Thematische Bibliographien / Chinese art in France

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Chinese art in France“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Chinese art in France"

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Clunas, Craig. „Chinese Art and Chinese Artists in France (1924-1925)“. Arts asiatiques 44, Nr. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.

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Fang, Zhiyu. „Traditions and Innovations in Chinese Contemporary Sculpture“. Scientific and analytical journal Burganov House. The space of culture 18, Nr. 2 (10.05.2022): 28–39. http://dx.doi.org/10.36340/2071-6818-2022-18-2-28-39.

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After the Cultural Revolution, an unprecedented period of openness began in China. The gradual deepening of the Reform and Openness Policy created more opportunities for the development of contemporary Chinese sculpture. For "tradition", sculptors combine the form and content of traditional culture and sculpture, expressing the problems of modern life and human society, forming a rich creative thought and a broad creative outlook. Two art directions were formed. The first direction follows the creative method of sculptors who studied in France before the formation of the People's Republic of China, focusing on the study of the "language" of the actual sculptural art by combining the methods, forms and aesthetics of traditional Chinese sculpture. The second direction uses traditional Chinese culture and sculpture to carry out the "modern transformation". In this process, the form is subordinate to the content, and "tradition" appears in an artwork as a specific symbol through which the artist's opinion is expressed. The two creative directions have formed a symbiosis and co-prosperity at present. We can say that they both confirm the development of modern Chinese sculpture on the path of "nationalisation and localisation" over the past 40 years. At the same time, these two creative directions have brought a new climax to contemporary Chinese traditional sculpture and culture.
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Лю, Тяньцюань. „China - Japan - Europe: Chinese painting‘s absorption of western European traditions in the late 19th - early 20th century“. Академический вестник УралНИИпроект РААСН, Nr. 3(54) (30.09.2020): 85–90. http://dx.doi.org/10.25628/uniip.2022.54.3.014.

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В статье исследуется влияние западноевропейского искусства на китайскую живопись, которое шло через опыт японских художников и обучение в Японии китайских мастеров. Роль японской культуры в освоении китайским искусством западноевропейских традиций до сих пор остается недооцененной, часто исследователи не упоминают о связях с Японией, обращаясь сразу к периоду обучения китайских художников в европейских странах, прежде всего во Франции, который был по времени позднее. Однако именно мастера Страны восходящего солнца в конце XIX - начале XX века серьезно повлияли на формирование нового «европейского» языка изобразительного искусства Китая. The article examines the influence of Western European art on Chinese painting, which went through the experience of Japanese artists and training of Chinese masters in Japan. The role of Japanese culture in mastering the Western European traditions in Chinese art is still underestimated, and often researchers do not mention the ties with Japan, referring directly to the period of training of Chinese artists in European countries, primarily in France, which was later in time. However, it was the Japanese masters in the late 19th and early 20th centuries that seriously influenced the formation of the new «European» visual language of China.
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Хingchen, Gu, und Viacheslav Shulika. „FORMATION OF ART HISTORY SINOLOGY IN FRANCE IN THE LATE 19TH - EARLY 20TH CENTURIES: DIFFERENT APPROACHES TO THE INTERPRETATION OF CHINESE FINE ART“. European Journal of Arts, Nr. 1 (2021): 143–49. http://dx.doi.org/10.29013/eja-21-1-143-149.

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Шапченко, Юлия. „Дальневосточные зарисовки Александра Яковлева“. Acta Polono-Ruthenica 2, Nr. XXIV (30.06.2019): 43–53. http://dx.doi.org/10.31648/apr.4460.

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Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.
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Du (杜娟), Juan. „Chinese Immigrants Acting as Local Residents“. Journal of Chinese Overseas 16, Nr. 2 (11.11.2020): 191–214. http://dx.doi.org/10.1163/17932548-12341423.

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Abstract Urban violence and threats to personal safety are everyday issues of shared concern for Chinese migrants in France. They push Chinese migrants to act as local residents and to interact with the host country in various and unexpected ways, whether openly or inconspicuously, in order to improve their living environment and negotiate their place in the host society. Drawing on an ethnography of Chinese immigrants living in the banlieues of Paris and their everyday social practices in relation to the issues of violence and insecurity, this article documents the strategies of everyday resistance used by Chinese immigrants, grounded in their local knowledge. In a shift toward further local participation, they perform these actions as local residents, resulting in a de facto citizenship.
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Kuo, Marie-Claire. „Translation and distribution of Chinese films in France: A personal account*“. Journal of Chinese Cinemas 12, Nr. 3 (02.09.2018): 237–49. http://dx.doi.org/10.1080/17508061.2018.1522804.

