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Journal articles on the topic 'Chinese art in France'
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1
Clunas, Craig. "Chinese Art and Chinese Artists in France (1924-1925)." Arts asiatiques 44, no. 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, no. 2 (May 10, 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, no. 3(54) (September 30, 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, and 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, no. 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, no. XXIV (June 30, 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, no. 2 (November 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, no. 3 (September 2, 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, no. 4 (July 13, 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, no. 2 (May 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, and Linus Recht. "Alexis de Tocqueville and Three Revolutions: France (1789–), Japan (1867–), China (1911–)." International Journal of Asian Studies 17, no. 2 (July 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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Nguyen Thi Mai, Chanh. "The journey to “go global” of the contemporary Chinese woman writer Can Xue." Journal of Science Social Science 66, no. 3 (August 2021): 3–11. http://dx.doi.org/10.18173/2354-1067.2021-0041.
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Can Xue is a contemporary Chinese writer of international stature, while in Vietnam, it is assumed that no more than three translations of her works are noticed. This woman writer possesses the most literary works appearing in foreign high school and university textbooks compared with other contemporary Chinese writers. To date, no less than thirty volumes of hers have been translated into more than ten languages and published in a number of countries including the UK, France, Germany, Italy, Sweden, Japan, etc. A myriad of professional researchers, critics and scholars, Sinologists in the West and Japan have written papers on the author's creations. This writing places a priority on introducing the situation of translation and publication of Can Xue's works in two major countries, Japan and the United States, over the past two decades.
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Barthel, Alexandre. "“Bad Luck for the Chinese”: France and the Transit of War Materiel to China During the Sino-Japanese War (1937–1939)." MANUSYA: Journal of Humanities 25, no. 1 (June 9, 2022): 23–40. http://dx.doi.org/10.1163/26659077-25010002.
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Abstract The attitude of France towards the Sino-Japanese War that started in 1937 has given rise to various judgments. Officially neutral, France is often presented as having taken, at least morally, a favorable attitude toward China. Yet the French government had officially prohibited the transit of war materiel en route to China across the Indochinese border. This issue became increasingly important as the Japanese blockade of China progressed and conditioned the capacity of Chiang Kai-shek’s government to continue the fight. The diplomatic archives of the United States, greatly concerned by the situation in China, shed more light on France’s policy in East Asia. By comparing historical accounts produced by contemporaries and historians with the diplomatic archives of the United States, this article intends to bring more evidence relating to the issue of French “neutrality” during the Sino-Japanese War.
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Kirby, William C. "The Chinese Century? The Challenges of Higher Education." Daedalus 143, no. 2 (April 2014): 145–56. http://dx.doi.org/10.1162/daed_a_00279.
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One can find in any airport kiosk books that proclaim ours to be “the Chinese century.” We have titles such as “The Dragon Awakes,” “China's Rise,” “The Rise of China,” and “China's Ascent,” to name but a few. But to rise is not necessarily to lead. What constitutes leadership? In higher education, China is building the fastest growing system–in quality as well as in quantity–in the world. The foremost global powers of the past four centuries all offered models in the realms of culture, ideas, and education. This may be said of seventeenth-century France under Louis XIV; of the Qing during the Qianlong reign of the eighteenth century; of Britain and Germany in the nineteenth century; and of the United States in the twentieth. China now aspires to educate global elites. For the twenty-first century, then, are Chinese universities poised for global leadership?
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Spolsky, Bernard. "EDITOR'S INTRODUCTION." Annual Review of Applied Linguistics 29 (March 2009): vii—xii. http://dx.doi.org/10.1017/s0267190509090011.
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From the beginning, public tests and examinations were instruments of policy. The Imperial Chinese examination was created to permit the emperor to replace the patronage system by which powerful lords were choosing their own candidates to be mandarins. The Jesuit schools in 17th-century France introduced a weekly testing system to allow central control of classroom teaching. In 19th-century England, Thomas Macaulay argued for employing the Chinese principle in selecting cadets for the Indian Civil Service; a similar system was later used for the British Civil Service. A primary school examination system was set up in England at the end of the 19th century to serve the same purpose of achieving quality control and accountability in public schools as was proposed for the No Child Left Behind Act (NCLB) that is being bitterly disputed in 21st-century United States. Chauncey's primary goal after World War II in developing the Scholastic Achievement Test for admission to elite U.S. universities was to replace the children of the wealthy establishment with highly qualified students who would see their role as contributing to public service.
