Relevant bibliographies by topics / Chinese art song

Academic literature on the topic 'Chinese art song'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Chinese art song"

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Chaloupková, Lenka. "The Chinese Art Song, yishu gequ: Between Tradition and Modernity." AUC PHILOLOGICA 2021, no. 3 (February 15, 2022): 29–46. http://dx.doi.org/10.14712/24646830.2022.2.

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The Chinese art song, yishu gequ 藝術歌曲, is a typical genre of New Music (Xin yinyue 新音樂) of the May Fourth Movement. Such pieces were primarily composed by Chinese graduates of European and American universities who found inspiration in European Romantic art songs, especially nineteenth-century German lieder. The existing Western literature about this genre emphasizes the connections between the Chinese art songs of the twentieth century and European Romantic songs and does not consider any relationship with the domestic Chinese tradition. Publications by Chinese scholars also do not examine in any detail specific connections to the Chinese tradition at the ideational level. As this paper demonstrates, the Chinese art songs that emerged during the May Fourth Movement were not created solely by following a Western model. Their uniqueness is the result of combining the search for “new culture” with the significant traces of domestic roots in the social role of music and the tradition of joining words and music in a single artistic whole. The paper first explores the emergence of the art song in the context of Chinese musical modernization, and then, through citing theoretical works and analyses of select compositions by three of the most famous art song composers – Xiao Youmei 萧友梅 (1884–1940), Zhao Yuanren 趙 元任 (1892–1982), and Huang Zi 黃自 (1904–38) – it demonstrates the various approaches to creating art songs, especially in terms of how they were related to the domestic tradition. I have chosen examples that allow us to observe the gradual adoption of an originally European genre in the Chinese cultural environment and various factors that influenced how this genre changed. I also examine the changing ways in which this foreign genre interacted with the domestic Chinese environment.
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Zhang, Wen. "Exploring Chinese Vocal Art through the Lens of an Academician: A Guide to Performing Modern Chinese Art Songs." Journal of Singing 79, no. 3 (December 30, 2022): 313–30. http://dx.doi.org/10.53830/xknb2526.

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Chinese scholar and singer Wen Zhang in this article aims to introduce a standard repertoire of modern Chinese art song, analyze musical and linguistic elements of selected songs, and provide performance strategies to guide Western singers who wish appropriately to program music of that unique genre.
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Li, Shengguo, and Sungkyoo Hong. "An Exploration of the Art Characteristics of Li ShuTong’s XueTang Music: Focusing in <Song Bie>." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 1215–28. http://dx.doi.org/10.33645/cnc.2022.5.44.5.1215.

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Western music officially entered China in 1842 and spread rapidly within several decades, becoming a means for Chinese people to save the country at that time. Intellectuals accepted Western ideas and at the same time emancipated the feudal thoughts of ordinary people, Xuetang music were born. This study will investigate the channels and acceptance process of Western music flowing into China, and analyze literature such as tunes and lyrics of school music songs, so as to understand the creation concept and purpose of Xuetang music songs. This study for the Xuetang music musician Li Shutong’s song “Song bie” creation background and investigation of the source of the melody and the lyrics on the surface of the mean. so as to grasp the song contains Chinese traditional aesthetics and artistic value. Li Shutong and other musicians of Xuetang Music combined Chinese traditional aesthetics with Western music, and derived many works containing Chinese and Western artistic flavor. It was the bold experimentation of artists like Li Shutong that helped advance Chinese music and inspired future generations.
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Liu, Zhihan. "The Artistic Characteristics of Chinese Guqin Songs." Art and Society 1, no. 2 (October 2022): 36–40. http://dx.doi.org/10.56397/as.2022.10.06.

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The Guqin is the oldest plucked instrument in China. As the first of the “Four Arts” of the ancient Chinese literati, the Guqin carries a great cultural significance. As the art of the Guqin has developed, two forms of art have emerged: the Guqin Music and the Guqin Songs. It is a distinct art form that arose approximately simultaneously with the Guqin and is an aesthetic representation of poetry and music. In order to uncover the Guqin Songs’ special appeal, this article will analyse their creative qualities in terms of tonality, melody, tempo, rhythm, song structure, and lyrical substance; explain the importance of historical context in the discovery, preservation, and promotion of Guqin Songs.
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Potekhina, Alena Evgenevna, and Tatyana Ivanovna Kvashnina. "Peculiarities of the folk songwriting of China on the example of melodies of the northern province of Hebei and the southern province of Guizhou." SENTENTIA. European Journal of Humanities and Social Sciences, no. 1 (January 2022): 51–58. http://dx.doi.org/10.25136/1339-3057.2022.1.35691.

