information Center of Dunhuang Research Academy, Dunhuang, Gansu Province, China E-mail: [email protected], [email protected] ABSTRACT: At the beginning of the twentieth century (1900), the Sutra Cave of the Mogao Grottoes in Dunhuang (presently numbered Cave 17) was discovered by accident. This cave contained tens of thousands of scriptures, artworks, and silk paintings, and became one of the four major archeological discoveries of modern China. The discovery of these texts, artworks, and silk paintings in Dunhuang shook across China and around the world. After the discovery of Dunhuang’s Sutra Cave, expeditions from all over the world flocked to Dunhuang to acquire tens of thousands of ancient manuscripts, silk paintings, embroidery, and other artworks that had been preserved in the Sutra Cave, as well as artifacts from other caves such as murals, clay sculptures, and woodcarvings, causing a significant volume of Dunhuang’s cultural relics to become lost overseas. The emergent field of Tunhuangology, the study of Dunhuang artifacts, has been entirely based on the century-old discovery of the Sutra Cave in Dunhuang’s Mogao Grottoes and the texts and murals unearthed there. However, the dress and clothing of the figures in these lost artworks and cultural relics has not attracted sufficient attention from academic experts.
    [Show full text]
  • China As an Issue: Artistic and Intellectual Practices Since the Second Half of the 20Th Century, Volume 1 — Edited by Carol Yinghua Lu and Paolo Caffoni
    China as an Issue: Artistic and Intellectual Practices Since the Second Half of the 20th Century, Volume 1 — Edited by Carol Yinghua Lu and Paolo Caffoni 1 China as an Issue is an ongoing lecture series orga- nized by the Beijing Inside-Out Art Museum since 2018. Chinese scholars are invited to discuss topics related to China or the world, as well as foreign schol- ars to speak about China or international questions in- volving the subject of China. Through rigorous scruti- nization of a specific issue we try to avoid making generalizations as well as the parochial tendency to reject extraterritorial or foreign theories in the study of domestic issues. The attempt made here is not only to see the world from a local Chinese perspective, but also to observe China from a global perspective. By calling into question the underlying typology of the inside and the outside we consider China as an issue requiring discussion, rather than already having an es- tablished premise. By inviting fellow thinkers from a wide range of disciplines to discuss these topics we were able to negotiate and push the parameters of art and stimulate a discourse that intersects the arts with other discursive fields. The idea to publish the first volume of China as An Issue was initiated before the rampage of the coron- avirus pandemic. When the virus was prefixed with “China,” we also had doubts about such self-titling of ours. However, after some struggles and considera- tion, we have increasingly found the importance of 2 discussing specific viewpoints and of clarifying and discerning the specific historical, social, cultural and political situations the narrator is in and how this helps us avoid discussions that lack direction or substance.
    [Show full text]
  • Cultural Treasure for the World
    20 | Tuesday, November 12, 2019 HONG KONG EDITION | CHINA DAILY LIFE DUNHUANG Cultural treasure for the world Historic Silk Road hub set to continue playing a leading role in global learning and exchange, Alexis Hooi reports. he mural depicts a robe­ clad figure flanked by envoy­like emblems, seem­ China, UK ingly prostrate before an Taugust figure on horseback with a royal retinue. team up to Scholars have since attributed the scene to that of Zhang Qian bidding farewell to the Western Han Dynas­ preserve ty’s (206 BC­AD 24) Emperor Wu, who had sent his imperial emissary on a trailblazing diplomatic mission Mogao art to the western regions. Zhang’s expeditions, as many Chi­ By BO LEUNG in London nese people know, paved the way to [email protected] what later became the Silk Road, the historic trading network linking The murals and wall paintings East and West, with world­binding inside the caves of Dunhuang, influences expanding to the cultur­ Gansu province, have been the al, social and other spheres that con­ subject of many studies, from art tinue to be felt today. history to architecture, religion, The Tang Dynasty (618­907) culture and beyond. mural itself comes from Cave 323 of Due to the fragile nature of the the Mogao Caves in Dunhuang, site, efforts between the Dunhu­ Northwest China’s Gansu province, ang Academy and British institu­ which boasts one of the finest repos­ tions continue to play a pivotal itories of Buddhist art in the world. role in the conservation of the The major paintings, sculptures caves.
