Journal articles on the topic 'Chinese art song'
To see the other types of publications on this topic, follow the link: Chinese art song.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Chinese art song.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.
Full textAbstract:
Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.
12
Zhang, Yan, and Long Di Cheng. "The Origin and Heritage of Kesi Technique." Advanced Materials Research 821-822 (September 2013): 382–86. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.382.
Full textAbstract:
Although Chinese Kesiorigin is being recognized in various ways at present, yet its history of textual research lasts at least more than two thousand years. Moreover, a change occurred in Song Dynasty that high-grade works of art of Kesi paintings and calligraphies emerged, which formed the peak of Chinese Kesi art. In Ming and Qing Dynasties, the Kesi in the south region of Yangtze River inherited the skill of that in the Southern Song Dynasty, but it gradually declined after the Republican Period. After new China was founded, Kesi developed vigorously in Suzhou, and it had already been enrolled to the National Non-material Cultural Heritage list. This paper aims to explain the origin, the mutation, and the inheritance carrying of Chinese Kesi, then make a summary concerning the regulation. Not only will a clear cognition be made based on the previous research, but also it might be usible for reference about the protection of non-material cultural heritage in the future.
13
Liveri, Angeliki. "Fu-lin dances in medieval Chinese art - Byzantine or imaginary?" Zbornik radova Vizantoloskog instituta, no. 56 (2019): 69–94. http://dx.doi.org/10.2298/zrvi1956069l.
Full textAbstract:
Chinese artists, active from the Tang dynasty to Northern Song dynasty, created famous paintings including Fu-lin musical and dancing scenes; as e. g. Yan Liben, Wu Daozi and Li Gonglin. The most of these works are unfortunately lost; thus, we have information only from written descriptions to reconstruct them. Some researchers identify Fu-lin with the Byzantines; others disagree with this interpretation. Therefore, it is worthwhile to study whether the musical and dance motifs that referred to Fu-lin and were used by the above mentioned Chinese artists and literati can be identified with Byzantine elements and their performers with Byzantines ones.
14
Chen, Andrea. "Silk Road Influences on the Art of Seals: A Study of the Song Yuan Huaya." Humanities 7, no. 3 (August 15, 2018): 83. http://dx.doi.org/10.3390/h7030083.
Full textAbstract:
Song Yuan Huaya (the Huaya of the Song and Yuan Dynasties) is a type of seal featuring figurative patterns and sometimes decorated with ciphered or ethnic characters. Their origins are the Song and Yuan Dynasties, although their influence extends to the Ming (1368–1644 CE) and Qing (1644–1912 CE) Dynasties. Although it is based on the Chinese Han seal tradition, Song Yuan Huaya exhibits various elements from the influence of the Silk Road. This is thought to be the first time in Han seal history that the Steppe culture can be seen so abundantly on private seals. This paper takes an interdisciplinary approach to analyse, probably for the first time in the field, some cases of Song Yuan Huaya, in which a dialogue between the Han seal tradition and Silk Road culture occurs. The findings will hopefully advance the understanding of the complicated nature of the art history, society, peoples, and ethnic relationships in question, and will serve as the starting point for further studies of intercultural communication during specific historical periods.
15
Yang, Qingping. "The Influence of Imperial Painting in Song Dynasty on Chinese Ceramic Art." Art and Design Review 10, no. 02 (2022): 198–203. http://dx.doi.org/10.4236/adr.2022.102014.
Full text
16
Zhou, Yi. "Verbal aspects of China’s vocal art system." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 137–49. http://dx.doi.org/10.34064/khnum2-21.09.
Full textAbstract:
Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; 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. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.
17
Temmy, Temmy. "A Brief Analysis of The Influence of Chinese Culture Ceramic on Rococo Art of The West." Humaniora 5, no. 1 (April 1, 2014): 281. http://dx.doi.org/10.21512/humaniora.v5i1.3022.
Full textAbstract:
Chinese culture elements accepted for the first time by the Western countries was ceramic and silk. China's silk was found in ancient Greece during the Roman era and since then China has become the “Country of Silk”. Chinese ceramics came to the West a bit later. It was during the Song Dynasty that Western countries started accepting Chinese ceramics, and soon after that Chinese Ceramics had became a new surprise to the Western Countries and had China known as the “Country of Porcelain”. Porcelain as a cultural element is considered not only as material but also as a spirit. When the Europeans came to know the porcelain material, they had gradually been influenced by its spiritual content. Delicateness of ceramic slowly became a widely accepted aesthetic style, added with other factors that shaped the formation of the Rococo style that became very popular in Europe. This article used desk study to analyze and summarize the following three aspects: first, the impact of Chinese ceramic art on Western Rococo art, second, the art appreciation of Rococo art and third, to elaborate the influence of Chinese Ceramic and aesthetic in Western Countries.