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OHASHI, H., and R. R. MILL. "HYLODESMUM, A NEW NAME FOR PODOCARPIUM (LEGUMINOSAE)." Edinburgh Journal of Botany 57, no. 2 (July 2000): 171–88. http://dx.doi.org/10.1017/s0960428600000123.
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Hylodesmum H. Ohashi & R.R. Mill (Leguminosae or Fabaceae, tribe Desmodieae), based on Desmodium sect. Podocarpium Benth. (=D. subgen. Podocarpium (Benth.) H. Ohashi), is a replacement name proposed here for Podocarpium (Benth.) Y.C. Yang & P.H. Huang published in 1979 for Chinese species belonging to the genus. The name it replaces, Podocarpium (Benth.) Y.C. Yang & P.H. Huang, is a later homonym of two earlier names, Podocarpium A. Braun ex Stizenb. (fossil Leguminosae or Fabaceae) and Podocarpium Unger (fossil Podocarpaceae) and it is also inadmissible under Art. 20.2. New combinations in Hylodesmum are proposed for 14 species and nine infraspecific taxa. A description of the genus is given as well as brief notes on the distribution of each taxon. Shuteria longipes Franch. and Desmodium duclouxii Pamp. are newly regarded as conspecific; the correct name for these in Hylodesmum is H. longipes. Notes on typification are given for several names.
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Park, Ji-young. "A Comparative Study on the Appreciation and Adoption of Dijian tushuo in China, Korea, Japan, and France." Korean Journal of Art History 311 (September 30, 2021): 5–43. http://dx.doi.org/10.31065/kjah.311.202109.001.
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Dijian tushuo (帝鑑圖說; The Emperor's Mirror, Illustrated and Discussed) is a book compiled by Zhang Juzheng (張居正, 1525-1582), a great scholar during the late period of the Ming Dynasty of China. The book was made for the education of Wanli Emperor (萬歷帝, r.1572-1620), who rose to the throne at an early age. It contains 117 stories about the virtuous and evil deeds of previous emperors, complete with illustrations and relevant articles. After its presentation to the emperor in 1572, several editions of the book were produced by the end of the nineteenth century, and copies were distributed to neighboring countries like Korea and Japan and even to France via Jesuit missionaries. There are copies of more than twelve extant woodblock-printed and lithographic editions in East Asia, as well as copies reprinted with copper plates in France. Also, copies of the book with color illustrations remain in China and France. In Korea, colored illustrations of Dijian tushuo are kept under different titles such as Gunwang jwaumyeong (君王左右銘; The King's Motto) and Dohae yeokdae gungam (圖解歷代君鑑; The Mirror of Rulers throughout the Ages, An Illustrated Explanation) at the Gyeonggi Provincial Museum and the Jangseogak, the archive of the Academy of Korean Studies, respectively.<br/>In China, Dijian tushuo formed part of the education of the crown princes during the Ming and Qing Dynasties. More than eight different editions were made by the flourishing commercial publication industry during the two dynasties. In Joseon royal court, the book was recognized as one of the didactic books for the discipline of kingship. As for Japan, the shoguns of the Edo Bakufu used the book to advertise themselves as ideal rulers or to make Chinese royal palace genre paintings as an exotic hobby. Isidore Stanislas Henri Helman (1743~1809), a French engraver, made reprinted copies of the book amid Chinoiseries popularized in eighteenth-century France. The French edition reflects not only the public criticism of King Louis XVI and Marie Antoinette but also Helman’s implicit intention to receive financial support from Marie Louise Josephin de Savoie and the Count of Provence (later Louis XVIII), first in line to the throne at the time.<br/>Dijian tushuo was adopted in various countries in East Asia and Europe between the end of the sixteenth century and the early twentieth century, although the way it was used differed from country to country depending on their respective political, social, and cultural situations. However, all these countries had one thing in common– they had future rulers read the book. Perhaps, the fact that it was written for the education of the crown princes of China served as the stimulus for leaders and intellectuals alike. Studies on the ways in which books like Dijian tushuo were distributed as an aggregation of knowledge, information, and culture are thought to be significant and useful in identifying certain characteristics shared by diverse countries and in shedding light on differences in their political and social backgrounds and their art history.
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Kua, Paul. "Two Nineteenth-Century Copies of Joseph Prémare’s Notitia linguæ sinicæ." Library 23, no. 1 (March 1, 2022): 68–95. http://dx.doi.org/10.1093/library/22.3.68.