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This article examines the melodies of the northern province of Hebei and the southern province of Guizhou as an example for considering the features of Chinese folk songwriting. This work can serve as a reference material for those who study culture, in particular the musical art of China, as well as the translation of Chinese folk art materials. The author focuses on the influence of cultural and social features of the development of society on the folk art of China, and notes that it is very diverse. The first song of Hebei is called "Little cabbage" and tells the sad story of a little girl who lost her mother. The second song "Sun is shining on Baiyan" first appeared in the southern province of Guizhou and depicts the development of the relationship between a man and a woman through symbols and images. This article is first to provides commented translations of the two Chinese folk songs in Russian and English. Based on the analysis of the melodies and lyrics of "Little cabbage" and "Sun is shining on Baiyan", the author draws the following conclusions: natural and socio-cultural realities strongly influence the tunes of songs; symbolism and the use of metaphors are a specific feature of the Chinese folk songwriting; folk songs, as well as musical art overall in China, are built on a pentatonic scale; Chinese folk songs are characterized by unison singing.
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Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.

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Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.
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Boiko, Anna, and Li Ming. "Li Jinhui’s contribution to history of the development of Chinese culture and art." OOO "Zhurnal "Voprosy Istorii" 2021, no. 01 (January 1, 2021): 150–57. http://dx.doi.org/10.31166/voprosyistorii202101statyi02.

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The publication is devoted to the research of the life way and career of the outstanding composer, producer and writer Li Jinhui. It is determined that he had done a significant contribution to the development of Chinese literature, and is also the founder of the pop and vocal art of China. The composer’s work had a significant effect on the formation of Chinese opera. It is educed that Li Jinhui was the founder of children’s song, modern song (shidaiqu) and children’s song and dance performance.
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Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.

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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.
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Gutorova, E. Y., and S. N. Ponomaschuk. "SONG AND POEM AS A METHODICAL TOOL OF TEACHING THE CHINESE LANGUAGE." Juvenis Scientia, no. 11-12 (2019): 17–22. http://dx.doi.org/10.32415/jscientia.2019.11-12.05.

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The problem of using songs and poems in the process of teaching phonetics, vocabulary and grammar of the Chinese language is examined in the article. With the rise of China in the international arena more and more people believe that learning Chinese has a great development potential and prospect. The number of Chinese learners had increased, improving the teaching methods and technics in Chinese classrooms. Songs and poetry are the most accessible forms of art in people's daily life, as they are closely related to language. Chinese itself has significant musicality in terms of tones, streams and phonemes. Thereby the use of Chinese songs as a tool to enrich Chinese classroom teaching forms is already supported by theories and practices, but still requires further research. The existence of this concept is very important not only for certain language skills, but also for comprehensive assimilation with cultural and aesthetic properties. In the article there is analyze of educational literature of Chinese and Russian authors. One such study guide is the «学唱中国歌» - textbook, written by Yu Peng and Jiao Yu Mei. In article there is survey of foreign and Russian students studying at the Northeast Normal University of Changchun is conducted to identify the main problems of using song and poetic materials in a Chinese language lesson.
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Li, Wen, Wei Duan, and Qu Shi. "Song Dynasty Garden Art and its Inspiration on the Modern Urban Landscape." Applied Mechanics and Materials 744-746 (March 2015): 2206–11. http://dx.doi.org/10.4028/www.scientific.net/amm.744-746.2206.

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Chinese garden art originates from Shang and Zhou Dynasties,drives to maturity in Song Dynasty nurtured by the renovation and development of Wei, Jin, Sui, Tang, Northern and Southern Dynasties. Affected by the situation of valuing literary talent above martial arts, Song Dynasty garden art made a great progress in the aspect of thinking, architecture, plants, rockery and layout of waters, the interests and artistic of paintings and poems became the most notable characteristic of gardens built in Song dynasty. Its space principle and aesthetics taste are totally different from the western gardens, which have a lot of features worthy to be learned and used in modern garden and urban designing of China.
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Dissertations / Theses on the topic "Chinese art song"

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Zhang, Tieyi. "The first generation of Chinese art song." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.

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Choi, Yee-tuen Maria. "Song Huizong (R.1100-1125) and the Imperial Painting Academy Song Huizong yu han lin tu hua yuan /." Click to view the E-thesis via HKUTO, 1999. http://sunzi.lib.hku.hk/hkuto/record/B31951946.

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Lee, Hui-shu. "The domain of Empress Yang (1162-1233) art, gender and politics at the Southern Song court /." New Haven, Conn. : Yale University, 1994. http://catalog.hathitrust.org/api/volumes/oclc/37238041.html.

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Hammers, Roslyn Lee. "The production of good government : images of agrarian labor in Southern Song (1127-1279) and Yuan (1272/79-1368) China /." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3057957.