    [Show full text]
  • Chinese Local Elites and Institutional Changes: the Local Self-Government in Jiaxing 1905-1914
    Leiden University Asian Studies (Research), Humanities Chinese Local Elites and Institutional Changes: The Local Self-Government in Jiaxing 1905-1914 Master thesis Author: Chen Wenxi Supervisor: Dr. Limin Teh Advisor: Professor Hilde De Weerdt Date: 2017-08-01 [email protected] CHINESE LOCAL ELITES AND INSTITUTIONAL CHANGES: THE LOCAL SELF-GOVERNMENT IN JIAXING 1905-1914 CHEN WENXI 2 / 92 Abstract This paper proposes a new perspective to understand the local self-government movement during the late Qing New Policies era. On the one hand, this new perspective moves beyond the common practice of interpreting the local self-government movement as failed state efforts to bridle the local elite by enlisting them into bureaucracy, and instead looks at it from the perspective of local society. On the other hand, it emphasizes the relations between local self-government institutions and other contemporaneous professional associations, like the chamber of commerce, education association, agriculture association, and the anti-opium bureau. To facilitate a comprehensive understanding of the local self-government movement, this paper examines the case in Jiaxing from 1905 to 1914. This period witnessed the whole process of the first wave of the local self-government movement from its start and preparation in the last years of the Qing to its abolition by Yuan Shikai in the Republic. A clear understanding of local power structure is indispensable for researching local self-government. Previous scholars generally draw a line between upper-degree elites and lower elites, urban elites and countryside-based elites, suggesting that there were serious conflicts between upper urban elites and lower elites during the local self-government movement.
    [Show full text]
  • DUNHUANG Inspired by an Ancient Muse
    18 CHINA DAILY | HONG KONG EDITION Tuesday, November 12, 2019 | 19 LIFE DUNHUANG Inspired by an ancient muse The Mogao Caves — part of the ancient Silk Road — provide endless inspiration for designer Xiong Ying, helping her to take her fashion house, Heaven Gaia, to new levels on the international stage, Chen Nan reports. Great Hall History set in stone Digging in designs reflect • In 366, the first cave is carved by Yuezun, a Bud­ dhist monk who happens to visit Dunhuang. inspiration from • The first large­scale boring of grottoes begins in Dunhuang during the Northern Liang (401­439) Gansu caverns kingdom period. • Rulers of the Northern Wei (386­534), Western Wei (535­556) and Northern Zhou (557­581) By LIN QI dynasties follow Buddhism and contribute to the [email protected] expansion of the grottoes. When construction of the Great Hall of the Peo­ • Booming trade along the ancient Silk Road gradu­ ple began in 1958, then­premier Zhou Enlai sug­ ally helps the Mogao Caves become prominent in the gested while overseeing the project that talented seventh and the eighth centuries. During the reign of young Chinese have the opportunity to partici­ empress Wu Zetian of the Tang Dynasty (618­907), pate. more than 1,000 caves exist at the site. Chang Shana, then 27, was among the artists chosen. A teacher at the Central Academy of Arts • Dunhuang is ruled by the Tibetan Tubo regime and Design (now Tsinghua University’s Academy from 781 to 848, who dig 56 caves. of Arts and Design) at the time, Chang got the chance after being noticed in China’s art world for • Local warlords govern Dunhuang from 848 to her accurate copies of the mural paintings inside 1036, creating many family grottoes.
    [Show full text]
  • New Directions in 20Th Century Buddhist Studies in China: Dunhuang's Mogaoku As Case Study
    New Directions in 20th Century Buddhist Studies in China: Dunhuang's Mogaoku as Case Study Robert A. Jones, University of Louisville Introduction Beginning at the end of the 19th century and ending in the third decade of the twentieth century, foreign archaeological explorers mounted a number of independent and more or less systematic explorations of northwestern China, including Tibet, Xinjiang and Gansu Province. These included expeditions from Sweden, Great Britain, Germany, Russia, Japan, France and the United States. Although the territories covered were ostensibly under the control of the Qing, and later, Republican, governments, these expeditions (with the exception of a few of the later ones) were not under the control of Chinese authorities. Due to the lack of Chinese oversight, large amounts of archaeological materials were taken out of the country. In the West, modern archaeological theory and methodology were at the time still in their early stages. International treaties protecting the cultural heritage of sovereign nations did not exist. The expeditions in the west of China were in fact unregulated grabs of anything of value by the explorers, who had little to fear from the Chinese government, at least at first. Each of these expeditions possessed among their members varying degrees of expertise and competency in the archaeological arts (see Hopkirk 1980; Meyer 1999). Despite a deficiency in modern theoretical frameworks and techniques, most of these expeditions managed to discover, remove and bring back to their countries vast quantities of art and relics, the knowledge of which had long been forgotten or ignored by the local populace, in what Arthur Waley called an “archaeological free-for all” (1960: 237-239).
