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Dissertations / Theses on the topic 'Chinese artists'
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Zhou, Yan. "The centrality of culture in art the contemporary challenge to Chinese artists, particularly Wenda Gu /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117046188.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xvii, 298 p.; also includes graphics (some col.) Includes bibliographical references (p. 211-217). Available online via OhioLINK's ETD Center
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Shen, Kuiyi Wu Changshuo. "Wu Changshi and the Shanghai art world in the late nineteenth and early twentieth centuries." access full-text, 2000. http://libweb.cityu.edu.hk/cgi-bin/ezdb/umi-r.pl?9971636.pdf.
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Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.
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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.
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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
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Perkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.
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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College, and Centre for Cultural Research. "Transexperience and Chinese experimental art, 1990-2000." THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.
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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.Doctor of Philosophy (PhD)
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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.
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Zhang, Shibin. "A Comparison between Chinese and Western Women Artists' Work in the Late 1980s and Early 1990s." Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508738.
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Wong, Hoi-yan. "Centre for HK Cantonese Opera Artist's Association." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.
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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.
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Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/677.
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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
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Huang, Yue. "BETWEEN POSTMODERNISM AND CHINESE FOLK ART : An Analysis of The Yelang Valley." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-161820.
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Loh, Panni Poh Yoke. "'Five Contemporary British Chinese Artists- The impact of cultural experiences on their work and their attitudes towards the natural world and spirituality'." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515331.
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Chan, Flora Kay, and 陳鳳姬. "呂壽琨的藝術發展." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B1300587X.
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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.
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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.
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Feng, Sha. "L’Art Ailleurs : la Recherche Anthropologique sur les Artistes Contemporains Chinois des Beaux-arts Vivant en France." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30043/document.
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Depuis le début du vingtième siècle, les artistes chinois ont commencé à poursuivre leurs rêves artistiques en France. Cent ans plus tard, bien que l’art français ne soit plus le centre absolu du monde artistique, son histoire glorieuse en fait un symbole au statut inébranlable. La France d’autrefois, avec son orientation politique culturelle a attiré des artistes du monde entier, qui sont devenus une partie importante du patrimoine artistique et culturel des Français; en même temps, la « culture française », dans son ensemble, perpétue le mythe de capitale culturelle.Compte tenu de la structure du discours prévalent sur « la Chine et l’Occident », la place des artistes chinois en France est un peu spéciale. Pour les artistes chinois, la France est, dans une large mesure, « le monde occidental ». Ces artistes chinois intègrent leur expérience à l’étranger dans un contexte transculturel tout en restant conscients de leurs propres expériences et sentiments, ce qui mène à une innovation permanente dans leurs propres techniques de création. De même qu’il est difficile de trouver une raison collective pour la venue en France des artistes chinois, leur création ne se présente pas sous une forme de système ou d'aspiration unifiée. Comme c’est le cas pour l’imaginaire chinois de la France, nous imaginons que les artistes chinois en France suivent un parcours « uniforme ».Cette thèse commence par l’exposition biennale de Lyon en 2009, à laquelle j’ai participé et grâce à laquelle j'ai pu progresser dans ma connaissance du fond culturel, historique et social local. À partir de ce groupe particulier d’«artistes d’outre-mer» et selon les textes existants et les déclarations des artistes rencontrés, je discute tout d’abord de l’imaginaire et de la réalité de l'« étranger » en France, puis j’analyse la structure narrative des textes de l’histoire de l’art et des médias de masse sur les « artistes étrangers ». J’interprète alors certaines œuvres et pratiques des artistes, en évoquant leur compréhension de la structure narrative. Ensuite, je discute du marché de l’art et de l’expérience des artistes en son sein. Enfin, j’essaye de comparer l’expérience de l’artiste et les idées sociales et culturelles, et de réfléchir à mes propres recherches et réflexionsSince the twentieth century, Chinese artists have voyaged to France in pursuit of their dream of art. Even though France is no longer the only art capital in the world today, it glorious history has made its status unshakeable as a symbol which attracted artists eager for opportunities for free creation and diverse forms of inspiration. These artists’ works became an important part of French culture and art, while “French culture and art” as a whole perpetuates the myth of cultural capital.Given the structure of the prevalent discourse concerning « China and the West », the place of Chinese artists in France is somewhat special. These Chinese artists integrate their experience abroad in a transcultural context while remaining conscious of their own experience and feelings; in terms of their own creative techniques they innovate permanently. It is difficult to find a collective reason for Chinese artists’ coming to France; similarly, their work does not constitute a unitary system or ambition. As is the case of the Chinese imaginary concerning France, it is imagined that Chinese artists in France follow a uniform trajectory.This thesis starts with the Lyon biennale exhibition of 2009 which I attended and thanks to which I was able to expand my acquaintance with local social, cultural and historical contexts. Based on this particular group of “overseas artists” and referring to the existing texts and statements of the artists encountered, the imagined experience and the lived experience of the “foreigner” in France are discussed, and then narrative structure of history of art and mass media texts about “foreign artists” are analyzed. Evoking their understanding of this narrative structure, certain artists’ works and practices are then interpreted. There follows a discussion of the art market and the experience of artists within it. Finally there is an attempt to compare the artist’s experience with socio-cultural ideas, and a reflection on the findings of this thesis
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Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.
