Chinese Art

Review: The Chinese Taste in Eighteenth-Century England by David Porter

by William Coleman

Historians of British Art Newsletter, Winter 2011-12, pp. 18-20

“Forward to the Past: How traditional Aesthetics is Infiltrating Contemporary Art.”

by Francesca Dal Lago

In Reboot:
Proceedings of the International Symposium of the 3rd Chengdu Biennale. Eds. Kuyi Shen and Feng Bin. Chengdu: Contemporary Art Museum, 2007. 33-37.

“Realism as a Tool of National Modernization in the Reformist Discourse of late-19th and Early 20th China.”

by Francesca Dal Lago

In Crossing Cultures: Conflict, Migration & Convergence. Proceedings of the 32nd International Committee of the History of Art (CIHA) Conference, Melbourne, 13-18 January 2008. Ed. Jaynie Anderson. Melbourne, 2009. 852-856.

A Cultural History of the Chinese Language

by Sharron Gu

This book has been released last week. You can order it directly from the publisher, McFarland Publishers 800-253-2187, Barnes and Nobles, or Amazon.com.

It is the first multimedia history of the Chinese language and also the first book that compares the history of... more It is the first multimedia history of the Chinese language and also the first book that compares the history of Chinese with Greek, Latin, English and Semitic languages

Lin, Li-chiang, “A Study of the Xinjuan hainei qiguan, a Ming Dynasty Book of Famous Sites,” in Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong, ed. Jerome Silbergeld, Dora C.Y. Ching, Judith G. Smith, and Alfreda Murck (Princeton: P.Y.and Kinmay W. Tang Center for East Asian Art, Princeton University in association with Princeton University Press, 2011), pp.779–812.

by Li-chiang LIN 林麗江

Daria Berg and Mohammed Shafiullah. "Understanding how China thinks". China Daily 29 July 2011, Chinadaily.com.cn

by Daria Berg

URL: http://www.chinadaily.com.cn/opinion/2011-07/29/content_13013576.htm

Understanding how China thinks
Updated: 2011-07-29 11:37
By Daria Berg and Mohammed Shafiullah (China Daily... more Understanding how China thinks
Updated: 2011-07-29 11:37
By Daria Berg and Mohammed Shafiullah (China Daily European Weekly)
Upholding harmony in the land is key to Chinese development

It was telling that Chinese Premier Wen Jiabao opted for culture over politics for the first stop of his recent visit to Britain. Speaking from the birthplace of William Shakespeare, he told of how literature and culture could act as a bridge between nations and implicitly chided leaders that sit at the negotiating table with little understanding of the history and culture of countries they are dealing with.
China and Europe have a lengthy history of miscommunication. If this gap of understanding is to be narrowed, European politicians and people must recognize how Chinese thought differs from the beliefs that are taken for granted in the West. Europe cannot seek to comprehend China without understanding China's past and its philosophical influence on Chinese psychology. [To read more...click on link below]

Daria Berg. "Cultural Discourse on Xue Susu, a Courtesan In Late Ming China" IJAS 6.2 (2009), 171-200.

by Daria Berg

International Journal of Asian Studies, 6, 2 (2009), pp. 171–200. Reproduced with the publisher's permission.

This paper investigates perceptions of courtesans, gender and power from various perspectives, using both literary and... more This paper investigates perceptions of courtesans, gender and power from various perspectives, using both literary and non-literary sources and reconstructed lost books. Analysis focuses on representations of the celebrated courtesan, poet and painter Xue Susu (fl. 1575–before 1652) by writers of different backgrounds, gender and class. In late Ming times women participated in elite culture in unprecedented numbers. Courtesans gained prominence in the literati arts, playing a formative role in shaping cultural ideals. Late imperial Chinese discourse embeds the image of the courtesan in the formation of new beauty ideals and social negotiations of gender roles and power. Paradoxes abound, linking the courtesan with notions of chivalry, chastity and loyalism and depicting her in the context of national politics and warfare. The Ming/Qing texts reflect not only current perceptions of women and courtesans, but also the social and cultural aspirations, dreams, anxieties and desires of their authors.

