Dissertations / Theses on the topic 'Art China History 18th century'
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Baker, Daniel Alexander. "Technologies of encounter : exhibition-making and the 18th century South Pacific." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13703/.
Full textLee, Sai-chong Jack, and 李世莊. "China trade painting: 1750s to 1880s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45015442.
Full text尹浩然 and Ho-yin Wan. "Population expansion, internal migration and social disturbances in eighteenth-century China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31221828.
Full textWong, Chi-man Lorraine, and 黃芷敏. "Cultural fever, consumer society and pre-orientalism China in eighteenth-century England." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227946.
Full textFeng, Huanian, and 馮華年. "The reception of western art history in Republican China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.
Full textSchneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.
Full textTurner, Grace S. "An Allegory for Life: An 18th century African-influenced cemetery landscape, Nassau, Bahamas." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623360.
Full textEdwards, Stephen Otis. "Lintin Island :the Canton trade at anchor, 1790 to 1840." Thesis, University of Macau, 2015. http://umaclib3.umac.mo/record=b3335244.
Full textLi, Mumiao, and 李木妙. "明末淸初中國的海外貿易." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B15967517.
Full textFisher, Karen B. "Community in Gloucestertown, Virginia: The Context and Archaeology of Town Development in 17th and 18th Century Virginia." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625335.
Full textDworsky, Joel Garrett. "Ghosts on the Coast of Paradise: Identifying and Interpreting the Ephemeral Remains of Bermuda's 18th Century Shipyards." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626650.
Full textLam, Chun-cheung Otto, and 林準祥. "A study of the origins, emergence and development of Western banking in China, 1770s-1866." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38031012.
Full textCarter, Trevor Ryan. "The Beasley Wharf Complex: A Study of Frontier Interaction in the Lower Great Lakes in the Late 18th Century." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626205.
Full textVogt, Christy Cathleen. "A Toast to the Tavern: an Archaeological Study of a 17th and 18th Century Tavern in Charlestown, Massachusetts." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625863.
Full text蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
Full textBertram, Aldous Colin Ricardo. "Chinese influence on English garden design and architecture between 1700 and 1860." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610795.
Full textCheng, Christina Miu Bing, and 鄭妙冰. "Postmodernism: art and architecture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
Full textLin, Su-Hsing. "Feng Zikai's Art and the Kaiming Book Company: art for the people in early twentieth century China." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079634774.
Full textTitle from first page of PDF file. Document formatted into pages; contains xxxiii, 445 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Julia F. Andrews, Dept. of History of Art. Includes bibliographical references (p. 317-251).
McHale, Katherine Jean. "Ingenious Italians : immigrant artists in eighteenth-century Britain." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/13854.
Full textAbel, Jonathan 1985. "Jacques-Antoine-Hippolyte, Comte De Guibert: Father of the Grande Armée." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700071/.
Full textGrant, Sarah. "Representations of the princesse de Lamballe (1749-1792) : the portraiture, patronage and politics of a royal favourite at the court of Marie-Antoinette." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1797d7c6-5c22-44a9-8ab3-adfcddfd43fc.
Full textMadsen, David andrew. "All Sorts of China Ware Large, Noble and Rich Chinese Bowls: Eighteenth-Century Chinese Export Porcelain in Virginia." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625951.
Full textLoir, Christophe. "Les transformations artistiques en Belgique entre 1773 et 1835: institutions, hommes et oeuvres." Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211521.
Full textMa, Li. "Les représentations de l'art de gouverner chinois dans les périodiques de langue française de la seconde partie du XVIIIe siècle." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30062.
Full textThe eighteenth century opens a new era in the history of Franco-Chinese cultural exchanges. China appears not only as a mysterious country, which inspired the authors of fiction, but also, in the eyes of the philosophers, as a nation deserves to be studied. This study focuses on a field so far little discovered in the works on cultural exchanges between France and China, namely the press. Our investigation intends to consider the representations of the Chinese art of governing in French-language periodicals in the second half of the 18th century and the role played by them in the dissemination of representations of China in French society
Liu, Yu-jen. "Publishing Chinese art : issues of cultural reproduction in China, 1905-1918." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:284f18b9-a0ce-4a4a-bdb4-6a1c1ece44ce.
