Fine Chinese Paintings and Works Of
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Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions with Yin and Yang Message
Journalism and Mass Communication, January 2017, Vol. 7, No. 1, 53-62 doi: 10.17265/2160-6579/2017.01.006 D DAVID PUBLISHING Uncovering the Messages Behind Four Imperial Dragon Robes from Exhibitions With Yin and Yang Message Shu Hwa Lin, C J Duarte University of Hawaii at Manoa, Honolulu HI, USA The design themes of three Qing dynasty imperial dragon robes from the University of Hawaii at Manoa Costume Collection act as carriers of the Chinese yin-yang philosophy. The information shared by these imperial dragon robes are discussed through a cultural and technological analysis of the symbolic motifs and fabric structures of these garments to reveal the cultural and social impact of yin-yang on Qing imperial costume design. Keywords: Dragon robe, Yin and Yang, imperial/court costume Introduction Since the Qing dynasty (1644-1911), the yin-yang philosophy has been utilized in Chinese court dress (Lin, 2015). The influence of yin-yang on Chinese costume design can be observed in the surviving artifacts of the Qing dynasty (Cheng, 2008; Camman, 1952). The University of Hawaii at Manoa (UHM) Costume Collection (UHMCC) houses three kosse robes (i.e., tapestry) and one embroidery dragon robes from the Qing dynasty which provide representations of the yin-yang philosophy through the motifs and color patterns of its design. These important robes were selected to exhibit during special days such as year of dragon, UHM 100 years, and UHMCC 50 year’s anniversary. There are four categories of court dress: gunfu, chaofu, jifu, changfu (Zhoa, 1989; Zhou & Gao, 1988). Three dragon robes from the UHM Costume Collection are classified as jifu, or semi-formal court robe (Vollmer, 1977a). -
The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
Group Kit Contents
GROUP KIT CONTENTS PAGE INFORMATION 2 GENERAL INFORMATION 3 ROOMS 5 RESTAURANTS 11 BARS & DISCOTHEQUE 12 ENTERTAINMENTS AND SPORTS 15 KIDS CLUB 16 GROUP INFORMATION 28 EXCURSIONS 29 DIVING 31 CONTACT US 1 GENERAL INFORMATION VIVA WYNDHAM DOMINICUS BEACH & VIVA WYNDHAM DOMINICUS PALACE QUICK REFERENCE GUIDE Viva Wyndham Dominicus Beach & Viva Wyndham Dominicus Palace Bayahibe , La Romana , Republica Dominicana. Tel.: (809) 6865658 • Fax: (809) 686-5750, (809) 687-8583, (809) 2216805 Email: [email protected] www.vivaresorts.com LOCATION On the southeast coast of the Dominican Republic, facing the gorgeous island of Saona and Catalina. 72 Miles / 115 km, from Las Americas International Airport (approx. 1 hr. 40 min. drive), 62 Miles /100 km, from Punta Cana Airport (approx. 1 hr. 15 min. drive), 11 Miles /18 km, from La Romana International Airport /own (approx. 15 min. drive, 25 min.from La Romana. Voltage 110. The island of La Hispaniola was discovered by Christopher Columbus on December 5, 1492. Which is located in the Center of the Caribbean Sea. It is the second largest of the Greater Antilles, Cuba being the largest. The Island is shared by two nations: The Republic of Haiti and the Dominican Republic.The country has seven airports: Las Américas International and Herrera in Santo Domingo; Punta Aguila and Punta Cana in the Eastern regions; María Montez in Barahona; Gregorio Luperon, Puerto Plata and Del Cibao, in Santiago de los Caballeros. The Main roads that begin in the city of Santo Domingo and conect the entire country are: the Duarte highway towards the South and Southwest regions and Las Américas highway, uniting Santo Domingo with the Southeast. -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
Identification of Asian Garments in Small Museums
AN ABSTRACTOF THE THESIS OF Alison E. Kondo for the degree ofMaster ofScience in Apparel Interiors, Housing and Merchandising presented on June 7, 2000. Title: Identification ofAsian Garments in Small Museums. Redacted for privacy Abstract approved: Elaine Pedersen The frequent misidentification ofAsian garments in small museum collections indicated the need for a garment identification system specifically for use in differentiating the various forms ofAsian clothing. The decision tree system proposed in this thesis is intended to provide an instrument to distinguish the clothing styles ofJapan, China, Korea, Tibet, and northern Nepal which are found most frequently in museum clothing collections. The first step ofthe decision tree uses the shape ofthe neckline to distinguish