    [Show full text]
  • Chapter Eight Hangzhou (1948-1954): the Politics of Art in New China
    Chapter Eight Hangzhou (1948-1954): the politics of art in new China On 23 July 1948, at the age of eighty-five, Huang Binhong left Beiping for southern China. After a short stay in Shanghai he moved on to Hangzhou to become a professor at the National Art Academy (Guoli yishu zhuanke xuexiao 國 立 藝 術 專 科 學 校). Soon after Huang’s arrival an exhibition of paintings from his personal collection was displayed at the Hangzhou art academy. The two-day exhibition coincided with National Day on 10 October and included artworks said to be from the Six Dynasties, as well as the Tang, Song, Yuan, Ming and Qing, along with a number of Huang’s own paintings.1 The linking of his own works with historical paintings underlines the close connection that existed between the two in his mind. The exhibition celebrated traditional Chinese brush and ink painting, past and present immediately prior to the Communist Party assuming power. Because of its association with the scholar-élite, such an exhibition would not be held again for many years. While some of his friends and associates would flee to Taiwan and Hong Kong, as a result of the Communist victory, Huang Binhong chose to remain in China.2 The largely ceremonial post at the academy provided him with financial security and conferred status and respect.3 The social and cultural transformation that would unfold in China under a Communist government was as yet unknown. This chapter charts Huang’s life and artistic development from the time of the founding of the People’s Republic of China in 1949, examining his personal response to the new political environment.
    [Show full text]
  • Chinese Women Artists in the National and Global Art Worlds, 1900S - 1970S
    Redefining Female Talent: Chinese Women Artists in the National and Global Art Worlds, 1900s - 1970s Doris Ha Lin Sung A Dissertation submitted to the Faculty of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Graduate Program in Humanities, York University Toronto, Ontario June 2016 © Doris Ha Lin Sung, 2016 Abstract This study examines the art practices of three generations of Chinese women who were active between the 1900s and the 1970s. Its conceptual focus is on the reassessment of female talent and virtue, a moralized dichotomy that had been used to frame women’s social practices and cultural production for centuries in China. The study opens in the period when female poetic practice was harshly vilified by reformists of the late Qing era (1890s-1911). It questions why women’s art production was not directly condemned and examines how women’s increasingly public displays of artistic talent were legitimized through the invocation of long-standing familial norms, the official sanction of new education, and the formulation of various nationalist agendas. Most importantly, this study demonstrates how women artists joined female writers, educators, and political figures in redefining gender possibilities in the early Republican period. Women artists discussed in this study practiced both Chinese-style and Western-style art. It examines their participation in several different public contexts, including art education, exhibitions, art societies, and philanthropic organizations. Representatives of the first generation, Wu Xingfen (1853-1930) and Jin Taotao (1884-1939), advanced the artistic legacy of their predecessors, the women of the boudoir (guixiu), while at the same time expanding the paradigm of traditional women’s art practices.
    [Show full text]
  • Transtext\(E\)S Transcultures 跨文本跨文化, 9
    Transtext(e)s Transcultures 跨文本跨文化 Journal of Global Cultural Studies 9 | 2014 Géopolitique de la connaissance et transferts culturels Art and Chinese Modernity in Connection with Lyon, 1920s-1940s WANG Yiyan Electronic version URL: http://journals.openedition.org/transtexts/512 DOI: 10.4000/transtexts.512 ISSN: 2105-2549 Publisher Gregory B. Lee Electronic reference WANG Yiyan, « Art and Chinese Modernity in Connection with Lyon, 1920s-1940s », Transtext(e)s Transcultures 跨文本跨文化 [Online], 9 | 2014, Online since 20 September 2015, connection on 30 April 2019. URL : http://journals.openedition.org/transtexts/512 ; DOI : 10.4000/transtexts.512 This text was automatically generated on 30 April 2019. © Tous droits réservés Art and Chinese Modernity in Connection with Lyon, 1920s-1940s 1 Art and Chinese Modernity in Connection with Lyon, 1920s-1940s WANG Yiyan Introduction 1 Modernisation of art was an integral part of China’s national modernisation project, which China undertook when faced with serious threat of European and Japanese imperialism from the latter half of the 19th century.1After the founding of the Republic of China in 1912, measures to expand “Western learning” sped up with many students going overseas to study and Western ideas being translated into Chinese. European concepts and practice of art were also rapidly introduced and learnt. By the third decade of the 20th century, the concept and practice of art in China had been completely transformed. In 1929 China’s first national art exhibition, organised by the Ministry of Education, was held with overwhelming success and included many genres originating in European traditions, such as oil painting, sculpture, photography and architectural models.2 2 The national art exhibition was conceived at the very founding of the Republic of China by its first minister of education, Cai Yuanpei 蔡元培 (1868-1940).