18
Shi, Zhixuan. "Discussion on the Rudiment, Transformation and Fusion of Opera Music." Journal of Educational Theory and Management 1, no. 1 (October 16, 2017): 113. http://dx.doi.org/10.26549/jetm.v1i1.586.
Full textAbstract:
Music is the core power to promote the development of opera and to thoroughly understand its early form and development track in the domain of opera art. It plays an important role in the comprehensive understanding of the artistic nature of operamusic. Opera music originated from the inheritance of excellent music culture in history, the song and dance drama in Tang Dynasty,Zaju in the Song Dynasty and Jinyuanben (a kind of Chinese ancient traditional opera) had began to form the rudiment of opera music before forming into independent musical system. The reform of the development of the opera music is based on the prototype ofthe opera music, with the development of the music itself and the combination of the opera art produced by external conditions of thedual effects.
19
Huanyu, Wang. "THE SPECIFICITY OF CHAMBER VOCAL GENRES IN CHINESE CULTURE." Arts education and science 1, no. 30 (2022): 155–61. http://dx.doi.org/10.36871/hon.202201018.
Full textAbstract:
Chamber vocal music belongs to the most multifaceted fields of musical art, involving not only the expressiveness and cantilena of the singing voice, but also the poetry of speech. This article is devoted to one of the most pressing issues considered in the study of chamber vocal music, directly or indirectly present in numerous studies, ranging from small essays to major scientific works created by prominent musicologists, including B. V. Asafiev, V. A. Vasina- Grossman, L. A. Mazel. This question concerns the interaction of words and music in chamber vocal works, the peculiarities and conditions of this interaction, the genre organization of textual and musical sources, and the singing of the word. Here the problems of the artistic content are considered mainly on the examples of Chinese songs dedicated to the images of nature and the state of the human mental world. They are given in Russian translations. The popular Soviet song from the World War II "Dorozhenka", which became popular in China in a revised form, is considered separately.
20
Visconti, Chiara. "The Influence of Song and Qing Antiquarianism on Modern Chinese Archaeology." MING QING YANJIU 19, no. 01 (February 14, 2015): 59–86. http://dx.doi.org/10.1163/24684791-01901004.
Full textAbstract:
Archaeology has been introduced to China in the early twentieth century thanks to the crucial theoretical and methodological contribution of the Western world. Though the emergence of archaeology as a field of study reflected a growing interest among Chinese scholars in empirically based science it is also true that the interest for ancient artefacts and the material traces of the past has been a salient characteristic of Chinese historical accounts since antiquity. Indeed, what scholars termed antiquarianism can be traced to two key works of the Northern Song period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu. The influence of both works is still very visible in the classification of ritual bronze vessels. The other key moment in collecting culture and antiquarian studies was the very long reign of Qianlong, whose art collections exceeded any previous one. Though the investigation methods of Song and Qing literati were certainly different from modern ones it is also true that their cultural tradition remains in many ways a characteristic trait of Chinese archaeology.
21
김도연. "Rebirth of Cultural Heritage in Chinese Contemporary Art works - Focused on Ai Weiwei and Song Dong’s art works -." Korean Journal of Art and Media 15, no. 4 (November 2016): 105–32. http://dx.doi.org/10.36726/cammp.2016.15.4.105.
Full text
22
Wen, Xiaojing, and Paul White. "The Role of Landscape Art in Cultural and National Identity: Chinese and European Comparisons." Sustainability 12, no. 13 (July 7, 2020): 5472. http://dx.doi.org/10.3390/su12135472.
Full textAbstract:
The depiction of landscape in art has played a major role in the creation of cultural identities in both China and Europe. Landscape depiction has a history of over 1000 years in China, whilst in Europe its evolution has been more recent. Landscape art (shan shui) has remained a constant feature of Chinese culture and has changed little in style and purpose since the Song dynasty. In Europe, landscape depictions have been significant in the modern determination of cultural and national identities and have served to educate consumers about their country. Consideration is given here to Holland, England, Norway, Finland and China, demonstrating how landscape depictions served to support a certain definition of Chinese culture but have played little political role there, whilst in Europe landscape art has been produced in a variety of contexts, including providing support for nationalism and the determination of national identity.
23
Kao, Ya-ning. "De/re-construction of Zhuang shamanic songs in cultural festivals." Asian Education and Development Studies 9, no. 1 (September 3, 2019): 46–55. http://dx.doi.org/10.1108/aeds-01-2018-0017.