Full textPereira, André Luiz Tavares 1972. "A constituição do programa iconografico das irmandades de clerigos seculares no Brasil e em Portugal no seculo XVIII : estudos de caso." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280540.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-06T14:32:40Z (GMT). No. of bitstreams: 1 Pereira_AndreLuizTavares_D.pdf: 16783528 bytes, checksum: 4a2b9bca695a2de3258393c69e2d0701 (MD5) Previous issue date: 2006
Resumo: A presente tese analisa o papel das irmandades de clérigos seculares, na América portuguesa e em Portugal, como encomendadoras de obras artísticas ao longo do século XVIII. Procura-se demonstrar de que maneira organiza-se seu programa iconográfico até 1731 e como esse conjunto de imagens devocionais e pintura decorativa atende às necessidades político-ideológicas do clero português na seqüência imediata da criação do Patriarcado de Lisboa em 1716. Ainda, ressaltamos a ligação de membros dos altos setores da administração religiosa portuguesa com as referidas irmandades, lembrando o exemplo do primeiro patriarca de Lisboa, D. Tomás de Almeida, ligado intimamente aos quadros da Irmandade de clérigos do Porto. Apresentamos variado registro de imagens e análises cuidadosas do patrimônio artístico das irmandades portuguesas ¿ Porto, Amarante e Viana do Castelo ¿ e daquelas instaladas na América portuguesa ¿ Salvador, Recife e Mariana ¿ sublinhando a importância do programa de imagens patrocinado por estas agremiações, que interpretamos como manipulação político-teológica da iconografia da Autoridade Religiosa, opção oportuna durante os anos do reinado de D. João V e da organização da administrção eclesiástica na América Portuguesa ao longo do século XVIII
Doutorado
Historia da Arte
Doutor em História
Nicholls, Angus 1972. "The mantic art : an examination of the notion of the daemonic in the writings of Plato, Goethe and Goethe's contemporaries." Monash University, Centre for Comparative Literature and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9148.
Full textThorez, Eric-Selvam. "Peintres Moghols au XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040267.
Full textThis work is a study on Mughal painters who were active in the 18th century, between the end of Aurengzeb and the beginning of Akbar’s rein. The intention is to establish a catalogue of painted works for each painter, thereby defining the characteristics of each one through an analysis of the style and different iconographic approaches within the paintings. Until recently, the global lack of knowledge of Mughal eighteenth century painting collections defined this period as one of decline in the quality of painters and their works, the latter being generally considered to be small in number, stylistically weak and limited to gallant, courtly, and erotic subject matter.Through an analysis of these rarely studied collections that we have broached a renewal of our understanding of this period through the lives and works of these Mughal painters who were facing the political and economical disruptions that took place in the North of India throughout the whole of the eighteenth century. Therefore, our work has been focused on revealing that after an initial phase, when a form of classicism prevailed in the painters’ works, the members of the imperial academy aimed at renewing a Mughal aesthetic as the concurrent regional workshops emerged. We have then followed the direction of the painters who settling in Oudh, took with them, the movement known as Company Paintings, whereas in Delhi, the members of the imperial academy orientated themselves towards a neoclassical pictoralism. This work, by showing in particular the evolution of a classical aesthetic, will therefore allow us look anew at Mughal painters of the eighteenth century, within the context of the regionalisation of painting in India
Gilbert, Bennett. "Some Neglected Aspects of the Rococo: Berkeley, Vico, and Rococo Style." PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1872.
Full textEklöv, Anders. "Några diverse gamla tavlor : Om Pehr Hilleström och 1700-talets svenska konstmarknad." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-433468.
Full textSmith, David R. "Nathanael Greene and the Myth of the Valiant Few." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062831/.
Full textPirson, Chloé. "Les cires anatomiques (1699-1998) entre art et médecine: étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.
Full textSur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Aragonès, Riu Núria. "Iconographie des Petits Théâtres en France au XVIIIe siècle." Paris 3, 2008. http://www.theses.fr/2008PA030028.
