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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. -
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6 THURSDAY, APRIL 23, 2015 DOCUMENT CHINA DAILY 7 JUSTICE INTERPOL LAUNCHES GLOBAL DRAGNET FOR 100 CHINESE FUGITIVES It’s called Operation Sky Net. Amid the nation’s intensifying antigraft campaign, arrest warrants were issued by Interpol China for former State employees and others suspected of a wide range of corrupt practices. China Daily was authorized by the Chinese justice authorities to publish the information below. Language spoken: Liu Xu Charges: Place of birth: Anhui property and goods Language spoken: Zeng Ziheng He Jian Qiu Gengmin Wang Qingwei Wang Linjuan Chinese, English Sex: Male Embezzlement Language spoken: of another party by Chinese Sex: Male Sex: Male Sex: Male Sex: Male Sex: Female Charges: Date of birth: Chinese, English fraud Charges: Date of birth: Date of birth: Date of birth: Date of birth: Date of birth: Accepting bribes 07/02/1984 Charges: Embezzlement Embezzlement 15/07/1971 14/11/1965 15/05/1962 03/01/1972 17/07/1980 Place of birth: Beijing Place of birth: Henan Language spoken: Place of birth: Place of birth: Place of birth: Language spoken: Language spoken: Chinese Zhejiang Jinan, Shandong Jilin Chinese, English Chinese Charges: Graft Language spoken: Language spoken: Language spoken: Charges: Corruption Charges: Chinese Chinese, English Chinese Embezzlement Charges: Contract Charges: Commits Charges: fraud, and flight of fraud by means of a Misappropriation of Yang Xiuzhu 25/11/1945 Place of birth: Chinese Zhang Liping capital contribution Chu Shilin letter of credit Dai Xuemin public funds Sex: Female -
1 EDWARD A. MCCORD Professor
EDWARD A. MCCORD Professor of History and International Affairs The George Washington University CONTACT INFORMATION Office: 1957 E Street, NW, Suite 503 Sigur Center for Asian Studies The George Washington University Washington, D.C. 20052 Phone: 202-994-5785 Fax: 202-994-6096 Home: 807 Philadelphia Ave. Silver Spring, MD 20910 Phone: 301-588-6948 Email: [email protected] EDUCATION Ph.D. University of Michigan, History, 1985 M.A. University of Michigan, History, 1978 B.A. Summa Cum Laude, Marian College, History, 1973 OVERSEAS STUDY AND RESEARCH 1992-1993 Research, People's Republic of China Summer 1992 Inter-University Chinese Language Program, Taipei, Taiwan 1981-1983 Dissertation Research, People's Republic of China 1975-1977 Inter-University Chinese Language Program, Taipei, Taiwan ACADEMIC POSITIONS Professor of History and International Affairs, Elliott School of International Affairs, The George Washington University. July 2015 to present (Associatte Professor of History and International Affairs, September 1994 to July 2015). Director, Taiwan Education and Research Program, Sigur Center for Asian Studies, The George Washington University. May 2004 to present. Director, Sigur Center for Asian Studies, The George Washington University, August 2011 to June 2014. Deputy Chair, History Department, The George Washington University, July 2009 to August 2011. 1 Senior Associate Dean for Management and Planning, Elliott School of International Affairs, The George Washington University. July 2005 to August 2006. Associate Dean for Faculty and Student Affairs, Elliott School of International Affairs, The George Washington University. January 2004 to June 2005. Associate Director, Sigur Center for Asian Studies, The George Washington University. July-December 2003. Acting Dean, Elliott School of International Affairs, The George Washington University. -
INFORMATION to USERS This Manuscript Has Been Reproduced
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 free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margin*, 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. Oversize 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. Each original is also photographed in one exposure and is included in reduced form at the back of the book. 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. A Beil & Howell Information Company 300 North Zee0 Road. Ann Arpor. Ml 48106-1346 USA 313/761-4700 800:521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. -
Copyright by James Joshua Hudson 2015