“Chinese Art”. IN: Iberian Museum of Archaeology and Art in Abrantes. Abrantes: Câmara Municipal de Abrantes / Fundação Estrada, 2009, pp. 102 – 105.

by Rui Oliveira Lopes

“The idea of Nature in Chinese art. From landscape painting to gardens architecture”. IN: Art and Nature colloquium. Lisbon: Faculty of Fine Arts, University of Lisbon, 2009, pp. 248 - 267

by Rui Oliveira Lopes

"Auspicious symbols in Chinese scholar studio". IN: Iberian Museum of Archaeology and Art in Abrantes. Abrantes: Câmara Municipal de Abrantes / Fundação Estrada, 2010, pp. 116 - 121.

by Rui Oliveira Lopes

Reflections of Sovereign Power: Various Observations on the Painting Volume Entitled "Entertainments of Emperor Yongzheng" (Translation by Chiu, Shih-Hua). IN: The National Palace Museum Monthly of Chinese Art (no. 321, Dec 2009)

by Rui Oliveira Lopes

Spiritual imaginarium and symbols of political authority in the Ritual Jades and Bronzes of Ancient China, in Bronzes and Jades of Ancient China, Lisbon: Centro Científico e Cultural de Macau, 2011, pp. 51 - 84.

by Rui Oliveira Lopes

“Appraising Art in the Early Yuan Dynasty: A Study of Descriptive Criteria and Their Literary Context in Tang Hou’s Huajian (Examination of Painting).” Monumenta Serica: A Journal of Oriental Study 52 (2004): 256-276.

by Diana Y. Chou

Lin, Li-chiang, The Proliferation of Images: The Ink-stick Designs and the Printing of the Fang-shih mo-p'u and the Ch'eng-shih mo-yuan. Ph.D. Dissertation, Princeton University, 1998.

by Li-chiang LIN 林麗江

 Intercultural Theories and Themes in Twentieth Century Art Historical Studies of the Liao Dynasty

by Chun-Yi "Joyce" Tsai

南宋到明初的鬼怪圖像研究

by Chun-Yi "Joyce" Tsai

「鬼」是人死之後的靈魂，「怪」則是除了人之外一切存在物質的靈魂，兩者在中國思想體系中扮演著舉足輕重的角色，並在文學、宗教方面多所呈現。由於鬼怪常與「奇怪」、「醜陋」、「恐怖」、「滑稽」等概念相連，鬼怪圖像成為研究中國傳統身體觀、「他者」觀、... more 「鬼」是人死之後的靈魂，「怪」則是除了人之外一切存在物質的靈魂，兩者在中國思想體系中扮演著舉足輕重的角色，並在文學、宗教方面多所呈現。由於鬼怪常與「奇怪」、「醜陋」、「恐怖」、「滑稽」等概念相連，鬼怪圖像成為研究中國傳統身體觀、「他者」觀、審美觀、幽默感的絕佳材料。在中國人物畫傳統中，鬼怪的風格造型亦堪稱異數。無論成像技法或身體面部特徵，鬼怪圖像再再都與傳統官宦文士造型形成鮮明對比，反倒與書畫文獻中所繪所載之域外人士、特立獨行者、勞動階級、戲子伶人、貧病飢苦者形象多處重合。鬼怪的造型何來？畫師如何進行鬼怪形象的建構？為何鬼怪造型常與各種非主流的社會邊緣人物有相似之處? 這些特徵有何象徵意義？當時觀眾如何解讀鬼怪異常的身體特徵？本研究擬以鬼怪文化達於高峰之南宋至明初為時間範圍，以《十王圖》、《鍾馗圖》、《羅漢圖》、《揭缽圖》、《搜山圖》、水陸畫等幾種鬼怪圖像豐富之卷軸為題材，參考當時之經籍、小說、題畫詩文對卷軸主題、鬼怪傳說、觀畫經驗之敘述，對鬼怪造型源由、風格流變、畫意詮釋、及文化意涵進行綜合性探討。

 Size Matters, Material Talks: The Semiotics of Form in Xu Bing’s Background Story

by Chun-Yi "Joyce" Tsai

 Professional Workshop Practices in Early Yuan China and Issues of Style, Function, and Significance in the Metropolitan Museum's Zhong Kui Marrying Off His Sister scroll

by Chun-Yi "Joyce" Tsai

Het terracottaleger van de eerste keizer van China

by Bastiaan Vrielink

Backdating the present

by Stephanie Hemelryk Donald

Draft only. Please do not quote without permission:
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A discussion of the Humanities. A discussion of the Humanities.