Full textDiffering from the history of painting which is based on the physical existence of the studied object, theatre art history – where the object of study is by definition an ephemeral piece of art – is elaborated by the assembly of documental sources (images and texts) that the theatre historian uses to analyse the missing object. Theatre iconography has to be studied through an interdisciplinary approach in which the methodology of theatre historians is combined with that of painting historians. Our departing hypothesis is that the analysis of form and style of the image can provide many plausible interpretations for theatre history. In addition, the consideration of the social and cultural context of the epoch (issues on the production, function and destination of the image) will allow the reinterpretation of known images as well as an interpretation for previously unknown images. The analysed sample is made of images having as subject “petits spectacles” in eighteenth-century France (mainly in Paris), that is to say fair theatres, theatres of the boulevard du Temple, Palais-Royal spectacles and other kind of street theatre (puppets, charlatans, singers, etc. ) that composed the non-official theatre life of the eighteenth-century. Through the iconographic analysis we will find a dynamic and transformable image, with multiple forms and functions, that covers current theatre events by using in some occasions traditional pictorial records. The interdisciplinary approach of theatre iconography opens new multiple fields of study that will advance our knowledge on the theatre of the past
Lindfield, Peter Nelson. "Furnishing Britain : Gothic as a national aesthetic, 1740-1840." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3490.
Full textJeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
Full textPlouzennec, Yvon. "La carrière de Claude Jean-Baptiste Jallier de Savault (1739-1806) : architecte du règne de Louis XV à l’Empire." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL141.
Full textThe architect Claude Jean-Baptiste Jallier de Savault is an unsung figure whose rediscovery is relatively recent. Born in 1739 in Château-Chinon, he grew up in the Protestant milieu of a tradesman family. In the 1750s, he moved to Paris and joined the office of Jacques-Germain Soufflot, then at the height of its activity. The academic course he followed in parallel with this practical training was crowned by two second prizes in 1758 and in 1760. Supported by his master and Charles-Nicolas Cochin, he was accorded the status of a student architect of the Academy of France in Rome and resided at the Palais Mancini in 1762. Upon his return, he continued his apprenticeship with Ange-Jacques Gabriel before starting a career in the service of financiers of the Ancien Régime. This mostly Protestant clientele offered him the opportunity to carry out various projects in Paris, in thenorth-east of the kingdom, as well as in Switzerland. The last years of the reign of Louis XVI, marked by the accession of Jacques Necker to the Directorate General of Finance, was a propitious time in his career. Given thekingdom’s worsening political and financial situation, however, his two public commissions from this time (the Royal square of Brest and the Paris headquarters of the Caisse d’Escompte) were never built. After a brief engagement in political life in the early days of the Revolution, he was employed by the Public Works Commissionand subsequently became an architect of civil buildings under the Directory. With this post, which he held until his death in 1806, he finally gained something of the official status and legitimacy that had long eluded him
Schneider, Marlen. "„Belle comme Vénus‟ : das portrait historié zwischen Grand Siècle und Zeitalter der Aufklärung." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20031.
Full textThe portrait historié was one of the most characteristic and revealing phenomena of French court society, closely relying on this particular milieu’s artistic and cultural practices, and was thus very much appreciated during the second half of the seventeenth century and the first decades of the eighteenth century. Members of the social elites all over Europe and especially in France chose to sit in mythological or historicized costumes for renowned artists such as Nicolas de Largillierre, Pierre Gobert, François de Troy, Jean-Marc Nattier or Jean Raoux. An extensive study of this particular kind of portraiture, which is still one of the desiderata in art historical research, might generally contribute to scientific research on French portraits from the Ancien Régime. In order to define the artistic, cultural and social impact and status of portraits historiés, the thesis examines the institutional, iconographic and formal evolution of the genre, its cultural context and influences, its social functions, as well as its reception in 18th century public sphere and especially in the context of enlightened discourse. Resulting from the moral and esthetic principles of court society, these cultural and artistic expressions derived from the absolutist French monarchy lost their legitimation during a period of political and social change and revolution
"The function of western music in the eighteenth-century Chinese court." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074369.