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Sun, Yung-Wei. "A Performance Guide to Mandarin-Chinese Diction and Selected Art Songs by Yiu-Kwong Chung." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339551292.

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Choi, Yee-tuen Maria, and 蔡懿端. "Song Huizong (R.1100-1125) and the Imperial Painting Academy." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31951946.

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Bloom, Phillip Emmanual. "Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song-Dynasty (960-1279) Buddhism." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10948.

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This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena--one pointing to rational orderliness, the other pointing to unpredictable unruliness--posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that radically broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors’ needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this nebulous motif became the locus for reflection on the mediational nature of representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.
History of Art and Architecture
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Hao, Shilun. "IDS---Intelligent Dougong System: A Knowledge-based and Graphical Simulation of Construction Processes of China’s Song-style Dougong System." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417702752.

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Suchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.

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Maudsley, Catherine Ruth. "Ritual meanings of "water and land" : a study of Buddhist cermonial paintngs [sic] of the Song and Yuan dynasties /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19882166.

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Books on the topic "Chinese art song"

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Tian, Qi. Zhongguo Song Liao Jin Xia yi shu shi. Beijing: Ren min chu ban she, 1994.

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Li, Huishu. Exquisite moments: West Lake & Southern Song art. New York: China Institute Gallery, 2001.

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Stacey, Pierson, ed. Song ceramics: Art history, archaeology and technology. London: Percival David Foundation of Chinese Art, School of Oriental and African Studies, University of London, 2004.

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Zhongguo Gongyi: He Luo song mang fu shi shu hua yin ji = Zhongguo Gongyi : Heluo song mang fu. Zhengzhou: Henan mei shu chu ban she, 2014.

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Song Shan yi shu da guan. Beijing Shi: Zhongguo gong ren chu ban she, 2008.

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Song hua zhong di Nan Song jian zhu. Hangzhou: Xi ling yin she chu ban she, 2011.

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Chang, Willow Hai. Song of life: Chinese art from the Gow Family collection. Naples, FL: Naples Museum of Art, 2000.

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Song dai ren wu. Wuhan: Hubei mei shu chu ban she, 2011.

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Zi zhen ji: Li song ju zhang wu zhi. Beijing Shi: Sheng huo, du shu, xin zhi san lian shu dian, 2003.

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Song Yuan shui mo hua niao. Jinan Shi: Shandong mei shu chu ban she, 2004.

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Book chapters on the topic "Chinese art song"

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Silbergeld, Jerome. "On the Origins of Literati Painting in the Song Dynasty." In A Companion to Chinese Art, 474–98. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch23.

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Blofeld, John. "Poems and Songs of Tea." In The Chinese Art of Tea, 111–19. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003130871-9.

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Jian, Gong. "Evolution of the “Crescent Guard” in Chinese Swords." In Martial Culture and Historical Martial Arts in Europe and Asia, 151–82. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2037-0_5.

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AbstractIron and steel arms appeared in China during the late Warring States while guards on Han dynasty jian (double-edged sword) mainly continued Warring States designs. Single-edged ring-pommel sword (huanshoudao) which appeared during the same period did not have a guard. During the Jin dynasty, a type of V-shape sword guard appeared, which continued into the Southern and Northern dynasties. In the Tang dynasty, on the one hand, arms design continued Northern Zhou and Sui trends; at the same time, it absorbed Turkic and Sassanid influences from the west, which gave rise to a unique Tang sword aesthetic. From then on, V-shape guards started to gain popularity in China. Developments of this style were to have a major influence on sword guard designs during the Song, as well as among the Mongols and Tibetans until it finally attained the familiar form of zoomorphic guard during the Ming and Qing dynasties.
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"2. Images Of Children In Song Painting And Poetry." In Children in Chinese Art, 31–56. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824861810-004.

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"CHAPTER XV SONG PORCELAIN AND OTHER CRAFTS." In A General History of Chinese Art, 375–405. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110790948-016.

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Purtle, Jennifer. "The Pictorial Form of a Zoomorphic Ecology: Dragons and Their Painters in Song and Southern Song China." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0008.