Full textAbstract:
Purpose The purpose of this paper is to examine the performance of Zhuang shamanic narrative songs at three festivals to explore how and why a narrative song genre that originated with Zhuang shamans is separated from shamanic ritual contexts and re-contextualized at festivals under the cultural policies instigated by the People’s Republic of China in the post-socialist era. Design/methodology/approach The research is based on a review of publications on Zhuang performance art and fieldwork data collected in southwestern Guangxi, China. Findings The de-construction of Zhuang shamanic narrative song melodies dates back to the late nineteenth century, when southwestern Guangxi literati used the melodies to compose popular songs. By the 1950s, the religious elements of these narrative songs had already been obfuscated, leading Chinese scholars to select them as representative of Zhuang performance arts. Since the enactment of China’s Intangible Culture Heritage (ICH) Law in the early twenty-first century, local Zhuang elites have re-constructed and re-introduced shamanic elements to narrative songs as they are performed at festivals as a means to further highlight the ethnic characteristics of the Zhuang people. Originality/value The paper provides detailed documentation of three cases of the restoration of shamanic elements to narrative songs sung by the Zhuang people. However, the research is limited to one community, inviting comparison with other cases, both inside and outside China, of how ICH policies impact grass-roots cultural practices.
24
Tian, Guyuan, and Yuanyuan Xu. "A Study on the Typeface Design method of Han Characters imitated Tangut." Advances in Education, Humanities and Social Science Research 1, no. 2 (September 20, 2022): 270. http://dx.doi.org/10.56028/aehssr.1.2.270.
Full textAbstract:
The Western Xia (1038-1227) was an ethnic regime in the northwest of China during the Song and Liao dynasties. Tangut is the concentrated expression of Tangut culture and Tangut art. It is the language used by the Xiang clan of Tangut party. The typography design of Chinese characters imitating the Tangut style is a new field of Chinese character typography design, which not only conveys the basic shape and meaning of Chinese characters, but also shows the beauty of blending with the aesthetic scale of Tangut style characters. Based on the analysis of the characteristics of Tangut characters in ancient books, this paper summarizes the characteristics of stroke structure with typical "Tangut style", and studies and explores the methods and rules of font design of Chinese characters imitating Tangut style combining with design practice.
25
Tian, Guyuan, and Yuanyuan Xu. "A Study on the Typeface Design method of Han Characters imitated Tangut." Advances in Education, Humanities and Social Science Research 2, no. 1 (September 20, 2022): 270. http://dx.doi.org/10.56028/aehssr.2.1.270.
Full textAbstract:
The Western Xia (1038-1227) was an ethnic regime in the northwest of China during the Song and Liao dynasties. Tangut is the concentrated expression of Tangut culture and Tangut art. It is the language used by the Xiang clan of Tangut party. The typography design of Chinese characters imitating the Tangut style is a new field of Chinese character typography design, which not only conveys the basic shape and meaning of Chinese characters, but also shows the beauty of blending with the aesthetic scale of Tangut style characters. Based on the analysis of the characteristics of Tangut characters in ancient books, this paper summarizes the characteristics of stroke structure with typical "Tangut style", and studies and explores the methods and rules of font design of Chinese characters imitating Tangut style combining with design practice.
26
Kruglova, Maria S. "Trash-art in China and Korea: Struggle for the Cultural Heritage — the Case of Porcelain." Oriental Courier, no. 4 (2022): 117. http://dx.doi.org/10.18254/s268684310023833-4.
Full textAbstract:
The article discusses examples of trash art created by contemporary Chinese and Korean artists. In view of the environmental and social agenda, contemporary artists often use materials once used for completely different purposes. Chinese and Korean artists are no exception here. The author considers examples of the broken porcelain used to create new art objects created in China and Korea. Beijing-based artist Li Xiaofeng creates wearable dresses from broken porcelain from the Song, Ming, and Qing dynasties, and works with new broken porcelain to create designs with fashion houses such as Lacoste and Alexander McQueen. Korean ceramist Yee Soo Kyung takes broken porcelain to create oddly shaped vases and sculptures using the traditional Japanese kintsugi restoration method. Recycled China creates art panels and functional flowerpots from scrap Jingdezhen porcelain and aluminum. Lei Xue works in a different plane of trash art. The artist creates products from new materials, imitating garbage, for example, crumpled tin cans. At the same time, the author paints his products with patterns traditional for Chinese porcelain. Author concludes that, unlike Western artists concerned about environmental issues, Eastern ones are more often concentrated on the preservation of cultural heritage. They are trying to present old, crashed traditional art objects in a new, more attractive light for modern society needs, as well as to fit objects into the modern social agenda, more precisely, to make them “fashionable”.
27
Yang, Meili. "Technology and Art in Society: The Significance of "Furnace Transmutation" in Chinese Song Jun Ware." International Journal of Arts Theory and History 9, no. 1 (2014): 11–25. http://dx.doi.org/10.18848/2326-9952/cgp/v09i01/36258.