Full textEvidence that Western theoretical writings were included in Lulu zhengyi raises an important question: why did Kangxi demand that Western music theory be incorporated within his imperial treatise? There are only a limited number of studies on Western music in the early Qing court, and this research fills in a serious lacuna. This study will argue that it is not simply due to Kangxi's open mind and fondness for European knowledge that leads to the incorporation of Western music theory in Lulu zhengyi. Kangxi's goal was to use Western music as a tool to restore the lost Chinese ancient music.
The reign of Kangxi witnessed the elevation of Western music in the Qing court. After the reign of Kangxi, Western music continued to be performed at the court, however, its prestige diminished, and it served solely as entertainment for the emperors. Indeed, in Yongzheng's preface to Luli yuanyuan (1723), Western music theory was regarded as that of the Western barbarian. Later, when Qianlong ordered the compilation of the sequel to Lulu zhengyi in 1741, no Western music was included.
Chiu, Wai Yee Lulu.
"May 2007."
Adviser: Michael Edward McClellan.
Source: Dissertation Abstracts International, Volume: 69-01, Section: A, page: 0020.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (p. 186-219).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.
"符羅飛(1897-1971): 20世紀的中國藝術與革命." 2013. http://library.cuhk.edu.hk/record=b5549694.
Full textThis thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu’s artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles.
As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on “saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), which reveals a not-so-revolutionary side of the “revolutionary artist". His tragedy after the establishment of the People’s Republic vividly illustrates the irreconcilable conflicts between the May Fourth tradition of intellectual independence and the political culture of the CCP.
Detailed summary in vernacular field only.
陳鶯.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 294-307) and index.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Chen Ying.
導言 --- p.1
Chapter 第一章 --- 留學意大利(1930-1938) --- p.12
Chapter 第一節 --- 文獻回顧:留意傳奇與疑問 --- p.12
Chapter 第二節 --- 歐遊前傳:上海美專及其它 --- p.17
Chapter 第三節 --- 那不勒斯:特殊的選擇 --- p.22
Chapter 第四節 --- 美術學院内外 --- p.29
Chapter 第五節 --- “求真"與“人情":學院傳統及留意畫作 --- p.49
Chapter 第六節 --- 東方學院:在中意之間 --- p.67
Chapter 第七節 --- 歸國始末 --- p.84
Chapter 第二章 --- 一九三八年在香港(1938-1939) --- p.103
Chapter 第一節 --- 登場 --- p.103
Chapter 第二節 --- 抗戰救國理想的首次實踐 --- p.107
Chapter 第三節 --- 中國筆作西洋畫 --- p.117
Chapter 第四節 --- 社會網絡:文化人、政經界及同鄉會組織 --- p.127
Chapter 第五節 --- 結果與現實 --- p.135
Chapter 第三章 --- 從歐洲學院到中國現實(1939-1948) --- p.140
Chapter 第一節 --- 北上行蹤 --- p.140
Chapter 第二節 --- 風格改造:形式與内容 --- p.144
Chapter (一) --- 1941年桂林展 --- p.145
Chapter (二) --- 1943年“現實主義浪漫派"巡展 --- p.152
Chapter (三) --- 1946至1948年穗港展 --- p.158
Chapter 第三節 --- 代表性風格的面貌 --- p.164
Chapter (一) --- 代表性風格的兩種類型 --- p.165
Chapter (二) --- 保留的與捨棄的 --- p.171
Chapter (三) --- 新風格形成期間所受之影響 --- p.173
Chapter 第四節 --- 風格選擇的成因:表現主義與中國“現實" --- p.180
Chapter 第四章 --- 重訪香江(1947-1949) --- p.189
Chapter 第一節 --- 再度居港與文化人南下潮 --- p.188
Chapter 第二節 --- 人間畫會:組織結構及主要活動 --- p.193
Chapter 第三節 --- 左翼文藝標準的強化 --- p.202
Chapter 第四節 --- “國畫":代表性風格以外的藝術嘗試 --- p.210
Chapter 第五節 --- 短暫的美國夢 --- p.218
Chapter 第六節 --- 迎接新中國 --- p.226
Chapter 第五章 --- 政治氣候的轉變(1949-1971) --- p.235
Chapter 第一節 --- 從體制外到體制内 --- p.235
Chapter 第二節 --- 過渡時期:以舊風格唱新語句 --- p.241
Chapter 第三節 --- 代表性畫風的瓶頸 --- p.249
Chapter 第四節 --- 描繪新生活 --- p.257
Chapter 第五節 --- 傳奇落幕 --- p.265
Chapter 結語 --- 自畫像:個人命運與時代洪流 --- p.271
中文參考文獻 --- p.294
外文參考文獻 --- p.304
Chapter 附錄一 --- 符羅飛藝術活動年表 --- p.308
Chapter 附錄二 --- 人名索引 --- p.321
圖版目錄 --- p.329
圖版 --- p.351
"Art, new culture, and women: the reception of the pre-raphaelites in China." Chinese University of Hong Kong, 1995. http://library.cuhk.edu.hk/record=b5888331.