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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.
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Tham, Hong Wan. "To occupy a different space of mind investigating the connection between socio-cultural and historical contexts and the positioning of the self in the studio art practice of the Post-80s Generation student artists at the Chinese Art School in Beijing, China." Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590269.
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This is a case study that focuses on the socio-cultural and historical contexts that influenced the studio art practice of three Post-80s Generation student artists attending the Chinese Art School in Beijing. This study is grounded on the idea that the creation of art is determined by an interplay between multiple factors within the milieu (of what makes it understood to be “art” by the majority) and their influence on the artistic creation, which is non-assertive and invariably established in relation to others that happen to share and coexist within this processual context of doing and learning art making. On the other hand, the notion of a context in this study refers to a notion of “genealogies” where contexts are distanced from descriptions based on a horizontal platform or a lineal chain of events. Rather, in line with the methods that emerge from arts research and practice, this project operates on a “messy” yet sensible horizon of interconnections that transcend fixed notions of time and space.
While sixteen participants took part in data collection, the main focus is reserved to three student-artists. Data collection was conducted in the month of June in 2010 and 2011. Interviews and studio visits were the two methods applied for data collection. Data or narratives collected from the three research participants pertaining to the development of their studio art practices provided three avenues of interpretation: first, through the students’ own idiosyncratic accounts of their work and their student experience; secondly, through the lens of art as a collective entity from both the perspective of the participants and the researcher; and last, through a summative analysis, offering a number of possible explanations.
Through an analysis of the students’ artistic production and their art educational experience, this study aims at offering art educators, both within as well as outside China, with a discussion that illustrates the history and the stories of the Post-80s Generation student artists in the Chinese Art School.
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Chang, An-ching. "The use of perspective in the works of French artist Cezanne and Chinese artist Ku." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491468.
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The purpose of this creative project was to conduct a study on the usage of perspective in the works of French Artist Paul Cezanne and Chinese Artist Ku, Hung-Chung. By finding the relationships between the two, the student would be able to better his understanding of both Western and Eastern Art.In this project, the student identified and compared the physical and theoretical similarities, as well as the differences, in the use of perspective by Cezanne and Ku.From the result, the student attempted to develop and refine his personal concept of the perspective in his own works.
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Eastburn, Melanie. "The living specimen: Guan Wei: a Chinese-Australian artist." Thesis, Canberra : Australian National University, 1997. http://hdl.handle.net/1885/266282.
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Jing, Anning. "Anige (1245-1306) : a Nepali artist at the Yuan court." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260459201.
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Zhu, Sicong. "Poetic feeling in a thatched pavilion attributed to the Chinese Yuan artist Wu Zhen." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4983.
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In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.
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Zhang, Naiyong. "Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.