Full text
28
Yang, Xue, and Yu Liu. "Textual Research on Henna Art Introduced into Ancient China Through the Silk Road." Asian Social Science 16, no. 9 (August 31, 2020): 21. http://dx.doi.org/10.5539/ass.v16n9p21.
Full textAbstract:
Since ancient Egypt, henna has been widely used as dyes for women’s henna body art. Through the Silk Road, China assimilated cultures of its Western Regions, India, and Persia, such as the henna art. In Ancient China the "garden balsam" is always called "henna". Nevertheless, they belong to two different kinds of flowers. Folks’ mixed use of these two kinds of flower names reflects the profound impact of the henna art on Chinese traditional culture of decorative nails. This textual research results revealed that in ancient China the customs of dye red nails are affected by foreign henna art and there were three development stages: the introduction period (from the Western Jin Dynasty to the Tang Dynasty), the development period (in the Song-Yuan Dynasty) and the popularity period (in the Ming-Qing Dynasty).
29
Fang, Alex C., Wan-yin Li, and Jing Cao. "In search of poetic discourse of classical Chinese poetry." Chinese Language and Discourse 2, no. 2 (December 21, 2011): 232–49. http://dx.doi.org/10.1075/cld.2.2.04fan.
Full textAbstract:
We address the issue of poetic discourse in classical Chinese poetry and propose the use of imageries as characteristic anchors that stylistically differentiate poetic schools as well as individual poets. We describe an experiment that is aimed at the use of ontological knowledge to identify patterns of imagery use as stylistic features of classical Chinese poetry for authorship attribution of classical Chinese poems. This work is motivated by the understanding that the creative language use by different poets can be characterised through their creative use of imageries which can be captured through ontological annotation. A corpus of lyric songs written by Liu Yong and Su Shi in the Song Dynasty is used, which is word segmented and ontologically annotated. State-of-the-art techniques in automatic text classification are adopted and machine learning methods applied to evaluate the performance of the imagery-based features. Empirical results show that word tokens alone can be used to achieve an accuracy of 87% in the task of authorship attribution between Liu Yong and Su Shi. More interestingly, ontological knowledge is shown to produce significant performance gains when combined with word tokens. This observation is reinforced by the fact that most of the feature sets with ontological annotation outperform the use of bare word tokens as features. Our empirical evidence strongly suggests that the use of imageries is a powerful indicator of poetic discourse that is characteristic of the two poets concerned in the study.
30
Ma, Xinquan, Xiaofang Yao, and Kwon Hwan. "Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3344–51. http://dx.doi.org/10.18001/trs.7.5.1.109.
Full textAbstract:
Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.
31
Erickson, Susan N. "The Shield-Shaped Jade Pendant." Archives of Asian Art 68, no. 2 (October 1, 2018): 157–90. http://dx.doi.org/10.1215/00666637-7162237.
Full textAbstract:
Abstract Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant's origin as a Han-dynasty artifact and to explore its significance.
32
Yang, Xiao Dong. "Austro-German Kunstlied Traditions at the Origins of the Chinese Art Song of the Early 20th Century." Университетский научный журнал, no. 70 (2022): 108–14. http://dx.doi.org/10.25807/22225064_2022_70_108.
Full text
33
Nianchen, Ren. "METALLIC ARCHITECTURE OF CHINA IN LATE MIDDLE AGES: TYPOLOGY AND ARTISTRY." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 12. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-12.
Full textAbstract:
The article considers the use of copper-alloy and iron casting technology in China from the Song dynasty (960–1279 AD) to the Qing dynasty (1644–1912 AD) inclusive. The architectural typology covers cult buildings – Buddhist and Tibetan-Buddhist pagodas, Taoist temples, and secular park pavilions. The specifics of the technology and artistic expressiveness distinguishing Chinese metallic architectural structures are identified based on concrete examples using the formal stylistic method of art analysis and technical analysis method. It is concluded that the metallic architecture did not work out new structural and art forms, the casting technique reproducing the structures and décor of wooden prototypes. This was associated with both the conservatism of visual perception and centuries-long standardized forms of cult and palace architecture. The casting technology potentialities enabled the structural and decorative features of wooden prototypes to be reproduced in every detail.
34
Song, Rui. "Effect of Evaluation of Popular Song Creation and Literature Based on RITNN Model." Mathematical Problems in Engineering 2022 (May 14, 2022): 1–9. http://dx.doi.org/10.1155/2022/4643674.
Full textAbstract:
The era of modernity and information technology has entered people's lives, which has brought new challenges to innovative culture and art to a great extent, especially changing the relationship between traditional culture and pop music creation. In order to better automate music creation, this paper proposes a mixed model of cultural term evaluation of Chinese pop songs based on RITNN, which sets up RNN structure composition models of different channels. Through this method, a data reconstruction model of important cultural elements of simultaneous interpretation is established. The experiment fully proves that the pop music creation in traditional cultural materials not only integrates the essence of traditional cultural elements but also makes new creation. This scheme can evaluate the integration effect of traditional cultural elements in pop music creation.