Full textThesis (Ph.D.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves 277-299).
Acknowledgements --- p.i
Abstract --- p.iii
Abbreviations --- p.v
Chapter Chapter One --- Chinese Modernity Reconsidered --- p.1
Chapter Chapter Two --- The Presence of the Pre-Raphaelites in China --- p.21
Chapter Chapter Three --- The Cross-cultural Counterparts: The Pre-Raphaelite Brotherhood and the Crescent Moon Society in China --- p.44
Chapter Chapter Four --- "New Images of Lovers: Chinese Adaptations of Dante Rossetti's ""The Blessed Damozel""" --- p.66
Chapter Chapter Five --- The Lyrical and Melancholic Women: The Reconstruction of Christina Rossetti --- p.132
Chapter Chapter Six --- Utopian Thinking in May Fourth China: The Rise of William Morris --- p.152
Chapter Chapter Seven --- A Patriotic Model for Modern China: The Early W.B. Yeats as a New Romantic --- p.172
Chapter Chapter Eight --- "The Chinese ""Decadents"": Indebtedness to Algernon Swinburne, Aubrey Beardsley and Oscar Wilde" --- p.193
Chapter Chapter Nine --- "The ""Fleshly School of Poetry""in China?" --- p.244
rllustrations --- p.272
Glossary --- p.274
Bibliography --- p.277
Caffey, Stephen Mark 1962. "An heroics of empire : Benjamin West and Anglophone history painting, 1764-1774." 2008. http://hdl.handle.net/2152/17949.
Full texttext
"王世貞(1526-1590)藝術贊助的研究." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074331.
Full textChapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections.
Chapter 3 discusses how Wang, given his knowledge in history and passion for art and its collection, reinterprets art history with reference to his private collection of art, and thereby consolidating his status as a leading figure of literary and cultural circle of his time.
Chapter 4 explains and reflects on the formation of the "artist-patron" relationship through examining the relationship and interaction between Wang and the literary circle and by appraising the financial background and standing of artists and calligraphers at the time.
Chapter 5 examines the direct impact that Wang, as a literary leader and patron of the art, has on the styles and subject matter of art work by examining and decoding several pieces of art commissioned by himself, thus revealing a distinct mechanism in which art was produced at the time.
Chapter 6 discusses the "artist-patron" relationship and the "trading of cultural resources" by examining diverse pieces of art work given to Wang as gifts by different individual artists and calligraphers.
Chapter 7 analyses the significance of the patronage activities of Wang and provides a new approach to understanding the issue of traditional Chinese art patronage in Chinese art history.
Through a case study of the life of Wang Shizhen, this research attempts to analyse the influence of literary leader and patron of the arts on the development of painting and calligraphy during the mid-Ming period. By analysing the "artist-patron" relationship, this paper attempts to explain alternative mechanism through which traditional Chinese art was produced. The thesis also examines art patronage activities in Suzhou during the sixteenth century and thereby attempts to examine these activities from the broader cultural and historical context at the time. This paper is divided into seven chapters:
鄧民亮.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 298-320).
Advisers: Tsung-i Jao; Kar Leung Mok.
Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0378.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 298-320).
Deng Minliang.
Bae, Kyoungjin. "Joints of Utility, Crafts of Knowledge: the Material Culture of the Sino-British Furniture Trade during the Long Eighteenth Century." Thesis, 2016. https://doi.org/10.7916/D8GX4BR6.