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Li, Shuangyi. „Novel, Film and the Art of Translational Storytelling: Dai Sijie's Balzac et la petite tailleuse chinoise“. Forum for Modern Language Studies 55, Nr. 4 (13.07.2019): 359–79. http://dx.doi.org/10.1093/fmls/cqz019.

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Abstract This article examines the novel and film Balzac et la Petite Tailleuse chinoise, by the Franco-Chinese writer and filmmaker Dai Sijie, the story of which takes place against the background of the Cultural Revolution. The first part of my analysis will make clear how the film illuminates and dramatizes the special texture, aesthetic and structure of the novel, highlighting the cinematic sensibility of Dai’s literary aesthetic. I then move on to investigate the linguistic aspects of the various translations between the novel and the film in French, Mandarin Chinese and Sichuanese. The aesthetic effects of dubbing, in particular, will allow me to investigate new possibilities of reading exophone literature. Finally, this paper highlights the central role of oral storytelling in the Chinese tradition in/through various forms of translation: interlingual as well as intermedial. In so doing, this article aims to add nuance to and enrich current debates on issues such as intercultural misreading and exoticism in Dai’s works.
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Xavier, Subha. „The global afterlife: Sino-French literature and the politics of translation“. French Cultural Studies 30, Nr. 2 (Mai 2019): 153–65. http://dx.doi.org/10.1177/0957155819842980.

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Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The act of translating these works back into their authors’ native tongue signals a return to the national paradigms the writers initially sought to evade by writing in French. Translation here functions as a form of aggression, a forced return home that ultimately breaks with the poetic ethos that animates the original creative works.
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Watanabe, Hiroshi, und Linus Recht. „Alexis de Tocqueville and Three Revolutions: France (1789–), Japan (1867–), China (1911–)“. International Journal of Asian Studies 17, Nr. 2 (Juli 2020): 163–81. http://dx.doi.org/10.1017/s1479591420000236.

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This essay is an attempt to think through the three revolutions, using Tocqueville's theory of “democracy” as a key. For Tocqueville, democracy is a society with “the equality of conditions” – in other words, a society that has no hereditary status system. In this sense, Chinese society since the Song Dynasty has been “democracy” as Tocqueville himself pointed out repeatedly. In his understanding, contemporary China was a “democratic society” and its form of government was highly centralized “despotism”; in sum, it was “democratic despotism.” Tocqueville was warning against the possible Sinification of America and Europe. Moreover, he thinks what the French Revolution brought about were mainly “the equality of conditions” and the establishment of centralized state power. The Meiji Revolution also realized these two things because it had not been “democratic” and the polity had been federal. On the other hand, in China, both had been actualized since the tenth century. Therefore, the Chinese Revolution which ended up with the establishment of the communist rule is very different from the other two revolutions.
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Dissertationen zum Thema "Chinese art in France"

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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College und Centre for Cultural Research. „Transexperience and Chinese experimental art, 1990-2000“. THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
Doctor of Philosophy (PhD)
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Chiu, Melissa. „Transexperience and Chinese experimental art, 1990-2000“. Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
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Fournier, Anik Micheline. „Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.

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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.
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Wong, Mei-kin Maggie, und 黃美堅. „Collecting and picturing the orient: China's impact on nineteenth-century European Art“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.

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Liang, Wei. „Zaji ou les arts acrobatiques chinois : un voyage entre Chine et France“. Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30020.