35
Hu, Bangbo. "Art as Maps: Influence of Cartography on Two Chinese Landscape Paintings of the Song Dynasty (960-1279 CE)." Cartographica: The International Journal for Geographic Information and Geovisualization 37, no. 2 (June 2000): 43–56. http://dx.doi.org/10.3138/07l4-2754-514j-7r38.
Full text
36
Juzefovič, Agnieška. "LANDSCAPE AS COMMUNICATION: REFLECTION ON SURROUNDING ENVIRONMENT IN CHINESE AESTHETICS / PEIZAŽAS KAIP KOMUNIKACIJA: SUPANČIOS APLINKOS REFLEKSIJA KINŲ ESTETIKOJE." CREATIVITY STUDIES 6, no. 1 (June 28, 2013): 32–45. http://dx.doi.org/10.3846/20297475.2013.764936.
Full textAbstract:
Through examining early Chinese texts on aesthetic, contemporary interpretations and traditional Chinese landscape paintings, the author highlights relationship between painters and art theorists and their surrounding environment. The early aesthetic treatises, especially those who were dedicated to the topic of landscape painting, consist of subtle reflection of surrounding environment, its impact on author's life and worldview, discuss how painters understand, interpret and depict natural environment. The author argues that Chinese painters’ main attention focused on the natural environment where traces of human activity are not visible or barely visible, and unimportant, accidental. Monochrome ink landscapes created from Tang and Song dynasties are analyzed as examples because of their subtle reflection of the natural environment, embodied desire to capture and communicate its mood and soul. Portraying the sublime, animated nature Chinese painters intended indirectly via picture to communicate the idea that the whole surrounding world permeates invisible Dao. Such a worldview in traditional Chinese culture caused particular responsiveness and respect for the surrounding environment. Santrauka Nagrinėjant ankstyvuosius kinų estetikos traktatus, šiuolaikines interpretacijas ir dailės kūrinius, straipsnyje išryškinamas dailininkų ir meno teoretikų santykis su supančia aplinka. Parodoma, kad jau ankstyvuosiuose traktatuose, skirtuose dailės, o ypač peizažo, žanro problematikai, subtiliai reflektuojama supančios aplinkos problematika, nagrinėjamas jos poveikis dailininkui, išryškinamas aplinkos vaizdavimo savitumas. Konstatuojama, kad kinų menininkai daugiausia dėmesio skyrė natūraliai gamtinei aplinkai, kurioje žmogaus veiklos pėdsakai yra neregimi arba vos regimi, antraeiliai. Daugiausia nagrinėjami monochrominiai tušo peizažai iš Tangų ir Songų dinastijų laikų, nes jiems būdinga subtilios gamtinės aplinkos refleksijos, siekis pagauti ir perteikti jos nuotaiką ir dvasingumą. Straipsnyje argumentuojama, kad, vaizduodami taurią, sudvasintą gamtą, kinų dailininkai siekė netiesiogiai, vaizdais perteikti mintį, kad visą supantį pasaulį persmelkia neregimas Dao. Tokia pasaulėžiūra tradicinėje kinų kultūroje lėmė dėmesingumą ir pagarbą supančiai aplinkai.
37
Wenji, Zhao, Cui Rongrong, and Niu Li. "Design and Cultural Aspects of 20th Century Chinese Xiangjin Brocade." Fibres & Textiles in Eastern Europe 151, no. 3 (September 28, 2022): 116–29. http://dx.doi.org/10.2478/ftee-2022-0030.
Full textAbstract:
Abstract As one of the representative silk-woven artworks of the 20th century in China, Chinese Xiangjin brocade, well-known as “the flower of Oriental art”, draws on the essence of Sichuan brocade, Yun brocade, Song brocade, so as to form its own unique artistic style. It also takes the lead in the innovation of traditional brocade in key processes such as craftsmanship, design and jacquard, whose drawing technique is the exact core skill making it intangible cultural heritage. So far, there have been few studies on crafts and textile design in China before the 20th century or even after the reform and opening up, and rather fewer studies on the structure of Xiangjin brocade in the 20th century. This paper attempts to record and classify 1008 pieces of Xiangjin brocade in the Suzhou Silk Archive, China, as well as to find out their design features, oriental flavour, and unique weaving techniques. In addition, the cultural connotation of Xiangjin brocade as the painting medium was also put forward by analysing those brocades' historical texts, images, and style.
38
Andrijauskas, Antanas. "The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas." Dialogue and Universalism 30, no. 3 (2020): 245–61. http://dx.doi.org/10.5840/du202030345.
Full textAbstract:
This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.