Full text"未完成的文化霸權: 國家理論視野下的上海大世界, 1949-1966." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075175.
Full textThis research is an empirical analysis of the cultural hegemony pursued by Mao's China (1949-1966) in the field of mass culture. Based on the empirical research of this study, and inspired by the perspective of "Bringing the State back in" School, and the "State in Society" theory as well, this research put forth the theoretical perspective of "Complex Vision of State Capacities", which highlights the uneven-ness of state capacities in different fields and different aspects of the same field, and emphasizes that we should pay attention to both the strong state capacities, weak state capacities, the paradox of strong state capacities, the conflict between different state projects and the influence of "policy feedback" on state capacities. Based on the Extended Case Method, this research selects the Dashijie Amusement Center in Shanghai as the subject of research. It analyzes how the new regime effectively took over and transformed Dashijie, and meanwhile, demonstrates that under the influence of the complex state capacities, Dashijie gradually lost its original characteristics as an amusement center, and became more and more similar with Workers' Club. This phenomenon is called as cultural isomorphism. Negotiational hegemony to some extent alleviated this situation of cultural isomorphism, while zero-sum hegemony exacerbated it. With this development, the number of audience of Dashijie dropped a lot, which implies the predicament of cultural hegemony in the field of mass culture pursued by the totalistic state. Following the methodological perspective of the Extended Case Method, and also inspired by Bourdieu's theory of cultural field, this research further analyzes the evolution of Shanghai Bureau of Cultural Affairs. It demonstrated that, compared with the Nationalist Government, the new regime took further step in state building in the field of mass culture, advancing the bureaucratization of cultural administrative apparatuses and penetrating the state power into the cultural field at the grass-roots level. On the other hand, this research also reveals that the new regime is constrained by the weak state capacities in financial resources, human capital, sufficient bureaucratization, and the limitation of state capacities in the heterogeneity of the masses and the asynchronous-ness of structural transformation. As a result, the state capacity of the totalistic state in eradicating the production and circulation of the old mass cultural products is relatively strong and thus relatively successful, while the state capacity in constructing a new socialist mass culture, which was expected to be widely accepted by the masses, is relatively weak and thus relatively unsuccessful. In the view of "Complex Vision of State Capacities", negotiational hegemony reflected the recognition of complex state capacities, and it was thus necessary and beneficial for the state project of cultural hegemony; while the zero-sum hegemony reflected lack of recognition of or even did not accept the situation of complex state capacities, and thus exacerbated the situation of cultural isomorphism, leading to the final predicatement of cultural hegemony.
肖文明.
Adviser: Hoi-man Chan.
Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (p. 323-339).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Xiao Wenming.
"浙江禦倭、薊鎮練兵、朝鮮抗日: 戚繼光軍事革命之考察 = Fighting Wako, training army, and defending Korea : a study on Qi Jiguang's military revolution in sixteenth-century Ming China." 2015. http://library.cuhk.edu.hk/record=b6115390.
Full textThis thesis studies the performance of the Jizhen(薊鎮) Army during the Korean War (1592-1598) from the perspective of the "Military Revolution" theory. It argues that the Qi Jigunag revolutionized the training of the Ming army by focusing more on tactical formation, on coordination among different forces, on improving the commanding system, and also on more practical and united training of soldiers. As a result, the Ming army from Jizhen, also known as "the Southern Army", trained by the Qi Jiguang model, excelled in the Korean theatre by their military prowess and their good discipline and distinguished themselves from the more unruly and less competent Ming forces from the Northeast.
Detailed summary in vernacular field only.
葉家銘.
Parallel title from English abstract.
Thesis (M.Phil.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 95-99).
Abstracts also in English.
Ye Jiaming.
Viggiani, Daniela. "L’edizione dell’Abecedario Pittorico di Pellegrino Antonio Orlandi, aggiornata da Pietro Maria Guarienti (1753), una fonte per la storia dell’arte portoghese." Thèse, 2016. http://hdl.handle.net/1866/19294.