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Abstract French Jesuit Joseph Prémare, a missionary to Qing Dynasty China, had completed by the end of 1728 the draft of a book entitled Notitia linguæ sinicæ, intended to assist aspiring Catholic missionaries from Europe in learning the Chinese language. One of the original manuscripts sent from Canton to Paris, now held in the Bibliothæque nationale de France in Paris, was rediscovered in the 1810s by the French sinologist Jean-Pierre Abel-Rémusat, and became the source for some manuscript copies, made mostly before the work’s eventual publication in 1831. This paper examines two of these manuscript copies dated between 1825 and 1830, held respectively in the Archive of the School of Oriental and African Studies in London and the the Bayerische Staatsbibliothek in Munich, both important in their own ways, and both somewhat misunderstood and largely neglected by recent studies.
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CLEMENTS, REBEKAH. "BRUSH TALK AS THE ‘LINGUA FRANCA’ OF DIPLOMACY IN JAPANESE–KOREAN ENCOUNTERS, c. 1600–1868." Historical Journal 62, no. 2 (October 30, 2018): 289–309. http://dx.doi.org/10.1017/s0018246x18000249.
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AbstractThe study of early modern diplomatic history has in recent decades expanded beyond a bureaucratic, state-centric focus to consider the processes and personal interactions by which international relations were maintained. Scholars have begun to consider, among other factors, the role of diplomatic gifts, diplomatic hospitality, and diplomatic culture. This article contributes to this discussion from an East Asian perspective by considering the role of ‘brush talk’ – written exchanges of classical, literary Chinese – during diplomatic missions from the Korean Chosŏn court to the Tokugawa Shogunate in Japan during the seventeenth through nineteenth centuries. Drawing upon official records, personal diaries, and illustrations, I argue that brush talk was not an official part of diplomatic ceremony and that brushed encounters with Korean officials even extended to people of the townsman classes. Brush talk was as much about ritual display, calligraphic art, and drawing upon a shared storehouse of civilized learning as it was about communicating factual content through language. These visual, performative aspects of brush talk in East Asian diplomacy take it beyond the realm of how alingua francais usually conceived, adding to the growing body of scholarship on how this concept applies to non-Western histories.
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Suraeva, Natalia G. "THE IMAGE OF CHINA IN THE CORRESPONDENCE OF CATHERINE II." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 62–78. http://dx.doi.org/10.36340/2071-6818-2021-17-4-62-78.
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In 1762, Catherine II (1729-1796), Catherine le Grand, as Voltaire called her, an extraordinary woman who was destined to undergo many reforms and establish Russia’s place in the world, ascended to the Russian throne. Her reign coincided with the reign of Emperor Qianlong (1711-1799), one of the most enlightened monarchs in Chinese history; during his time, the empire achieved many military victories and brilliant achievements in the arts. By the time of Catherine’s accession to the throne, relations between the two countries were very strained. Meanwhile, the age of Enlightenment, the century of the ardour for the philosophy and art of China, began in Europe. On the one hand, Catherine was influenced by the ideas of the West; on the other hand, she constantly had to regulate conflicts on the Russian-Chinese border, the reason for which was most often the question of extraditing Mongols and Dzungars to the Chinese who were fleeing within Russia. The purpose of this article is to determine what image of China the Russian empress formed and how she spoke about this country in her correspondence with European correspondents since it is known that Catherine II wrote a lot. To do this, first, it is necessary to characterise the personality of the empress, to understand her interests and habits. To understand what issues she had to resolve, one also needs to know the state of Russian-Chinese relations in the second half of the 18th century. Finally, the article gives a general description of Catherine II’s correspondence with various high-ranking persons, among whom Jean d’Alembert, Diderot, Voltaire, Friedrich Melchior Grimm (Franco-German publicist, artist and literary critic), Swiss scientist and philosopher Johann Georg Ritter von Zimmermann, Madame Geoffrin and Madame Bielke can be named. The letters she received very often contained diplomatic news, dynastic problems, court gossip; her answers were, for the most part, semi-official journal notes. It is noteworthy that despite the extensive correspondence conducted by Catherine the Great, she practically did not touch upon the issues of China, except for letters to Voltaire, who, as you know, admired China and tried to learn more about it from the words of the empress.