Copyright by James Joshua Hudson 2015 The Dissertation Committee for James Joshua Hudson Certifies that this is the approved version of the following dissertation: River Sands/Urban Spaces: Changsha in Modern Chinese History Committee: Huaiyin Li, Supervisor Mark Metzler Mary Neuburger David Sena William Hurst River Sands/Urban Spaces: Changsha in Modern Chinese History by James Joshua Hudson, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 Dedication For my good friend Hou Xiaohua River Sands/Urban Spaces: Changsha in Modern Chinese History James Joshua Hudson, PhD. The University of Texas at Austin, 2015 Supervisor: Huaiyin Li This work is a modern history of Changsha, the capital city of Hunan province, from the late nineteenth to mid twentieth centuries. The story begins by discussing a battle that occurred in the city during the Taiping Rebellion (1850-1864), a civil war that erupted in China during the mid nineteenth century. The events of this battle, but especially its memorialization in local temples in the years following the rebellion, established a local identity of resistance to Christianity and western imperialism. By the 1890’s this culture of resistance contributed to a series of riots that erupted in south China, related to the distribution of anti-Christian tracts and placards from publishing houses in Changsha. During these years a local gentry named Ye Dehui (1864-1927) emerged as a prominent businessman, grain merchant, and community leader. -
Hou Beiren at 100 百岁北人百岁北人 Contents
Hou Beiren at 100 百岁北人百岁北人 Contents Director’s Preface 5 Celebrating Hou Beiren at 100 7 Mark Dean Johnson My One Hundred Years: An Artistic Journey 13 Hou Beiren Plates 19 Biography 86 3 Director’s Preface Two years ago, at the opening of Sublimity: Recent Works by Hou Beiren, I proposed a toast to Master Hou: “… it was not in the plan prior to this moment, but I hope to present another exhibition of your works two years from now to celebrate your 100th birthday.” Master Hou was a little surprised by my proposal but replied affirmatively right at the moment. Thus we are having this current exhibition – Hou Beiren at 100. In the long course of human history, 100 years is just a blink of the eye. Yet when it comes to a man, 100 years is certainly a magnificent journey, especially considering the vast era of tremendous socio-political changes in modern China that Hou’s life and times encompass. Growing up as a village boy in a small county of Northern China, Hou had lived in China, Japan, and Hong Kong before relocating to the US sixty years ago. Witnessing the ups and downs, whether first-hand in China, or as a sojourner overseas, Hou never gave up his passion for painting. In fact, through painting he had been searching for his “dream”, “ideal” and “soul”, as he wrote in his statement. The mountains and valleys, rivers and creeks, trees and flowers, clouds and mists, waterfalls and rains, are all his heartfelt expressions in the means of ink and colors, and the yearning for a homeland in his dream. -
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 -
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. -
Chapter Nine the Balance of Darkness
Chapter Nine The balance of darkness and light: selected works from 1952 to 1955 Calligraphy and painting are like strong medicine: they can cure those with illness and prevent illness in those who are not ill.1 Through painting the landscape Huang Binhong followed historical artists in creating an ideal world, detached from or abstracted from reality, governed by geomancy (fengshui 風 水) and dominated by the symbolic motifs of mountains and water (shan 山, shui 水). On a philosophical level painting enabled the scholar-artist to understand his place in the cosmos through the interaction of yin and yang, which in painting are solid and void, darkness and light. According to traditional Chinese thought, all life is governed by this fundamental principle. Chinese brush and ink painters drew on historical models, type forms and brush techniques to produce an image of the natural world. The best artists, especially those who lived long, like Huang Binhong, transformed the historical models, painting their own paintings, drawing on their own life experience. Solitary figures, or a pair of figures in conversation, animate many of Huang Binhong’s paintings, giving them a self-reflexive dimension as an abstract synthesis of thought and feeling. Painting was the means by which Huang Binhong nourished mind and spirit. Like martial arts, which Huang Binhong practiced from a young age, it was a highly disciplined, physical art, a manifestation of the artist’s life-breath (qi 氣) and an emulation of the vitality or life-breath of the cosmos. Painting and calligraphy benefited from a strong, healthy body. -
The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950S