Full textMcCutcheon, Shawn. "Winckelmann et ses désirs (presque) secrets : amour entre hommes et idéaux de la masculinité à l’ère néoclassique (1755-1768)." Thèse, 2014. http://hdl.handle.net/1866/11952.
Full textStudying the works and letters of Johann Joachim Winckelmann written between 1755 and 1768 gives new insights on love between men in the 18th century and on its relation to the construction of masculinity. The case of Winckelmann illustrates the constructed and changing nature of eroticism: the influence of the Hellenic example is visible in the homoerotic fantasy that Winckelmann used to interpret his desires. Antiquity, given its cultural authority, represented a relatively safe space where Winckelmann was able to express his homoerotic sensibility to which the western context was hostile. Greek literature exalted the display of affection between men and its statuary, the nude male body. This fantasy would later prove to be the capital in Winckelmann’s comprehension and justifications of his relations with other men in Italy after 1755. Far from being confined to the repression of homoeroticism by the 18th century European society, the case of Winckelmann illustrates its potential for partial integration. The originality of Winckelmann lies in the way he used to communicate his homoerotic ideas in scholarly texts while rendering them socially acceptable. Finally, several clues in his works and letters bear to think that Winckelmann was aware of his difference and that between 1755 and 1768 he created for himself a discrete community of men also sensitive to homoerotic desires.
Hesse, Angelika. "Eichendorffs Kritik romantischer Fehlentwicklungen." Diss., 1998. http://hdl.handle.net/10500/16941.
Full textRomanticism as a broad movement of thought developed as a reaction against rationalism and empiricism in the period of Enlightenment. In his critical evaluation of Getman literature Eichendorff as a historian exammes the excessiveness of esoteric theories in the work of the young intellectuals of the early romantic period in Getmany. The romanticists' idealist celebration of the self, and their tendency to overestimate the power of the imagination and the supreme value of art led to self-adulation and subjectivism which was unacceptable to Eichendorff s understanding of art and religion. The "romantic" attempt at creating a new mythology usmg art as a new kind of religion and thereby making the poet an omnipotent creator could only be rejected by Eichendorff whose moral convictions were strongly based on Christian Catholic beliefs. The young romanticists replaced ethics with aesthetics. Eichendorffs judgement of this development is devastating. He describes the early romantic movement as a "premature abortion".
Classics and Modern European Languages
M.A. (German)
"現代中國繪畫中的毛澤東圖像." 1998. http://library.cuhk.edu.hk/record=b5896285.