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Sehgal, M. L. "From Non-Alignment to Multi-Alignment: India Hopes to Contain China." Advances in Social Sciences Research Journal 7, no. 9 (October 4, 2020): 619–53. http://dx.doi.org/10.14738/assrj.79.9103.
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In 1954, India did a ‘Himalayan Blunder’ of having fallen into China’s trap of accepting Tibet to be a part of China. In ‘1962 Indo- China War’, China’s biggest argument of its having claim over Ladakh was that since Ladakh was a part of Tibet and thus belongs to China. But the historical perspective, altogether, contradicts it. Having annexed Tibet and forcefully occupying Aksai Chin, there was no looking back for China; be it in 1965, 1967, 1987, 2013, 2017; and now in 2020. Every time, the Chinese rulers would invent one lie or the other. Xi Jinping, the present Chinese President, imbibes the qualities of both- Mao Tse Tung, Chinese ideologue, a protagonist of the ‘Expansionist Ideology’ and the philosopher- Sun Yat-sen who wrote “The Art of War” and believed that“The greatest victory is that which requires no battle”. Xi Jinping is an expert in both. He did ‘land grabbing’ not just of India and Tibet rather China has 17 territorial disputes with its neighbours, on land and sea. He has also applied ‘Debt- Diplomacy’; mostly on the nascent, economically weak, fragile democracies to subjugate them without firing a bullet. What to talk of entrapping India’s immediate friendly neighbours under his ‘Debt-net’ by using it as a political ideology called “String of Pearls” (weaning away friendly Indian neighbours with the money power), China has loaned over $ 1.5 trillion(5% of its GDP) to more than 150 countries that make it a bigger lender than even W.B. and IMF that compares it well with the USA. China's stance along LAC fits well with a larger pattern of the ‘Expansionist Ideology of Mao. Modi, unlike Nehru, chose to follow Multi-Alignment and befriended countries both the Indian Ocean Region (IOR) and the South China Sea lying in the periphery of China by garlanding China with a ‘Necklace of Diamonds’ which gave India the strategic access and fast-developing routes to Central Asians, East Asian and South-East Asian countries. Moreover, the USA, India, Australia and Japan formed ‘The Quadrilateral Security Dialogue QUAD’ in case of any emergency. India’s ‘Look East Policy; has paid it the dividends with the USA openly playing the role of a deterrent to China in South China; Australia gave a military base in Cocos Islands, France supplied Rafales and good-humoured Russia, unlike the Russia of 1962, is supplying India with the much needed Military pieces of Equipment while refusing the S-400 to China. The suspected role of China in the pandemic COVID-19 has made it ‘a persona non- grata’ in the eyes of many countries. The anti-democracy Security Law in Hong Kong and the USA’s open support to the ‘Independent Tibet’ and recognizing ‘Taiwan as a Sovereign State’ has threatened ‘One China Principle’ which has resulted in the taming China by India.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-2-6-9.
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Dear readers, We are pleased to present to you Issue 2, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "NON-Realism of Alexander Burganov" by I.Sedova. The author believes that modern Russian sculpture, at its best, has long since moved away from direct depiction and has learned to speak about painful issues exclusively in the language of plastic arts. In this regard, the author naturally raises the question - what is the "realism in sculpture" concept today? In the process of analysing the plastic techniques of A.Burganov, the author managed to identify several patterns, including the principle of "opposition": realistic images, being in opposition to each other, begin to form the world of symbolism and surrealism. Summing up her research, the author introduces a new term, "symbolic realism", into scientific circulation. Fang Zhiyu studies the specificity of modern Chinese sculpture in the article "Traditions and Innovations in Modern Chinese Sculpture". The author believes that two directions are clearly visible in the creative work of modern Chinese sculptors. The first direction basically follows the creative method of sculptors who studied in France before the formation of the People's Republic of China; the second direction is based on traditional Chinese culture. In the formation of the modern plastic language of Chinese sculpture, both directions mutually enrich each other. In the article “On Two Viewpoints on the Dramaturgical Conflict Structure: from Hegel’s Aesthetics to the Identity of the Formalists”, V.Kolotaev analyses the nature of the dramaturgical conflict in Russian humanitarian knowledge, which occurred under the influence of aesthetic ideas about beauty, harmony, the sublime, the ideal, formulated by Hegel in Lectures on Aesthetics. The author believes that in line with classical ideas, the conflict was understood as a necessary condition for maintaining the compositional unity of the work and the development of the action. It led to the final equilibrium state of all its elements after the separation of the participants in the collision to the maximum distance. In addition to the aesthetic understanding of the conflict as the basis of the harmonic organisation