39
Li, Tian Tian. "Exploration on the Origin of Architectures Murals — Analysis on Geographical Features of Song, Liao and Jin Dynasty in Shanxi." Advanced Materials Research 838-841 (November 2013): 2870–74. http://dx.doi.org/10.4028/www.scientific.net/amr.838-841.2870.
Full textAbstract:
Abundant historic buildings still exist in Shanxi, of which architectures built in Song, Liao and Jin Dynasty are in the majority, especially the number and area of murals in this period ranking first in the nationwide, which embody the essence of Chinese traditional culture with great artistic value. The constant abundance and development of culture and art in ancient China are represented on murals of this period, and valuable materials have been provided for our understanding towards the painting technique of ancient murals in Shanxi, which is beneficial for our study on the historical origin of traditional architecture and mural art meanwhile. This paper focuses on the discussion and analysis comprehensively of 6 existing murals including murals of Shousheng Temple of Ruicehng, Shanxi, murals of the Great Hall of Mahavira in Kaihua Temple, Gaoping, murals of Sheli Tower in Jueshan Temple of Lingqiu, murals of Sakyamuni Pagoda in Fogong Temple of Ying County, murals of Amitabha Hall in Chongfu Temple of ShuoZhou and murals of Wenshu Hall in Yanshan Temple of Fanshi.
40
Ge (葛兆光), Zhaoguang. "Imagining a Universal Empire: a Study of the Illustrations of the Tributary States of the Myriad Regions Attributed to Li Gonglin." Journal of Chinese Humanities 5, no. 2 (July 6, 2020): 124–48. http://dx.doi.org/10.1163/23521341-12340077.
Full textAbstract:
Abstract This article is not concerned with the history of aesthetics but, rather, is an exercise in intellectual history. “Illustrations of Tributary States” [Zhigong tu 職貢圖] as a type of art reveals a Chinese tradition of artistic representations of foreign emissaries paying tribute at the imperial court. This tradition is usually seen as going back to the “Illustrations of Tributary States,” painted by Emperor Yuan in the Liang dynasty 梁元帝 [r. 552-554] in the first half of the sixth century. This series of paintings not only had a lasting influence on aesthetic history but also gave rise to a highly distinctive intellectual tradition in the development of Chinese thought: images of foreign emissaries were used to convey the Celestial Empire’s sense of pride and self-confidence, with representations of strange customs from foreign countries serving as a foil for the image of China as a radiant universal empire at the center of the world. The tradition of “Illustrations of Tributary States” was still very much alive during the time of the Song dynasty [960-1279], when China had to compete with equally powerful neighboring states, the empire’s territory had been significantly diminished, and the Chinese population had become ethnically more homogeneous. In this article, the “Illustrations of the Tributary States of the Myriad Regions” [Wanfang zhigong tu 萬方職貢圖] attributed to Li Gonglin 李公麟 [ca. 1049-1106] and created during the period between the Xining 熙寧 [1068-1077] and Yuanfeng 元豐 [1078-1085] reigns of the Shenzong emperor 神宗 [r. 1067-1085] of the Song dynasty, is used as a case study for investigating the actual tributary relations between the Northern Song [960-1127] state and its neighboring countries. In doing so, I demonstrate that while certain parts of the “Illustrations of the Tributary States of the Myriad Regions” are historically accurate, a considerable portion of the content is the combined product of historical remembrance and the imagination of empire. In the international environment of the Song empire, China was captivated by the dream of being a universal empire envied by its “barbarian” neighbors. Particularly worth emphasizing is the fact that the artistic tradition of painting “Illustrations of Tributary States” as well as the accompanying idea of China as a universal empire continued well into the Qing [1644-1911] period, reflecting the historical longevity and lasting influence of the traditional conception of the relationship between China and the world.
41
Andrijauskas, Antanas. "Peculiarity of the Origins of Chinese Historiography of the Fine Arts." Art History & Criticism 16, no. 1 (December 1, 2020): 133–44. http://dx.doi.org/10.2478/mik-2020-0010.
Full textAbstract:
SummaryThe article is dedicated to the research of the origins and peculiarity of classical Chinese historiography of fine arts from the broader civilisational perspective. Based on the principles of comparative analysis, the paper reveals the peculiarities of formation of Chinese historiography of fine arts, its attention to the analysis of various methods, styles, schools, directions and different internal and external factors of artistic creativity and development, highlighting its relationship with neo-Confucianist ideology that influenced the rise of “Chinese renaissance”. The article focuses on written work by three most prominent historiographers of the Tang and Song eras, Zhu Jingxuan, Zhang Yanyuan and Guo Ruoxu. The analysis of authentic treatises of historiography first exposes the theoretical peculiarity of the founder of this tradition, Zhu Jingxuan, the principal scope of issues that interested him, and the impact of his research strategies and methods on later scholars. The article follows with the research of Zhang Yanyuan’s and Guo Ruoxu’s theories, particularly their relationship with neo-Confucianist ideology. Based on the detailed comparative analysis of their treatises, the analysis shows the broadening of the field of historiographical issues of interest to them, as well as separation of historiography of fine arts into an individual influential direction of art criticism.