Full text論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998.
附參考文獻.
中英文摘要.
Luo Xinxin.
序言 --- p.1
論文摘要 --- p.2
插圖目錄 --- p.5
緒論 --- p.14
Chapter 第一章 --- 中共建國前的毛澤東繪畫圖像(1927-1949)
Chapter I. --- 毛澤東政治地位的確立 --- p.28
Chapter II. --- 土地革命戰爭時期(1927-1937):毛澤東繪畫圖像的起源 --- p.30
Chapter III. --- 抗口戰爭時期(1937-1945)的毛澤東繪畫圖像發展 --- p.31
Chapter 1 . --- 魯藝木刻工作團的成立1938 --- p.32
Chapter 2. --- 晉西北木刻工廠1941 --- p.33
Chapter 3. --- 《延安文藝座談會上的講話》1942 --- p.34
Chapter 4. --- 赤色郵政 1944 --- p.40
Chapter 5. --- 中共黨報 1945 --- p.41
Chapter IV. --- 全國解放戰爭時期(1945-1949)的毛澤東繪畫圖像發展 --- p.43
小結 --- p.47
Chapter 第二章 --- 中共建國後的毛澤東繪畫圖像(1949-1966)
Chapter I. --- 中華人民共和國成立初年的毛澤東繒畫圖像發展 --- p.53
Chapter 1. --- 中華人民共和國的成立194 9 --- p.53
Chapter a. --- 延安藝術傳統的毛澤東漫畫圖像 --- p.54
Chapter b. --- 王朝聞的繪畫領袖像指示 --- p.56
Chapter 2. --- 土地改革 1950-1952 --- p.59
Chapter a. --- 新年畫創作運動 --- p.59
Chapter 3. --- 建國初年的整黨整風1950-52 --- p.66
Chapter a. --- 革命歷史畫創作計劃 --- p.67
Chapter II. --- 中蘇親密外交下的毛澤東繪畫圖像發展 --- p.70
Chapter 1. --- 全盤蘇化1950-55 --- p.70
Chapter a. --- 蘇聯宣傳畫的影響 --- p.70
Chapter b. --- 蘇聯油畫的影響 --- p.72
Chapter c. --- 蘇聯領袖像選材的影響 --- p.74
Chapter III. --- 中共社會經濟改革下的毛澤東繪畫圖像發展 --- p.76
Chapter 1. --- 第一個五年計劃1953-1957 --- p.76
Chapter a. --- 中國畫的改造 --- p.78
Chapter b. --- 油畫民族化 --- p.81
Chapter 2. --- 大躍進及人民公社運動1958-60 --- p.84
Chapter 3. --- 社會主義教育運動1962-65 --- p.88
Chapter a. --- 革命歷史繪畫運動 --- p.59
小結 --- p.91
Chapter 第三章 --- 文革時期的毛澤東繪畫圖像(1966-1976)
Chapter I. --- 文化大革命發動的原因 --- p.105
Chapter 1. --- 文化大革命序幕:海瑞罷官1965 --- p.105
Chapter 2. --- 毛澤東個人崇拜 --- p.107
Chapter II. --- 文革時期毛澤東繪畫圖像的發展 --- p.107
Chapter 1. --- 紅衛兵運動1966 --- p.107
Chapter a. --- 紅衛兵藝術 --- p.108
Chapter b. --- 《毛澤東思想照亮安源工人革命運動展覽》 --- p.113
Chapter c. --- 「紅、光、亮」的藝術手法 --- p.115
Chapter 2. --- 工農兵領導下的文化大革命1969 --- p.117
Chapter a. --- 工農兵繪畫運動 --- p.118
Chapter 3. --- 毛澤東的親密戰友一林彪的叛變1971 --- p.124
Chapter 4. --- 毛澤東的接班人一華國鋒1976 --- p.125
小結 --- p.126
Chapter 第四章 --- 文革後及改革開放時期的毛澤東繪畫圖像(1976-1997)
Chapter I. --- 文革後的毛澤東繪畫圖像發展 --- p.132
Chapter 1. --- 後文革時期的藝術1976-1978 --- p.132
Chapter a. --- 《熱烈慶祝華國鋒同志任中央主席、中央軍委主席 、熱烈慶祝粉碎四人幫篡黨奪權陰謀的偉大勝 利全國美術作品展覽》 --- p.133
Chapter b. --- 《慶祝中國人民解放軍建軍50周年美術作品展覽》 --- p.134
Chapter c. --- 毛主席紀念堂的落成 --- p.136
Chapter d. --- 《毛主席永遠活在我們心中´ؤ毛主席逝世一周 年美術作品展覽》 --- p.137
Chapter 2. --- 傷痕藝術1978-1979 --- p.139
Chapter 3. --- 星星美展1979-1980 --- p.140
Chapter II. --- 改革開放時期的毛澤東繪畫圖像發展 --- p.141
Chapter 1. --- 美術新思潮下的毛澤東圖像 --- p.141
Chapter a. --- 後八九的中國新藝術一政治波普中的毛澤東圖像 --- p.143
Chapter b. --- 毛澤東藝術圖像的拍賣熱潮 --- p.151
Chapter 2. --- 宮方持續創作的毛澤東繪畫圖像 --- p.152
小結 --- p.156
結語 --- p.161
附錄一 :1.中國藝術史中毛澤東書法圖像的社會文化意義 --- p.1-1
2.美術展覽中的毛澤東繪畫圖像畫目 --- p.1-6
附錄二:參考書目 --- p.2-1
附錄三:現代中國藝術史中毛澤東繪畫圖像畫目 --- p.3-1
附錄四:圖版 --- p.4-1
Dupuis, Patrik. "L'influence caravagesque dans l'art de Jacques-Louis David." Thèse, 2013. http://hdl.handle.net/1866/10297.
Full textThis Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.