COMMUNIST OR CONFUCIAN? THE TRADITIONALIST PAINTER LU YANSHAO (1909-1993) IN THE 1950S THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Yanfei YIN B.A. Graduate Program in History of Art The Ohio State University 2012 Master's Examination Committee: Professor Julia F. Andrews Advisor Professor Christopher A. Reed Copyright by Yanfei YIN 2012 Abstract The establishment of the People’s Republic of China in 1949 triggered a deluge of artistic challenges for the Chinese ink painter. Lu Yanshao (陸儼少 1909-1993), an artist skilled in poetry, painting and calligraphy, had built his renown on landscape paintings following a traditionalist style. As of 1949, however, Lu began to make figure paintings that adhered to the guidelines established by the Communist Party. Dramatic social and political changes occurred in the 1950s under the new Communist regime. The Anti-Rightist Campaign, launched in 1957, targeted a large number of educated people, including many artists. Lu Yanshao was condemned as a Rightist and was forced to endure four years of continuous labor reform (laodong gaizao 勞動改造) in the countryside before finally ridding himself of the label of Rightist in 1961. Starting in 1957, Lu shifted his focus from making figure paintings for the country’s sake to his personal interest – creating landscape paintings. In 1959, the artist completed the first twenty five leaves of his famous Hundred-Leaf Album after Du Fu’s Poems. The surviving fourteen leaves combined painting, calligraphy and poetry, and are considered to be early paintings of Lu’s mature phase. -
Wu Zhen's Poetic Inscriptions on Paintings1 - School of Oriental and African Studies
Wu Zhen's poetic inscriptions on paintings1 - School of Oriental and African Studies Introduction Wu Zhen (1280–1354), style name Zhonggui, also called himself Meihua Daoren (Plum Blossom Daoist Priest), Mei Shami (Plum Priest) and Meihua Heshang (Plum Blossom Priest). He came from Weitang, now known as Chengguan, in Zhejiang Province. Along with Huang Gongwang (1269–1354), Ni Zan (1301–74), and Wang Meng (1308–85), he is known as one of the ‘Four Great Painters of the Yuan Dynasty’.2 Wu Zhen was also one of the leading figures of Chinese literati painting at the height of its popularity. When painting landscapes, or bamboo and rocks, he would usually inscribe his works with poems, and his contemporaries praised his perfection in poetry, calligraphy and painting, or the phenomenon of sanjue, ‘the three perfections’.3 Research to date has concentrated on Wu Zhen's paintings,4 but his poetic inscriptions have been relatively neglected. This article seeks to redress the balance by focusing on Wu Zhen's poetic inscriptions on paintings, both his own and those of past masters, and argues that inscriptions and colophons are an essential key to understanding literati art. Wu Zhen's family background is difficult to ascertain, since only very limited accounts of his life can be found in Yuan period sources.5 Sun Zuo (active mid to late fourteenth century)mentions Wu Zhen's residential neigh- bourhood, painting skills and character, without going into any depth.6 After the mid-Ming period, legends about Wu Zhen developed, and these provide us with some useful material. -
Huang Binhong (1865-1955) and Artistic Continuity in Twentieth Century China
The Dark Side of the Mountain: Huang Binhong (1865-1955) and artistic continuity in twentieth century China Claire Roberts A thesis submitted for the degree of Doctor of Philosophy of the Australian National University 2005 1 Declaration This thesis is my own original work Claire Roberts 2 Abstract This thesis is an interpretive study of the life and art of Huang Binhong (1865-1955). It uses empirical and textual analysis to examine the landscape paintings of Huang Binhong in particular and places them within the historical context of a period of unprecedented political and social change in China. The thesis explores the background to Huang Binhong’s creative practice and the development of his artistic style and vision. It investigates Huang’s training as a Confucian scholar and his multiple identities as painter, art historian, art editor, teacher, collector and connoisseur. The first two chapters place Huang within the cultural milieu of the Lower Yangtze Valley and his ancestral home in Anhui, noting the influence of Xin’an artists and examining paintings of Huangshan; Chapters Three and Four examine Huang Binhong’s working life and milieu in Shanghai, his art historical writings and his work to authenticate paintings in the collection of the Palace Museum, and considers the influence of his work as editor and scholar on his artistic practice. Chapter Five follows Huang’s travels to Guangxi, Guangdong, Hong Kong and Sichuan, exploring the effect of contact with different landscapes on the evolution of his artistic style. Chapters Six and Seven locate him in Beiping during the Japanese occupation, a period of artistic reflection and experimentation in which the artist’s interest in “darkness” intensified.