42
Xie, Bo, and Kristina Shiroma. "ASIAN OLDER ADULTS’ ONLINE AND OFFLINE HEALTH INFORMATION PREFERENCES AND BEHAVIORS." Innovation in Aging 3, Supplement_1 (November 2019): S412. http://dx.doi.org/10.1093/geroni/igz038.1535.
Full textAbstract:
Abstract Older adults living in Asia or of Asian origin have unique preferences for information that require special attention. This symposium focuses on the health information preferences and behaviors of Asian older adults. Song et al. investigated the relationship between Internet use and perceived loneliness among Older Chinese using from survey data collected in the 2015 wave of the China Health and Retirement Longitudinal Study (CHARLS), a national study involving 12,400 households in Mainland China. Multiple regression results suggest that older Chinese Internet users perceived significantly less loneliness compared with their age peers who were non-Internet users. Zhang et al. investigated the role of information and communication technologies in supporting antiretroviral therapy (ART)-related knowledge seeking among older Chinese with HIV. Their cross-sectional survey data were collected from 2012 to 2013 in Guangxi, China. The results suggest that less than 5% of the participants sought HIV-related information via computers. Patients less knowledgeable about ART were more likely than those more knowledgeable to consult medical professionals about the disease via cell phones. Shiroma et al. report findings of a systematic literature review conducted in spring 2019 that examined Asian ethnic minority older adults’ preferences for end-of-Life (EOL) information seeking and decision making. The results suggest Asian ethnic minority older adults are understudied in the literature on EOL information and decision making, especially in terms of their unique cultural contexts. Du et al. examined how health information obtained from different types of social networks affect osteoporosis self-management behaviors among older White and Asian women.
43
Xia, Xiuzheng, and Chen Tian. "Technology Based on Interactive Theatre Performance Production and Performance Platform." Scientific Programming 2022 (September 21, 2022): 1–12. http://dx.doi.org/10.1155/2022/4239474.
Full textAbstract:
Drama refers to a comprehensive art that realizes the purpose of narrative through language, movement, dance, music, puppets, and other forms. From the pre-Qin period⟶the Han and Wei periods⟶the Tang, Song, and Jin periods⟶the Yuan Dynasty⟶the late Yuan Ming and Qing periods⟶modern times, the art of opera has been welcomed and recognized by a vast audience since its birth, but it is difficult to inherit the art of Chinese opera. The fundamental reason is that there is no good platform for performance. It should be said that since the beginning of the performing arts, there has also been academic thinking on the practice of this artistic creation, so in the academic field of drama, there is actually drama performance science. Due to the changes of the times, Chinese drama art cannot keep up with the pace of the Internet. Therefore, this article proposed a technical research based on the interactive drama performance production and performance platform. This article mainly talks about face recognition technology and its algorithm, and applies it to theatrical performances and productions. In the following experiments, this technology is also used to create a network platform, and its user experience evaluation effect is good. The theatrical performances and productions of young people were also scored, and the final experimental results showed that: at the minimum required level, which is at least three (or more) dramatic materials in the class, scores are high at both levels. Among them, 94.4% of the classes in the first-level kindergarten and 86.1% of the classes in the second-level kindergarten meet this standard. Most of the two levels are qualified, that is to say, in the performance area, at least three people can perform at the same time, which is enough to show that theatrical performance has been passed down.
44
Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.
Full textAbstract:
Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.
45
Na, Sai. "Artistic space in I.S. Turgenev’s prose poem «threshold» and in chinese literature of the XX century." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 167–76. http://dx.doi.org/10.17588/2076-9210.2019.4.167-176.
Full textAbstract:
The popularity of «Prose Poems» (1878–1882) by Ivan Sergeevich Turgenev dates back more than a hundred years, while they remain the very first works of the writer, translated into Chinese. The study of Turgenev has gained particular relevance in China. This article discusses the understudied issue of the influence of the Turgenev’s prose poem «Threshold» on Chinese literature through the example of the work of the classics of Chinese literature of the first half of the 20th century, such as Lu Xin (1881–1936), the father of the modern Chinese novel, Li Ni (1913–1968), the singer of «sorrow and grief», and Lu Li (1908–1942), one of the founders of the new Chinese lyrical prose. Using the comparative method, the article analyses the artistic features of the following prose poems: «The Traveler» by Lu Xin, «The Falcon Song» by Li Ni, and «The Door and the Recluse» by Lu Li. The author reveals the significant influence that the philosophical ideas of Turgenev and his creative style had on these writers and Chinese literature in general. The comparative analysis shows that in the poems of Lu Sin and Li Ni, the spatial characteristics of Turgenev's prose poem «The Threshold» are recreated, while Lu Li was inspired by the philosophical meaning of this work of art. In this way, opening a new page for Russian literary scholars in the history of the relationship between Russian and Chinese cultures, the research topic and the analysis done reveal new material for Russian literary studies about on the history of the reception of Turgenev‘s creative work in China.