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Zazi (杂技), qui signifie « compétences variées » et dont l’équivalent en français est « l’acrobatie chinoise » est un ensemble d’arts vieux d’au moins trois millle ans. Il n’existe pas à ce jour en français de synthèse accessible et documentée par des sources chinoises de sa chronologie et de l’évolution de ses formes des origines à nos jours.Cette thèse a pour objectif de combler ce manque en documentant le sujet à partir d’un corpus d’ouvrages chinois et français. L’auteure de la thèse, chinoise, enseignante de français et traductrice, a pu accéder aux sources utiles et a conduit une enquête, voyageant entre France et Chine sur les différents terrains de conservation (bibliothèques, musées, documentation en ligne) et d’exploitation (spectacles, festivals, écoles) des arts acrobatiques chinois.La thèse met à disposition de furures recherches une synthèse des résultats obtenus lors de cette enquête, bibliographiques (250 références), iconographiques (128 documents), présentés chronologiquement en déroulant un vaste panorama, qui s’articulent en trois parties.La première propose une chronologie du développement des formes de l’acrobatie chinoise dans le contexte de chaque dynastie jusqu’à la dernière dynastie en 1912, à partir de sources et documents chinois, par des traductions originales et inédites de textes anciens ou contemporains de sinologues et d’historiens des spectacles en chine, notamment, et avec son autorisation, de textes du Pr Quifeng Fu, ainsi qu’une riche iconographie en collaboration avec la bibliothèque de Nanjing. En n’hésitant pas à s’affronter à ces problèmes de traductions, la thèse rend ainsi accessible au lecteur français une partie de l’histoire d’un des arts majeurs parmi les spectacles mondiaux.La deuxième partie étudie l’intégration en quatre étapes de l’acrobatie chinoise en France et de ses influences sur la société et la scène françaises, notamment à travers quelques exemples concernant les modes du « à la chinoise » et de la « Chinoiserie » entre les XVIIe et XIXe siècles. Elle s’intéresse ensuite aux échanges sous la République de Chine jusqu’au rebondissement de l’acrobatie chinoise au XXe siècle après la fondation de la République Populaire de Chine en 1949. Elle observe à cette occasion ses nouveaux codes artistiques et culturels, les messages politiques qu’elle véhicule lors de l’invitation des artistes chinois dans les grands festivals du cirque en France et à Monaco.La troisième partie dresse briévement les contours et les perspectives de collaborations artistiques sino-françaises en acrobatie et cirque au XXIe siècle, observe l’apport des acrobates chinois sur la scène contemporaine et les influences du spectacle vivant occidental sur l’acrobatie chinoise contemporaine, pour se questionner enfin sur le devenir de l’acrobatie chinoise en appliquant les résultats de ce voyage documentaire dans le temps et entre deux cultures, à un projet de création de festival franco-chinois de cirque et d’acrobatie en Chine
Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi
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Zhao, Bai. „Influences étrangères dans la musique contemporaine des compositeurs chinois exerçant ou ayant exercé en France et en Amérique du Nord“. Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040162.

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Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiques
As of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations
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Julien, Marie-Pierre. „Les meubles laqués chinois made in France“. Paris 5, 2002. http://www.theses.fr/2002PA05H021.

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Les meubles laqués chinois constituent le fil conducteur d'une analyse anthropologique consacrée aux relations qu'entretiennent avec ces objets des laqueurs chinois et français et des amateurs principalement français. Ces rapports qui s'instaurent au sein d'un réseau d'actions sur les actions -en l'occurence la filière du meuble en France- engendrent à la fois l'existence d'un type d'objets sur le marché et la construction d'immigrés chinois en laqueurs, de clients français en amateurs, d'apprentis français en artisans
This thesis focuses on the anthropological analysis of the interactions between Chinese and French lacquerers, amateurs (mainly French) on the one hand and Chinese lacquered furniture on the other hand. Those relations, embedded in a system of actions on the action of others (in this case, the provision system of furniture manufactered in France), involve, on the one hand, the existence of a type of object on the market, and on the other hand, the construction of Chinese immigrants as lacquerers, of French buyers as amateurs, of French apprentices as craftsmen
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Leung-Hang-King, Cécile. „The language of the "other" : Etienne Fourmont : 1683-1745 : Chinese, Hebrew and Arabic in pre-enlightenment France“. Chicago [Illi.], 1993. http://catalogue.bnf.fr/ark:/12148/cb394573674.

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Feng, Sha. „L’Art Ailleurs : la Recherche Anthropologique sur les Artistes Contemporains Chinois des Beaux-arts Vivant en France“. Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30043/document.