the garment's country oforigin. The second step ofthe decision tree uses the sleeve shape to determine factors such as the gender and marital status ofthe wearer, and the formality level ofthe garment. The decision tree instrument was tested with a sample population of 10 undergraduates representing volunteer docents and 4 graduate students representing curators ofa small museum. The subjects were asked to determine the country oforigin, the original wearer's gender and marital status, and the garment's formality and function, as appropriate. The test was successful in identifying the country oforigin ofall 12 Asian garments and had less successful results for the remaining variables. Copyright by Alison E. Kondo June 7, 2000 All rights Reserved Identification ofAsian Garments in Small Museums by Alison E. Kondo A THESIS submitted to Oregon State University In partial fulfillment of the requirements for the degree of Master ofScience Presented June 7, 2000 Commencement June 2001 Master of Science thesis ofAlison E. -
Qinqiang Opera Drama Costume Connotation and Aesthetic
2nd International Conference on Education Technology, Management and Humanities Science (ETMHS 2016) Qinqiang opera drama costume connotation and aesthetic implication 1, a Yugang Chen 1Jiangxi Institute of Fashion Technology, Jiangxi, Nanchang, 330201 [email protected] Keywords: Qinqiang opera drama; Clothing; The cultural connotation Abstract. Qinqiang opera drama is one of the most exquisite stylized performance of traditional Chinese local operas. Qinqiang opera drama clothing, and other theatrical performances of traditional clothing similarity is exquisite and stylized, decorative effect as well as the audiences in the symbolization of abstract feelings, dramatic clothes in qinqiang opera drama very expressive aesthetics and art. Introduction Qinqiang opera drama as a traditional Chinese drama conductions, its dramatic clothes also represents the character appearance of traditional drama clothing, under the stylized costumes or wear shows of the respect and inheritance on traditional culture. Studies of qinqiang opera costume for one of the models, style characteristic, found that it contains the cultural connotation and aesthetic implication, the essence of traditional clothing, for the development of qinqiang opera drama has a positive and far-reaching significance. The formation of Qinqiang opera drama clothing Qin has been active in shanxi, gansu and the northwest region is the vast land of an ancient opera. The earliest qinqiang opera originated in shanxi guanzhong area, from the perspective of the change of type c, Qin Sheng, qin three stages. In the qianlong period reached for her best. From the point of geography, shanxi, gansu, ningxia, qinghai, xinjiang northwest five provinces close to geographical culture, so the ancient qin, with its wide sound big voice spoke quickly popular in this area. -
China in 50 Dishes
C H I N A I N 5 0 D I S H E S CHINA IN 50 DISHES Brought to you by CHINA IN 50 DISHES A 5,000 year-old food culture To declare a love of ‘Chinese food’ is a bit like remarking Chinese food Imported spices are generously used in the western areas you enjoy European cuisine. What does the latter mean? It experts have of Xinjiang and Gansu that sit on China’s ancient trade encompasses the pickle and rye diet of Scandinavia, the identified four routes with Europe, while yak fat and iron-rich offal are sauce-driven indulgences of French cuisine, the pastas of main schools of favoured by the nomadic farmers facing harsh climes on Italy, the pork heavy dishes of Bavaria as well as Irish stew Chinese cooking the Tibetan plains. and Spanish paella. Chinese cuisine is every bit as diverse termed the Four For a more handy simplification, Chinese food experts as the list above. “Great” Cuisines have identified four main schools of Chinese cooking of China – China, with its 1.4 billion people, has a topography as termed the Four “Great” Cuisines of China. They are Shandong, varied as the entire European continent and a comparable delineated by geographical location and comprise Sichuan, Jiangsu geographical scale. Its provinces and other administrative and Cantonese Shandong cuisine or lu cai , to represent northern cooking areas (together totalling more than 30) rival the European styles; Sichuan cuisine or chuan cai for the western Union’s membership in numerical terms. regions; Huaiyang cuisine to represent China’s eastern China’s current ‘continental’ scale was slowly pieced coast; and Cantonese cuisine or yue cai to represent the together through more than 5,000 years of feudal culinary traditions of the south. -