46
Meng, Hao. "The Formation of Chinese Still Life Paintings in the Context of the Interaction of Western and Eastern Artistic Traditions." Человек и культура, no. 5 (May 2022): 48–61. http://dx.doi.org/10.25136/2409-8744.2022.5.38791.
Full textAbstract:
Chinese painting of flowers and birds and Western still life paintings are unique, but they have a certain similarity in the representation of objects of the material world. The artists who created them belonged to different cultures, but turned to similar motives, means of expression, as well as artistic materials and techniques of working with them. Gradually, their interaction intensified, which led to borrowings and changes in artistic concepts. The main problem of this study is the parallels in the evolution of the genre of still life paintings in Chinese and Western European painting from the XVII century to the present — the time of the active development of this genre both in the West and in the East. The aim of the research is to find similarities and differences in the approaches of Chinese and Western European artists when creating works in the genre of still life in terms of background construction, composition, color, ways of expressing the idea, as well as the choice of theme and motif of the image. A comparative characteristic of the work of artists of various periods from Caravaggio and Li Song to Marcus Lupertz and Zhou Shaohua, as well as a number of modern Chinese painters, is consistently given. A comprehensive artistic analysis of paintings by various authors shows that at present we can talk about the search for traditions in the creation of still life in the synthesis of the principles of Western European art and Guohua.
47
Ni, Peimin. "Can Bad Guys Have Good Gongfu?—A Preliminary Exploration of Gongfu Ethics." Journal of Chinese Philosophy 43, no. 1-2 (March 3, 2016): 9–31. http://dx.doi.org/10.1163/15406253-0430102005.
Full textAbstract:
This paper tries to explore a gongfu ethics on the basis of traditional Chinese ethical theories. Used in the sense that the Song-Ming Neo-Confucians did, “gongfu” means the art of life in general and not merely the martial arts, although martial arts can be taken as a paradigm example of gongfu. The paper begins with the question “can bad guys have good gongfu,” which leads to three answers, each representing one stage of the dynamic relationship between morality and gongfu: The first is yes, since gongfu and morality belong to two different categories, i.e., the art of life and moral responsibilities. The second is no, because each moral goodness or badness corresponds to a respective gongfu virtuosity or the lack of it. The third answer is that moral persons, as long as they still have to invoke morality, are not true gongfu masters. Those who have real good gongfu transcend moral duties and become amoral. The analysis suggests a gongfu ethics that can include, but goes beyond moral goodness. The rest of the essay articulates the rich implications of this gongfu ethics by comparing it with virtue ethics, consequentialist ethics, and relativism-subjectivism.
48
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.
Full textAbstract:
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.
49
Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.
Full textAbstract:
Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.
50
Lopez, Donald S. "“Lamaism” and the Disappearance of Tibet." Comparative Studies in Society and History 38, no. 1 (January 1996): 3–25. http://dx.doi.org/10.1017/s0010417500020107.
Full textAbstract:
At an exhibition in 1992 at the National Gallery in Washington, D.C., “Circa 1492: Art in the Age of Exploration,” one room among the four devoted to Ming China was called “Lamaist Art.” In the coffee-table book produced for the exhibition, with reproductions and descriptions of over 1,100 of the works displayed, however, not one painting, sculpture, or artifact was described as being of Tibetan origin. In commenting upon one of the Ming paintings, the well-known Asian art historian, Sherman E. Lee, wrote, “The individual [Tang and Song] motifs, however, were woven into a thicket of obsessive design produced for a non-Chinese audience. Here the aesthetic wealth of China was placed at the service of the complicated theology of Tibet.” This complicated theology is named by Lee with the term “Lamaism,” an abstract noun that does not occur in the Tibetan language but which has a long history in the West, a history inextricable from the ideology of exploration and discovery that the National Gallery cautiously sought to celebrate. Lee echoes the nineteenth-century portrayal of Lamaism as something monstrous, a composite of unnatural lineage, devoid of the spirit of original Buddhism (as constructed by European Orientialists). Lamaism was a deformity unique to Tibet, its parentage denied by India (in the voice of British Indologists) and by China (in the voice of the Qing empire), an aberration so unique in fact that it would eventually float free from its Tibetan abode, an abode that would vanish.