of the text, the author analysed the idea of conflict as the primary condition for the development of all systems. Ding Liang continues the topic of dialogue in the space of culture between national tradition and world trends in the development of art. In the article “Analysis of Creative Education in Ceramics and Student Creativity in Colleges and Universities in China”, the author rightly argues that Chinese education and global arts education are closely related to each other in the face of the globalisation of culture and economy. A number of texts are devoted to the issues of musical culture. In the article "On the First Graduation of Vocalists of the Saratov Alekseyev Conservatory", A.Rudyakova recreates a picture of the early period of the Saratov Alekseyev Conservatory, founded in 1912, based on rare unpublished sources. In the article "Alexander Ryndin's 104 Psalm: the Problem of the Expression of Author's Will Within the Canon", I.Mertseva studies the problem of secularisation, which the traditional genres of Orthodox worship are exposed to, in connection with the renewal of the means of musical expressiveness of choral music. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The author uses an interdisciplinary approach typical of liturgical musicology, combining musicological analysis and interpretation of the liturgical text in the traditions of Russian liturgy. Also, the article provides an overview of the methods by which it is possible to study original works on canonical liturgical texts. In the article "Heraldic Motifs in Family Stained-glass Windows of the 16th Century of the von Disbach Family", D.Platonov considers the study and attribution of heraldic stained-glass windows of the Swiss Union of the 16th century, when the art of stained glass was in its heyday. The author notes that by this time, the formation of a new social class, the burghers, was completed and the rich families were able to have their own family coat of arms thanks to the special historical conditions of the Old Confederation development. Based on sources in the form of surviving armorials and official documents of the period under study, the author investigates the rules for the creation of heraldry, the artistic image, and the specifics of stained glass technology. In the article “Zaha Hadid in the United Arab Emirates. An Architect Ahead of Time”, J.Smolenkova considers the architect’s buildings from the point of view of innovative technologies, features of the artistic image and plastic design. Along with articles, this issue of the journal presents K.Lopatkina’s scientific review of the book “The Moscow Union of Artists. A Perspective from the 21st Century. Book Two” by B.Ioganson (Moscow: Booksmart, 2021). The reviewer believes that one of the essential tasks that the author of this monumental work solves is the need to demonstrate and prove that the Moscow Union of Artists was very different primarily because it included various artists. For the researcher, “the presence of a unique experience accumulated in the course of the life of this multifaceted and well-coordinated organism that regulates the artistic life of Moscow and spreads its influence far beyond the capital” comes to the fore. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Li, Zhen, Ad Stoffelen, and Anton Verhoef. "A generalized simulation capability for rotating- beam scatterometers." Atmospheric Measurement Techniques 12, no. 7 (July 4, 2019): 3573–94. http://dx.doi.org/10.5194/amt-12-3573-2019.
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Abstract. Rotating-beam wind scatterometers exist in two types: rotating fan-beam and rotating pencil-beam. In our study, a generic simulation frame is established and verified to assess the wind retrieval skill of the three different scatterometers: SCAT on CFOSAT (China France Oceanography SATellite), WindRad (Chinese Wind Radar) on FY-3E, and SeaWinds on QuikSCAT. Besides the comparison of the so-called first rank solution retrieval skill of the input wind field, other figures of merit (FoMs) are applied to statistically characterize the associated wind retrieval performance from three aspects: wind vector root mean square error, ambiguity susceptibility, and wind biases. The evaluation shows that, overall, the wind retrieval quality of the three instruments can be ranked from high to low as WindRad, SCAT, and SeaWinds, where the wind retrieval quality strongly depends on the wind vector cell (WVC) location across the swath. Usually, the higher the number of views, the better the wind retrieval, but the effect of increasing the number of views reaches saturation, considering the fact that the wind retrieval quality at the nadir and sweet swath parts stays relatively similar for SCAT and WindRad. On the other hand, the wind retrieval performance in the outer swath of WindRad is improved substantially as compared to SCAT due to the increased number of views. The results may be generally explained by the different incidence angle ranges of SCAT and WindRad, mainly affecting azimuth diversity around nadir and number of views in the outer swath. This simulation frame can be used for optimizing the Bayesian wind retrieval algorithm, in particular to avoid biases around nadir but also to investigate resolution and accuracy through incorporating and analyzing the spatial response functions of the simulated Level-1B data for each WVC.