Art: Authenticity, Restoration, Forgery
UCLA Cotsen Institute of Archaeology Press Title Art: Authenticity, Restoration, Forgery Permalink https://escholarship.org/uc/item/5xf6b5zd ISBN 978-1-938770-08-1 Author Scott, David A. Publication Date 2016-12-01 Data Availability The data associated with this publication are within the manuscript. Peer reviewed eScholarship.org Powered by the California Digital Library University of California READ ONLY/NO DOWNLOADS Art: Art: Authenticity, Restoration, ForgeryRestoration, Authenticity, Art: Forgery Authenticity, Restoration, Forgery David A. Scott his book presents a detailed account of authenticity in the visual arts from the Palaeolithic to the postmodern. The restoration of works Tof art can alter the perception of authenticity, and may result in the creation of fakes and forgeries. These interactions set the stage for the subject of this book, which initially examines the conservation perspective, then continues with a detailed discussion of what “authenticity” means, and the philosophical background. Included are several case studies that discuss conceptual, aesthetic, and material authenticity of ancient and modern art in the context of restoration and forgery. • Scott Above: An artwork created by the author as a conceptual appropriation of the original Egyptian faience objects. Do these copies possess the same intangible authenticity as the originals? Photograph by David A. Scott On front cover: Cast of author’s hand with Roman mask. Photograph by David A. Scott MLKRJBKQ> AO@E>BLILDF@> 35 MLKRJBKQ> AO@E>BLILDF@> 35 CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CIoA Press READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery READ ONLY/NO DOWNLOADS READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery David A. -
Ceramic's Influence on Chinese Bronze Development
Ceramic’s Influence on Chinese Bronze Development Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2007 Photos on cover page Jue from late Shang period decorated with Painted clay gang with bird, fish and axe whorl and thunder patterns and taotie design from the Neolithic Yangshao creatures, H: 20.3 cm [34]. culture, H: 47 cm [14]. Flat-based jue from early Shang culture Pou vessel from late Shang period decorated decorated with taotie beasts. This vessel with taotie creatures and thunder patterns, H: is characteristic of the Erligang period, 24.5 cm [34]. H: 14 cm [34]. ii Table of Contents Abstract Approximate timeline 1 Introduction 2 Map of Chinese Provinces 3 Neolithic culture 4 Bronze Development 10 Clay Mold Production at Houma Foundry 15 Coins 16 Mining and Smelting at Tonglushan 18 China’s First Emperor 19 Conclusion 21 References 22 iii The transition from the Neolithic pottery making to the emergence of metalworking around 2000 BC held significant importance for the Chinese metal workers. Chinese techniques sharply contrasted with the Middle Eastern and European bronze development that relied on annealing, cold working and hammering. The bronze alloys were difficult to shape by hammering due to the alloy combination of the natural ores found in China. Furthermore, China had an abundance of clay and loess materials and the Chinese had spent the Neolithic period working with and mastering clay, to the point that it has been said that bronze casting was made possible only because the bronze makers had access to superior ceramic technology. -
The Impacts of Climate Change on the Neolithic Cultures of Gansu-Qinghai Region During the Late Holocene Megathermal
See discussions, stats, and author profiles for this publication at: http://www.researchgate.net/publication/225224713 The impacts of climate change on the Neolithic cultures of Gansu-Qinghai region during the late Holocene Megathermal ARTICLE in JOURNAL OF GEOGRAPHICAL SCIENCES · JUNE 2010 Impact Factor: 1.34 · DOI: 10.1007/s11442-010-0417-1 CITATIONS READS 12 31 6 AUTHORS, INCLUDING: Hou Guangliang Qinghai Normal University 14 PUBLICATIONS 40 CITATIONS SEE PROFILE Available from: Hou Guangliang Retrieved on: 02 December 2015 J. Geogr. Sci. 2010, 20(3): 417-430 DOI: 10.1007/s11442-010-0417-1 © 2010 Science China Press Springer-Verlag The impacts of climate change on the Neolithic cultures of Gansu-Qinghai region during the late Holocene Megathermal LIU Fenggui1,2,3, ZHANG Yili3, FENG Zhaodong4, HOU