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Depuis le début du vingtième siècle, les artistes chinois ont commencé à poursuivre leurs rêves artistiques en France. Cent ans plus tard, bien que l’art français ne soit plus le centre absolu du monde artistique, son histoire glorieuse en fait un symbole au statut inébranlable. La France d’autrefois, avec son orientation politique culturelle a attiré des artistes du monde entier, qui sont devenus une partie importante du patrimoine artistique et culturel des Français; en même temps, la « culture française », dans son ensemble, perpétue le mythe de capitale culturelle.Compte tenu de la structure du discours prévalent sur « la Chine et l’Occident », la place des artistes chinois en France est un peu spéciale. Pour les artistes chinois, la France est, dans une large mesure, « le monde occidental ». Ces artistes chinois intègrent leur expérience à l’étranger dans un contexte transculturel tout en restant conscients de leurs propres expériences et sentiments, ce qui mène à une innovation permanente dans leurs propres techniques de création. De même qu’il est difficile de trouver une raison collective pour la venue en France des artistes chinois, leur création ne se présente pas sous une forme de système ou d'aspiration unifiée. Comme c’est le cas pour l’imaginaire chinois de la France, nous imaginons que les artistes chinois en France suivent un parcours « uniforme ».Cette thèse commence par l’exposition biennale de Lyon en 2009, à laquelle j’ai participé et grâce à laquelle j'ai pu progresser dans ma connaissance du fond culturel, historique et social local. À partir de ce groupe particulier d’«artistes d’outre-mer» et selon les textes existants et les déclarations des artistes rencontrés, je discute tout d’abord de l’imaginaire et de la réalité de l'« étranger » en France, puis j’analyse la structure narrative des textes de l’histoire de l’art et des médias de masse sur les « artistes étrangers ». J’interprète alors certaines œuvres et pratiques des artistes, en évoquant leur compréhension de la structure narrative. Ensuite, je discute du marché de l’art et de l’expérience des artistes en son sein. Enfin, j’essaye de comparer l’expérience de l’artiste et les idées sociales et culturelles, et de réfléchir à mes propres recherches et réflexions
Since the twentieth century, Chinese artists have voyaged to France in pursuit of their dream of art. Even though France is no longer the only art capital in the world today, it glorious history has made its status unshakeable as a symbol which attracted artists eager for opportunities for free creation and diverse forms of inspiration. These artists’ works became an important part of French culture and art, while “French culture and art” as a whole perpetuates the myth of cultural capital.Given the structure of the prevalent discourse concerning « China and the West », the place of Chinese artists in France is somewhat special. These Chinese artists integrate their experience abroad in a transcultural context while remaining conscious of their own experience and feelings; in terms of their own creative techniques they innovate permanently. It is difficult to find a collective reason for Chinese artists’ coming to France; similarly, their work does not constitute a unitary system or ambition. As is the case of the Chinese imaginary concerning France, it is imagined that Chinese artists in France follow a uniform trajectory.This thesis starts with the Lyon biennale exhibition of 2009 which I attended and thanks to which I was able to expand my acquaintance with local social, cultural and historical contexts. Based on this particular group of “overseas artists” and referring to the existing texts and statements of the artists encountered, the imagined experience and the lived experience of the “foreigner” in France are discussed, and then narrative structure of history of art and mass media texts about “foreign artists” are analyzed. Evoking their understanding of this narrative structure, certain artists’ works and practices are then interpreted. There follows a discussion of the art market and the experience of artists within it. Finally there is an attempt to compare the artist’s experience with socio-cultural ideas, and a reflection on the findings of this thesis
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Situ, Shuang. „De l'influence de la Chine dans la décoration et l'iconographie en France à la fin du XVIIème siècle et au début du XVIIIème“. Paris 4, 1991. http://www.theses.fr/1991PA040162.

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Le présent travail est construit en quatre parties:le parcours historique qui mène à la découverte de la Chine par l'Occident à travers le commerce de la soie et de la porcelaine,la vogue des chinoiseries du XVIIème au XVIIIème siècle,les imitations qui s'en sont suivies en France et pour terminer,une description analytique des motifs pris essentiellement dans des produits français pour démontrer l'influence chinoise sur la décoration et l'iconographie en France durant cette période
The present work consists of four parts : the historical course which led to the discovery of China by the West through the trade in silk and porcelain. .
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Bücher zum Thema "Chinese art in France"

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Conçu en Chine, fabrique ́en France: Designed in France, made in China. Paris: Ecole nationale supeŕieure des beaux-arts, 2004.

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Zeng, Haiwen. T'ang Haywen, les chemins de l'encre. [France]: Editions de la Pointe, 2002.

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Les trésors du lettré: Objets de la chine impériale. [Paris, France]: Réunion des musées nationaux, 1993.

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Louvre, Musée du, Hrsg. La cité interdite au Louvre: Empereurs de Chine et rois de France. Paris: Somogy, 2011.