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Carswell, John. "Born of earth and fire: Chinese ceramics from the Scheinman Collecton. Edited by Jason C. Kuo, essay by Melissa Walt Thompson, catalogue entries by Frances Klapthor. (Studies in Chinese Art and Archaeology, 1.) pp. 116, 92 col. illus. College Park, The Department of Art History and Archaeology, University of Maryland, in association with the Baltimore Museum of Art. Distributed by University of Washington Press, Seattle and London, 1992. US $30.00." Journal of the Royal Asiatic Society 6, no. 1 (April 1996): 145–46. http://dx.doi.org/10.1017/s1356186300015236.
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Yui, Wei. "Chinese Women’s Art." Культура и искусство, no. 5 (May 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.
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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.
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Jiehong, Jiang. "Chinese art outside the art space." Journal of Contemporary Chinese Art 5, no. 2 (September 1, 2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.
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Rubinskiy, Yuriy. "Chinese diaspora in France." Contemporary Europe 59, no. 3 (July 20, 2014): 127–32. http://dx.doi.org/10.15211/soveurope32014127132.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 159, no. 1 (2003): 189–244. http://dx.doi.org/10.1163/22134379-90003756.
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-Timothy Barnard, J.M. Gullick, A history of Selangor (1766-1939). Kuala Lumpur: Malaysian branch of the Royal Asiatic Society, 1989, vi + 220 pp. [MBRAS Monograph 28.] -Okke Braadbaart, Michael L. Ross, Timber booms and institutional breakdown in Southeast Asia. Cambridge: Cambridge University Press, 2001, xvi + 237 pp. -H.J.M. Claessen, Patrick Vinton Kirch ,Hawaiki, ancestral Polynesia; An essay in historical anthropology. Cambridge: Cambridge University Press, 2001, xvii + 375 pp., Roger C. Green (eds) -Harold Crouch, R.E. Elson, Suharto; A political biography. Cambridge: Cambridge University Press, 2001, xix + 389 pp. -Kees van Dijk, H.W. Arndt ,Southeast Asia's economic crisis; Origins, lessons, and the way forward. Singapore: Institute of Southeast Asian studies, 1999, ix + 182 pp., Hal Hill (eds) -Kees van Dijk, Sebastiaan Pompe, De Indonesische algemene verkiezingen 1999. Leiden: KITLV Uitgeverij, 1999, 290 pp. -David van Duuren, Albert G. van Zonneveld, Traditional weapons of the Indonesian archipelago. Leiden: Zwartenkot art books, 2001, 160 pp. -Peter van Eeuwijk, Christian Ph. Josef Lehner, Die Heiler von Samoa. O Le Fofo; Monographie über die Heiler und die Naturheilmethoden in West-Samoa. Frankfurt am Main: Lang, 1999, 234 pp. [Mensch und Gesellschaft 4.] -Hans Hägerdal, Frans Hüsken ,Reading Asia; New research of Asian studies. Richmond: Curzon, 2001, xvi + 338 pp., Dick van der Meij (eds) -Terence E. Hays, Jelle Miedema ,Perspectives on the Bird's head of Irian Jaya, Indonesia; Proceedings of the conference, Leiden, 13-17 October 1997. Amsterdam: Rodopi, 1998, xiii + 982 pp. (editors with the assistance of Connie Baak), Cecilia Odé, Rien A.C. Dam (eds) -Menno Hekker, Peter Metcalf, They lie, we lie; Getting on with anthropology. London: Routledge, 2002, ix + 155 pp. -David Henley, Foong Kin, Social and behavioural aspects of malaria control; A study among the Murut of Sabah. Phillips, Maine: Borneo research council , 2000, xx + 241 pp. [BRC Occasional paper 1.] -Gerrit Knaap, Frédéric Mantienne, Les relations politiques et commerciales entre la France et la péninsule Indochinoise (XVIIe siècle). Paris: Les Indes Savantes, 2001, 395 pp. -Uli Kozok, James T. Collins, Malay, world language; A short history. Second edition. Kuala Lumpur: Dewan bahasa dan pustaka, 2000, xii + 101 pp. -Nathan Porath, Hoe Ban Seng, Semalai communities at Tasek Bera; A study of the structure of an Orang Asli society. [A.S. Baer and R. Gianno, eds.] Subang Jaya, Malaysia: Centre for Orang Asli concerns, 2001, xii + 191 pp. -Nathan Porath, Narifumi Maeda Tachimoto, The Orang Hulu; A report on Malaysian orang asli in the 1960's. [A.S. Baer, ed.] Subang Jaya, Malaysia: Centre for Orang Asli concerns, 2001, xiv + 104 pp. -Martin Ramstedt, Raechelle Rubinstein ,Staying local in the global village; Bali in the twentieth century. Honolulu: University of Hawai'i Press, 1999, xiii + 353 pp., Linda H. Connor (eds) -Albert M. Salamanca, Thomas R. Leinbach ,Southeast Asia: diversity and development. Upper Saddle River, NJ: Prentice Hall, 2000, xiii + 594 pp., Richard Ulack (eds) -Heather Sutherland, Muhamad Hisyam, Caught between three fires; The Javanese pangulu under the Dutch colonial administration, 1882-1942. Jakarta: Indonesian-Netherlands cooperation in Islamic studies (INIS), 2001, 331 pp. [Seri INIS 37.] -Heather Sutherland, Roderich Ptak, China's seaborne trade with South and Southeast Asia (1200-1750). Aldershot: Ashgate, 1999, xii + 366 pp. [Variorum collected studies series CS638.] -Sikko Visscher, M. Jocelyn Armstrong ,Chinese populations in contemporary Southeast Asian societies. Richmond, Surrey: Curzon, 2001, xiv + 268 pp., R. Warwick Armstrong, Kent Mulliner (eds) -Reed Wadley, Clifford Sather, Seeds of play, words of power; An ethnographic study of Iban shamanic chants. Kuching: Tun Jugah foundation, 2001, xvii + 753 pp. [Borneo classic series 5.] -Boris Wastiau, Raymond Corbey, Tribal art traffic; A chronicle of taste, trade and desire in colonial and post-colonial times. Amsterdam: Royal Tropical Institute, 2000, 255 pp. -Willem G. Wolters, Wong Kwok-Chu, The Chinese in the Philippine economy, 1898-1941. Quezon city: Ateneo de Manila University Press, 1999, xvi + 279 pp. -Volker Grabowsky, Stephen Mansfield, Lao hill tribes; Traditions and patterns of existence. New York: Oxford University Press, 2000, vii + 91 pp. -Volker Grabowsky, Jean Michaud, Turbulent times and enduring people; Mountain minorities in the South-East Asian Massif. Richmond, Surrey: Curzon, 2000, xiii + 255 pp. -Volker Grabowsky, Jane Richard Hanks ,Tribes of the northern Thailand frontier. (with a foreword by Nicola Tannenbaum), New Haven, CT: Yale University Southeast Asia studies, 2001, xlviii + 319 pp. [Monograph 51.], Lucien Mason Hanks (eds)
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Bazilevich, Mikhail E., and Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.
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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration
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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
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Corbett, David Peters, and Christopher Green. "Art in France 1900-1940." Art Bulletin 84, no. 4 (December 2002): 691. http://dx.doi.org/10.2307/3177294.
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Cahill, James, and Jerome Silbergeld. "Chinese Art and Authenticity." Bulletin of the American Academy of Arts and Sciences 55, no. 1 (2001): 17. http://dx.doi.org/10.2307/3824253.
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Pengfei, Wei. "CHINESE TRADITIONAL ART — QUYI." Arts education and science 1, no. 1 (2020): 134–36. http://dx.doi.org/10.36871/hon.202001017.
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The purpose of this article is to provide a comprehensive cultural and art history analysis of such a form of performing arts as Quyi, which has deep historical roots in China. Quyi art is endowed not only with a unique aesthetic function, but also has cultural significance and plays an important role in the history of China. Based on the study of historical sources, the article analyzes the traditions of vocal performance of Quyi, taking into account the cultural characteristics of certain regions of China and dialect differences, vocal variations, types of performing techniques, styles, schools, etc. Key objects of the review are the individual vocal schools and the typology of Quyi. In connection with changes in cultural trends and anatomical justifications of sound production, the author proposes an updated classification of schools and styles of traditional Chinese art, which represents an innovative approach to the theory of studying the debated form of vocal performance art. Currently, in the background of the rapidly developing society, the accumulation of knowledge, the improvement of the cultural level of the population as a whole and the development of vocal traditions don't look optimistic. Most young people in China are not familiar with this form of traditional art and identify Quyi with singing, dancing, and other forms of musical creativity. In connection with the above, the study and the systematization of information about Quyi are relevant for modern musicology.