    [Show full text]
  • Transtext(E)S Transcultures 跨文本跨文化 Journal of Global Cultural Studies
    Transtext(e)s Transcultures 跨文本跨文化 Journal of Global Cultural Studies 9 | 2014 Géopolitique de la connaissance et transferts culturels Édition électronique URL : http://journals.openedition.org/transtexts/505 DOI : 10.4000/transtexts.505 ISSN : 2105-2549 Éditeur Gregory B. Lee Référence électronique Transtext(e)s Transcultures 跨文本跨文化, 9 | 2014, « Géopolitique de la connaissance et transferts culturels » [En ligne], mis en ligne le 01 décembre 2014, consulté le 27 mars 2020. URL : http:// journals.openedition.org/transtexts/505 ; DOI : https://doi.org/10.4000/transtexts.505 Ce document a été généré automatiquement le 27 mars 2020. © Tous droits réservés 1 SOMMAIRE Editorial Géopolitique de la connaissance et transferts culturels Florent VILLARD Geopolitics of Knowledge and Cultural Displacements Florent VILLARD L’Institut franco-chinois de Lyon (1921-1946), une école de la modernité : arts, littérature, science Les collections de l’ancien IFCL, Quels services pour quels usagers ? Un état des lieux pour de nouvelles perspectives Valentina DE MONTE Art and Chinese Modernity in Connection with Lyon, 1920s-1940s WANG Yiyan La « Marche sur Lyon » ou le conte des deux forts Gregory LEE La colonialité intellectuelle dans l’histoire de la Chine moderne : de la « Bourse scolaire de l’indemnité des Boxers » à l’Institut franco-chinois de Lyon LIANG Hongling Su Xuelin et la première vague d’étudiantes à l’IFCL : Cartographie d’un désir d’ailleurs Jacqueline ESTRAN Géopolitique du savoir et philosophie dans le contexte de l’Institut franco-Chinois
    [Show full text]
  • Pang Xunqin (1906-1985) – a Chinese Avant- Garde’S Metamorphosis, 1925-1946, and Questions of “Authenticity”
    ABSTRACT Title of Dissertation: PANG XUNQIN (1906-1985) – A CHINESE AVANT- GARDE’S METAMORPHOSIS, 1925-1946, AND QUESTIONS OF “AUTHENTICITY” Xiaoqing Zhu, Doctor of Philosophy, 2009 Dissertation directed by: Professor Jason Kuo Department of Art History and Archaeology This dissertation has three goals. The first is to chart the artistic life of Pang Xunqin (1906-1985) and his art works from 1929 to 1946. Pang’s metamorphosis from an aspiring young artist in Paris and Shanghai in the 1920s and 30s, into an artist in his own right, a graphic designer, an educator, and a scholar of the history of Chinese art and craft, while ceaselessly trying to renew himself – all this is a record that deserves an art historical recognition. The second goal is to locate Pang Xunqin in the historiography of Chinese modern art in an attempt to problematize issues of inclusion and exclusion in the historiography of the field. The third goal, which is closely tied to the second, is to utilize post-colonial inquiries to explore myriad issues of non-Western modernism embodied in Pang Xunqin’s case. Such issues include the divisions among the “traditionalists,” the “academic realists,” and the “modernists,” colonial cosmopolitanism in the Shanghai of the 30s, and the appropriation of “primitivism” in the 40s. Attention also focuses on the issues of authenticity and “hybridity,” Western orientalization of the East and self- orientalization by the East in cross-cultural encounters, and identity politics and nationalistic agendas in the construct of the guohua (national painting) and xihua (Western painting) divide. The post-colonial methodology employed here helps raise questions regarding the binary construct of tradition vs.
    [Show full text]
  • Chinese Art 8. the Twentieth Century
    Chinese Art 8. The Twentieth Century - Republic Pinyin spelling mostly approximates to English pronunciation apart from, notably, Q = “ch” in cheap. X =”sh” in sham. Zh = “j” in jasmine. Z = “ds” hands. C = “ts” as in tsar. Names are given with surnames first Contents Traditional Chinese Art ............................................................................................................................... 3 Qi Baishi (1864-1957) ................................................................................................................................ 4 Li Kuchan (1899-1983) .............................................................................................................................. 9 The Shanghai School ............................................................................................................................... 10 Wu Changshuo (1844-1927) ............................................................................................................... 11 Pan Tianshou (1897-1971) .................................................................................................................. 12 Huang Binhong (1865-1955) ................................................................................................................... 14 Fu Baoshi (1904-1965) ............................................................................................................................ 16 Synthesis with Western Art ....................................................................................................................
    [Show full text]