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France), Musée Guimet (Paris. Bronzes archaïques de Chine. Paris: L'Association pour le Rayonnement des Arts Asiatiques, 1995.

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Desroches, Jean-Paul. Compagnons d'éternité: Hommage à Robert Rousset. [Paris]: Réunion des musées nationaux, 1997.

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Fengdanbailu gong de Zhongguo huang jia bo wu guan. Beijing Shi: Zhongguo shi chang chu ban she, 2013.

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Mah, Ann. Mastering the art of French eating: Lessons in food and love from a year in Paris. Detroit: Thorndike Press, A part of Gale, Cengage Learning, 2013.

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Shuang, Situ. L' influence de la Chine sur la decoration et l'iconographie en France aux XVIIe et XVIIIe siècles: Ouvrage illustré de 297 planches. [S.l: s.n.], 1999.

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Chinese art. New York, N.Y: Thames and Hudson, 1997.

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Buchteile zum Thema "Chinese art in France"

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Wu, Xin. „Garden Art“. In A Companion to Chinese Art, 410–30. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch20.

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Wang, Keping. „Art as Sedimentation“. In Chinese Culture of Intelligence, 405–24. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3173-2_18.

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Phipps, Claude. „Chinese Science and Art“. In No Wonder You Wonder!, 77–85. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-21680-5_7.

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Chou, Chih-P’ing. „The Chinese Art Society“. In English Writings of Hu Shih, 149–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31184-0_21.

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Man-ching, Ada Lee. „Art and Heart“. In International Handbook of Chinese Families, 425–51. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-0266-4_26.

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Zhirong, Zhu. „Ontological aspects of art“. In Philosophy of Chinese Art, 92–148. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003204688-3.

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Sun, Yifeng. „Translating Chinese modernity“. In Translating Chinese Art and Modern Literature, 186–206. Abingdon, Oxon; New York, NY: Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9781351001243-11.

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Man, Eva Kit Wah. „Spiritual Rituals of Chinese Ink Painting: The Suggestions of Shitao“. In Chinese Contemporary Art Series, 3–20. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1_1.

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Man, Eva Kit Wah. „A Cross-Cultural Reflection on Shusterman’s Suggestion of the “Transactional” Body“. In Chinese Contemporary Art Series, 121–30. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1_10.

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Man, Eva Kit Wah. „Chinese Bodies in Philosophy, Aesthetics, Gender and Politics: Methodologies and Practices“. In Chinese Contemporary Art Series, 131–44. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0210-1_11.

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Konferenzberichte zum Thema "Chinese art in France"

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Hauser, Danie`le, Ce´line Tison, Jean-Michel Lefe`vre, Juliette Lambin, Amiot Thierry, Lotfi Aouf, Fabrice Collard und Patrick Castillan. „Measuring Ocean Waves From Space: Objectives and Characteristics of the China-France Oceanography SATellite (CFOSAT)“. In ASME 2010 29th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/omae2010-20184.

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The Chinese and French Space Agencies are jointly preparing a satellite mission devoted to the monitoring of the ocean surface and related science and applications. This is the so-called “China France Oceanography SATellite” (CFOSAT), to be launched around 2013. This mission will provide simultaneous and collocated observations of wind at the ocean surface and spectral properties of surface ocean waves using two scatterometers, both in Ku-Band: SWIM for measurements of directional wave spectra and SCAT for wind vector measurements. The SWIM instrument will use a real aperture observation technique so as to avoid limitations encountered with SAR systems. This paper describes the main objectives and characteristics of the mission with a focus on the SWIM instrument designed and developed under French responsibility to measure directional spectra of ocean waves.
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Yu, Meifang, Zhen Luo und Y. J. Chao. „An Assessment of Mechanical Properties of A508-3 Steel Used in Chinese Nuclear Reactor Vessels“. In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28993.

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China has very ambitious goals of expanding its commercial nuclear power by 30 Giga-Watts within the decade and wishes to phase out fossil fuels emissions by 40–45% by 2020 (from 2005 levels). With over 50 new nuclear power plants under construction or planned and a design life of 60 years, any discussions on structural integrity become very timely. Although China adopted its nuclear technology from France or US at present time, e.g. AP1000 of Westinghouse, the construction materials are primarily “Made in China”. Among all issues, both the accumulation of the knowledge base of the materials and structures used for the power plant and the technical capability of engineering personnel are imminent. This paper attempts to compile and assess the mechanical properties, Charpy V-notch impact energy, and fracture toughness of A508-3 steel used in Chinese nuclear reactor vessels. All data are collected from open literature and by no means complete. However, it provides a glimpse into how this domestically produced steel compares with western reactor vessel steels such as US A533B and Euro 20MnMoNi55.
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Chen, Xuedong, Zhibin Ai, Zhichao Fan, Jiushao Hu, Weihe Guan und Chuanqing Cheng. „Accidents Investigation and Risk Assessment of Chinese Industrial Pressure Pipelines“. In ASME 2009 Pressure Vessels and Piping Conference. ASMEDC, 2009. http://dx.doi.org/10.1115/pvp2009-77517.