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This essay studies painted dragons, zoomorphic tools of human intervention in the water cycle without correlative in empirical science. By demonstrating the relation of pictorial form to meteorological phenomena in dragon paintings used to summon rain, by arguing that the process of painting dragons mimicked, and thus effected, atmospheric events, and by suggesting how artistic repetition and repeated spectatorship of efficacious dragon paintings produced predictable meteorological outcomes, this essay shows how iconology and ecology converged in dragon painting during the Song and Yuan dynasties. This essay reveals that artistic and meteorological correspondences of form, process, and repetition aligned representational and climatological concerns, the shared language of art-historical description and ritual prescription establishing the painter as rainmaker and the rainmaker as painter. Ultimately, this essay suggests that control over the production, reproduction, and viewing of dragon images constituted the power to produce atmospheric events on demand.
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"chapter 7. The Pictorial Form of a Zoomorphic Ecology: Dragons and Their Painters in Song and Southern Song China." In The Zoomorphic Imagination in Chinese Art and Culture, 253–88. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824872564-011.

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"Chinese Aesthetics." In Advances in Religious and Cultural Studies, 26–72. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1702-4.ch002.

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This chapter studies the development and basic ideas of Chinese aesthetics by reviewing the history of aesthetic perspective from the Han Dynasty; the Wei, Jin, and Southern and Northern Dynasties; the Tang Dynasty; the Five Dynasties; the Song and Yuan Dynasties; and the Ming and Qing Dynasties. The ancient Chinese artists pursued the artistic conception of beauty, namely, the integration of mind and objects, sentiments, and scenes, and the fusion of subjective emotions and objective landscape. Nevertheless, this conception overlooks the function of practice, the intermediary between mind and objects. Actually, there are three fundamental elements: emotion (first feeling) of aesthetic subjects; artistic conception sensed through the painting brush in practice (perception); poetry, books, songs, and paintings as artistic finished products (containing essence and sentiments). It is the combination, conformity, and harmonious co-existence of these three essentials (namely subject–practice–object) that constitute the art system aesthetics or design aesthetics.
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Sørensen, Henrik H. "The Didactic Use of Animal Images in Southern Song Buddhism: The Case of Mount Baoding in Dazu, Sichuan." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0005.

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This presentation revolves around the sculptural art of Southern Song Buddhism at Mt. Baoding in Dazu, Sichuan. Among the many sculptural groups imaged, both actual renditions of animals and divinities with animal attributes occur in great numbers. As such animals and animal themes are fully integrated into the overall sculptural program at the site. A number of these sculptural groups reveal an increased sensitivity for animals and pastoral sceneries that is new to Buddhist sculptural art of the Southern Song. Here it is expressed in a stylized form of naturalism.
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"CHAPTER III SONG AND THE ART OF SINGING IN THE XIA, SHANG, AND ZHOU DYNASTIES." In A General History of Chinese Art, 210–25. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110790924-013.

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Conference papers on the topic "Chinese art song"

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Gao, Chenchen. "The Development of Song-dynasty Guanben Zaju and Chinese Popular Literature and Art." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.24.

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Chen, Xi. "Study on the Value Identity of Chinese and Vietnamese Culture of Song Genius." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.046.

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Tang, Jing. "The Transition of Traditional Chinese Aesthetics by the Taoism and Neo-Confucianism in Tang and Northern Song Dynasties." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.027.

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Shevchenko, Marianna. "Song Dynasty Gate Structure and Its Typology Reflected in the Paintings of Chinese Artists of 10th–13th Centuries." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.92.

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Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.
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Chen, Xilin, and Tao Xi. "Cross-Cultural Management of Chinese Traditional Theatre Industry Based on Broadway Operation Model." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001860.

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Broadway, as one of the leading commercial show districts in the West, has a mature commercial experience and operation model. The theatre industry on Broadway is different from other places, and its production and marketing methods have also proven to be highly successful. This paper analyses the business model, artistic concept, communication strategy, and user research of Western theatre based on Broadway at the academic level. At the practical level, the paper investigates the cross-cultural management and communication model of the Chinese theatre industry. The Broadway theatre management that operates separately for theatres and productions, together with the art form that focuses on scenery, stage art, and sound effects, is applied to the management and communication of the traditional Chinese theatre industry. The paper aims at promoting traditional culture and making traditional theatre more suitable for modern aesthetic needs and market demands. The contribution of the paper is to improve traditional Chinese theatre into a creator-centered theatre performance consisting of music, song, dance, and dialogue in a cross-cultural context, based on the Broadway operation model. A modern marketing campaign is used to promote exposure and sustainability. As a result, a framework for Chinese traditional theatre products based on cross-culture is constructed.
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Shi, Qilong. "An analysis of the Value of Chinese Art Songs during the May Fourth Period." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.141.

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Dong, Mei. "Studying Folk Culture in Song Ci Based on Comparing Their English and Chinese Versions Case Study on Ba Shu Culture in Song Ci." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.47.

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Xue, Li. "The Style Features of Songs Filled with Ancient Chinese Classical Poetry in the New Era." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.026.

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Feng, Caicai. "A Study on the Lyrics of Chinese and English Children’s Songs in International Education." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.375.

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