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Caswell, James O., and Cheng Te-k'un. "Studies in Chinese Art." Pacific Affairs 58, no. 3 (1985): 520. http://dx.doi.org/10.2307/2759262.
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Li, Pi. "Chinese Contemporary Video Art." Third Text 23, no. 3 (May 2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.
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Li (李志鹏), Zhipeng. "Chinese Ethnic Media in France." Journal of Chinese Overseas 16, no. 2 (November 11, 2020): 242–66. http://dx.doi.org/10.1163/17932548-12341425.
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Abstract This article seeks to analyze recent developments in overseas media in the Chinese language in France. To do so it underlines the links between these media, created for and by Chinese migrants, and the trajectory of an entrepreneurial diaspora within the host country. The vast bulk of data is drawn from a qualitative study of several media organizations of the Chinese diaspora in France. In particular, a comparative study of two media, Ouzhou shibao and Huarenjie, has enabled an examination of a twofold interrelated phenomenon. On the one hand, the changes in commercial strategy to respond to the evolution of the Chinese diaspora in France, and, on the other, the relations between the Paris-based Chinese ethnic media and the authorities of the country of origin. It is argued that these media contribute to building social and political capital for the Chinese diasporic entrepreneurs in France.
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Picot, Nicole. "L’edition d’art en France." Art Libraries Journal 17, no. 3 (1992): 45–46. http://dx.doi.org/10.1017/s0307472200007975.
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Public interest in art is encouraging the publishing of art books and exhibition catalogues, although many of these publications focus on the same subjects. Some 1,200 art books are published in France each year, selling on average some 6,500 copies. Two large publishers dominate French art publishing, but many others are also involved in producing quality art books including titles which help to fill the gaps left by the big general publishers. Because production costs are all but prohibitive, and because the size of the home market is limited, some of these publishers have published books with texts in more than one language, or as co-editions with publishers in other countries.
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PAN, LUOMING. "Western graffiti art VS Chinese "contemporary calligraphy" art." Convergence of Humanities, Social Science an Art’s Academy 4, no. 3 (December 31, 2020): 69–86. http://dx.doi.org/10.37846/soch.4.3.69.
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Bloomgarden, Joan. "Inside Art: Cave Images in France." Art Therapy 15, no. 3 (July 1998): 203–6. http://dx.doi.org/10.1080/07421656.1989.10759323.
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Luckhurst, N. "Bloomsbury and France: Art and Friends." Comparative Literature 54, no. 1 (January 1, 2002): 91–93. http://dx.doi.org/10.1215/-54-1-91.
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Ray, Gordon Norton, and G. Thomas (George Thomas) Tanselle. "The Art Deco Book in France." Studies in Bibliography 55, no. 1 (2002): 1–131. http://dx.doi.org/10.1353/sib.2005.0009.
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Ray, Gordon Norton. "The Art Deco Book in France." Studies in Bibliography 55, no. 1 (2002): 19–131. http://dx.doi.org/10.1353/sib.2005.0010.
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Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.
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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.
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Bian, Zilong. "Chinese Traditional Art of Lacquerware." Университетский научный журнал, no. 65 (2022): 93–100. http://dx.doi.org/10.25807/22225064_2021_65_93.
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Hu, Mingyuan. "Language and Chinese Art History." Australian and New Zealand Journal of Art 21, no. 1 (January 2, 2021): 41–57. http://dx.doi.org/10.1080/14434318.2021.1934774.
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Addiss, Stephen, and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Journal of Aesthetic Education 26, no. 1 (1992): 115. http://dx.doi.org/10.2307/3332737.
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Ryor, Kathleen M. "Children in Chinese Art (review)." China Review International 9, no. 2 (2002): 572–76. http://dx.doi.org/10.1353/cri.2003.0115.
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Caswell, James O., and Kiyohiko Munakata. "Sacred Mountains in Chinese Art." Pacific Affairs 65, no. 3 (1992): 405. http://dx.doi.org/10.2307/2760084.
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Fong, Wen C. "The Modern Chinese Art Debate." Artibus Asiae 53, no. 1/2 (1993): 290. http://dx.doi.org/10.2307/3250520.
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Marshall, Michael. "Chinese art reveals ancient expertise." New Scientist 246, no. 3287 (June 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)31095-2.
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Ian Shin, K. "The Chinese Art “Arms Race”." Journal of American-East Asian Relations 23, no. 3 (October 27, 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.