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In recent years personal casualties and fire explosion accidents are often taken place due to pipe failure accidents of petrochemical enterprises in China. For more than a decade years, the authors have conducted extensive investigation and analysis on these accidents and consider that apart from the causes of man-made quality out-of-control and technical level, another major cause is the absence of experience accumulation of some medium environments induced failure accidents for design standards and codes, design units and designers, therefore, it is unable to prevent and control in-service risk factors at the design stage. Since 2003, we have conducted risk-based inspection and analysis of industrial pipelines of all types of units in about eighty large-scale oil refinery plants, chemical plants and chemical fertilizer plants under the jurisdiction of SINOPEC and PetroChina according to API581, API571 etc. in cooperation with Bureau Veritas, France (BV). Through these analyses, we have found out the major failure modes, mechanisms, likelihood and consequences of petrochemical industrial pipelines, and we also consulted the original design and installation documents of all pipelines, it is found that most of the high failure risks of petrochemical industrial pipelines are induced by inadequate consideration to environment induced failure mechanisms at the design stage. In order to avoid repetitive occurrence of these accidents, suggestions on improvement of design and manufacture methods in China are proposed in this paper, that is, the experience of in-service environment-related failures should be fed back to the organizations of design and manufacture standards, design institutions and designers by some effective means, and set up the design and manufacture platform based on risks and life in China, so as to control the risks of pressure pipelines away from accident over the whole life through such measures as reasonable material selection, structural optimization design, selection of reasonable manufacturing and installation process etc. at early stage of design and manufacture.
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Salagnac, Jean-Luc. „Construction Robotics - State of the Art in France“. In 8th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1991. http://dx.doi.org/10.22260/isarc1991/0005.

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Yang, Bingjie. „Female Art in Chinese Contemporary Art“. In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.179.

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„Research on Consortium in Chinese Law“. In Oct. 5-6, 2017 Paris - France. EIRAI, 2017. http://dx.doi.org/10.17758/eirai.dirh1017223.

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„Chinese media art preview“. In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280120.1280273.

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Zhang, Yuanming. „Aesthetic Analysis on Line Art in Chinese Painting Art“. In 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccese-17.2017.133.

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Rizaieva, Ganna. „The Last Trouveur of France: Genesis of Francis Poulenc’s Oeuvre“. In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.057.

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Бан, П. Дж. „THE DISCOVERY OF ICE AGE CAVE ART AT LA MARCHE (VIENNE, FRANCE)“. In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.81-84.

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Статья представляет краткое описание открытия первого изображения на стенах палеолитической пещеры Ла-Марш (Люссак-ле-Шато, Вьенна, Франция). Этот памятник всемирно известен благодаря тому, что в нем было найдено огромное количество гравированных каменных плиток с гравировками, датируемыми более чем 14 000 л. н. Гравировки расшифровывались в течение 25 лет и были полностью опубликованы доктором Л. Палем. Всегда считалось, что на стенах этой пещеры изображений нет. Первая информация о том, что на стенах в Ла Марш есть какие-то следы, была получена автором еще в 2004 г., и вот недавно им была обнаружена первая фигура: голова бизона, сочетающая технику гравировки и использование естественной скальной формы. По стилю она напоминает знаменитый скульптурный фриз в гроте Англь-сюр-Л Англен, расположенный в том же регионе, что и Ла Марш, и датируемый тем же временем. A brief account of the discovery of the first parietal figure in the Ice Age rock-shelter of La Marche (Lussacles-Chteaux, Vienne, France). The site was already world-famous for its huge collection of engraved plaquettes of stone, dating to more than 14,000 years ago, which were deciphered and published over the course of 25 years by Dr Lon Pales. But it was always thought that the rock-shelter in which the plaquettes were found had undecorated walls. In 2004 I was given information which suggested that there might be markings, and I eventually discovered a first parietal figure, a head of a bison, comprising engraving and use of natural rock shape. The style was similar to that of the great sculpted frieze at Angles-sur-lAnglin, in the same region, which is of the same date as La Marche.
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Berichte der Organisationen zum Thema "Chinese art in France"

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Ofstedal, Peter R. Operational Art in Modern Chinese Warfare. Fort Belvoir, VA: Defense Technical Information Center, Februar 1996. http://dx.doi.org/10.21236/ada307331.