Guangliang2, ZHOU Qiang2, ZHANG Haifeng2 1. School of Geography, Beijing Normal University, Beijing 100875, China; 2. School of Life and Geographic Science, Qinghai Normal University, Xining 810008, China; 3. Institute of Geographic Sciences and Natural Resources Research, CAS, Beijing 100101, China; 4. Key Laboratory of Western China's Environmental Systems (Ministry of Education), Lanzhou University, Lanzhou 730000, China Abstract: The Holocene Megathermal is divided into early, middle and late periods, each having different impacts on the Neolithic cultures due to their different climate changing trends. This study is based on a comparative analysis of the environmental evolution information recorded in the Qinghai Lake, the western edge of the Loess Plateau and Zoige and the spa- tial distribution of Neolithic sites of the Gansu-Qinghai region. Results show that the early and middle periods towards warm and humid promoted the development of Neolithic cultures with agriculture as the main sector in the Gansu-Qinghai region, furthermore a heyday of Yang- shao Culture prosperity emerged. -
Maine Campus November 12 1942 Maine Campus Staff
The University of Maine DigitalCommons@UMaine Maine Campus Archives University of Maine Publications Fall 11-12-1942 Maine Campus November 12 1942 Maine Campus Staff Follow this and additional works at: https://digitalcommons.library.umaine.edu/mainecampus Repository Citation Staff, Maine Campus, "Maine Campus November 12 1942" (1942). Maine Campus Archives. 2644. https://digitalcommons.library.umaine.edu/mainecampus/2644 This Other is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Maine Campus Archives by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. Dorms Inaugurate Naval Enlistment Meatless Tuesdays The Maine Campus Board Will Visit Starting This Week Campus Nov. /9-2/ Published Weekly by the Students of the University of Main* Vol. XLIV Z 265 Orono, Maine, November 12, 194 2 Number 3 Plaisted's Band Bowdoin's Donahue Streaks For End Zone To Score .. Fourteen Students Are Provides Music Cast in First Production At Military Ball Three Understudies Also Named For Ban on Name Bands Masque Closely Observed Comedy Show Early In Dec. By Scabbard, Blade By Martin Scher Fourteen students have been cast and three understudies named 1,Ves Plaisted and his orchestra will for the Maine Masque Theatre's forthcoming production of "Arsenic play for the Military Ball on Friday, and Old Lace," a mystery comedy scheduled for production early Nov. 27, according to an announce- in December. ment this morning by Richard Pierce, Isabel! Ansell, a sophomore in the college of president of Scabbard and Blade, hon- arts and sciences, and Elizabeth Clough, a transfer from orary military society. -
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Advances in Social Science, Education and Humanities Research, volume 310 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019) Analysis of "Dance Patterns" on Painted Pottery of Majiayao Culture Lifu Wang Academy of Fine Arts Taizhou University Taizhou, China 225300 Abstract—The dance pattern pot of Majiayao culture should pattern of Majiayao type on painted pottery pays attention to be used for witchcraft activities. The dance patterns on the pot the expression of real life. The most impressive point is the are the true reflection of prehistoric witchcraft dance. A series of figure dance pattern, which makes people feel the wonderful painted pottery unearthed in the middle and upper reaches of mood of clan people dancing by the water spring" [2] 115. the Yellow River with figurative dancing figure pattern proves Second, it is the theory of collective harvest celebration. that the prehistoric human witchcraft dance in Majiayao period Taking Wang Kelin and Wang Zhen as representatives, they has been quite developed. Through physical research, we can hold that “there are five to eight arc lines among the three know that there were "god-man grain seed dances" for a good groups of dancing people. Between the opposite two groups of harvest and “reproductive dances” for praying for the arc lines, there is a broad-band oblique willow-leaf pattern, prosperity of tribal people and "disease-removing dances" for which symbolizes the stems and leaves of plants... It reflects eliminating diseases and disasters. the dances of women in Majiayao period who celebrated or 13-16 Keywords—symbol; Banshan; evocation by dancing; hoped for a bumper harvest in agriculture collectively" [3] .