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Aizenman, Joshua, Yothin Jinjarak und Huanhuan Zheng. Chinese Outwards Mercantilism – the Art and Practice of Bundling. Cambridge, MA: National Bureau of Economic Research, April 2015. http://dx.doi.org/10.3386/w21089.

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Zhang, Ling, Brent Holland und Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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Reilly, Thomas P. Mao Tse-Tung and Operational Art During the Chinese Civll War. Fort Belvoir, VA: Defense Technical Information Center, Mai 1998. http://dx.doi.org/10.21236/ada357835.

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Castillo, Matthew J. Chinese Operational Art: Understanding the Present through the Lens of the Past. Fort Belvoir, VA: Defense Technical Information Center, Mai 2013. http://dx.doi.org/10.21236/ada583828.

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Bjorge, Gary J. Moving the Enemy: Operational Art in the Chinese PLA's Huai Hai Campaign (Leavenworth Paper, Number 22). Fort Belvoir, VA: Defense Technical Information Center, Januar 2003. http://dx.doi.org/10.21236/ada468780.

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Zhang, Ling, Chunhui Xiang und Eulanda A. Sanders. Testing Chinese Ink as a Natural Dyestuff on Silk and Cotton Fabrics: The Foundation for a Collection of Wearable Art. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-131.

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Luo, Xuexing, Zheyu Zhang, Jue Wang, Qibiao Wu und Guanghui Huang. Art therapy as a complementary therapy for schizophrenia: a meta-analysis of randomized controlled trials following the PRISMA guidelines. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Mai 2022. http://dx.doi.org/10.37766/inplasy2022.5.0099.

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Review question / Objective: How are the effects of art therapy on schizophrenia? Condition being studied: Schizophrenia is a chronic and severely disabling mental disorder that is associated with impairments in cognitive, emotional and psychosocial functioning affecting the prospect of recovery. (Jablensky, 2010; Leucht, 2014). Information sources: A comprehensive literature search will be carried out by two independent researchers (XX Luo and J Wang). Published studies will be retrieved in common databases including PubMed, Web of Science, ClinicalTrials.gov, Cochrane Library, Embase, China National Knowledge Infrastructure(CNKI), Wanfang Databases, the Chinese Scientific Journal Database, the Chinese Science Citation Database, and the Chinese Biomedical Literature Database from inception to May 30, 2022. In addition, we will search and evaluate the relevant systematic reviews and meta-analyses to select the potential studies from their references. No trial is excluded due to publication status or language.
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Liang, BiYan, BiYan Liang und Jian Wang. A Meta Analysis of the Efficacy of Tonic Method in Traditional Chinese Medicine for AIDS Immunological Nonresponses. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, April 2022. http://dx.doi.org/10.37766/inplasy2022.4.0077.

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Review question / Objective: To evaluate the efficacy of tonic method in treating AIDS immunological nonresponses. Eligibility criteria: ①Study type: RCT based on tonic method in TCM for AIDS INRs. The language was limited to Chinese and English. ②The research object: HIV/AIDS patients with any disease stage; the intervention objects were adults with no gender restrictions. ③Intervention measures: The treatment group was treated with tonic prescriptions combined with ART, including four types of prescriptions for nourishing qi, nourishing blood, nourishing yin, or nourishing yang; the dosage, frequency, and method were not limited. The control group was treated with ART or mock agent and placebo. ④Outcome indicators: The observation indicators reported in the included studies should include at least one of the following indicators: 1) Effective rate of immune function reconstruction: formulated in accordance with "AIDS (Adult) Chinese Medicine Diagnosis and Treatment Program" (2016 Edition) , effective: CD4 + T lymphocyte counts increased by ≥ 50 cells/l or ≥ 30%, invalid: CD4+ T lymphocyte counts decreased by ≥ 50 cells/l or ≥ 30%; total effective rate = effective number/total number; 2) CD4+T lymphocyte counts level.
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