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Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’accent sur la question de l’identité des femmes modernes et sur des relations entre les femmes et les hommes. Elles cherchent à maîtriser des formes d’expression artistique ethnique plus variées et plus légitimes. Depuis 2001, afin de préserver les cultures ethniques face à la mondialisation, les femmes artistes essaient d’interpréter la profondeur de la culture ethnique dans leurs œuvres. C’est vers les traditions, telles que la mémoire historique, les mythologies, les chansons et les danses, que se tournent les artistes femmes issues des ethnies minoritaires à la recherche de racines culturelles. Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle des femmes artistes issues des ethnies minoritaires, l’analyse de la construction de l’identité féminine et l’analyse des particularités de l’expression des femmes artistes eu égard à leur appartenance ethniqueThis thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity
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黃凱茵 and Hoi-yan Wong. "Centre for HK Cantonese Opera Artist's Association." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984216.
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Yun, Kusuk. "Etre exotique dans l'art contemporain : la scène internationale de l'art et trois pays d’Asie – Japon, Corée du Sud et Chine – dans la mondialisation : création et stratégies de diffusion." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080135/document.
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Depuis « l’ère de la mondialisation », le monde occidental s’est vivement engagé dans la découverte de nouvelles cultures du monde dans le domaine des arts visuels. En effet, il est devenu la norme de valoriser la diversité du monde et le relativisme culturel parce que les cultures perçues comme authentiques développeraient des valeurs esthétiques et économiques considérables grâce à leur aspect original, singulier et pittoresque. Même si l’on ne peut pas réellement saisir toutes les nuances de la culture d’un pays éloigné, nous pouvons malgré tout esquisser une image plaisante de ce pays dans notre imagination, notamment grâce aux médias qui dépeignent aujourd’hui les paysages du monde à travers des images « typiques ».Par conséquent, les artistes des pays « périphériques » essaient de valoriser les attentes du monde occidental dans leurs créations, en espérant ainsi pouvoir s’intégrer dans le réseau mondial dominé par quelques pays qui se sont désormais positionnés en « leaders ». Ces artistes conçoivent, en effet, des stratégies de communication afin de favoriser la diffusion de leurs œuvres sur la scène internationale : ils représentent leurs identités culturelles dans leurs propres créations artistiques d’une manière stéréotypée facilement identifiable pour les pays occidentaux. Le pluralisme « postmoderne » influence ainsi considérablement la création des œuvres des artistes issus des pays périphériques, en mettant en scène et en valeur tout ce qui est spécifiquement typique, c’est-à-dire local et originalEver since the era of globalization began, the Western world has been strongly engaged in the discovery of new cultures of the world, in the field of the visual arts. Indeed, it has become the norm to value diversity and cultural relativism because cultures perceived as authentic can develop considerable aesthetic and economic value from their unique and picturesque features. Even if we cannot really understand all the cultural characteristics of a far-off country, we are still able to sketch a pleasant and attractive image of this place in our imagination thanks to the mass media, which repeatedly presents these landscapes through "typical" images.As a result, artists from "peripheral" countries are trying to meet the Western world’s expectations in their work, hoping in this way to break into a global system where some countries are positioned as "leaders". These artists devise communication strategies to promote their works on the international art scene; they represent their cultural identity in their artwork in a stereotypical and easily recognizable way to the West. Postmodern pluralism considerably influenced these artists’ work, whilst focusing attention on everything that is typically “local” and “original”
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Xinliang, Wang. "A aquisição dos artigos por aluno chineses de PLE." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/17736.
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Mestrado em Línguas, Literaturas e CulturasA presente dissertação apresenta os resultados duma investigação sobre a aprendizagem dos artigos em português por alunos chineses de PLE. Com base num inquérito feito a alunos universitários chineses a estudar em Portugal, analisamos os principais problemas com que um aprendente chinês de PLE se depara no processo de aquisição do uso do artigo. No final, depois do estudo e análise dos resultados, propomos sugestões para melhorar o ensino-aprendizagem do artigo por estes aprendentes de PLE.
This paper shows the results of investigation about the Portuguese article learners of student PLE. Based on the questionnaire survey for those Chinese students that study in Portugal, we analyze the main problems of the Chinese students in the process of learning and using the article. In the end, after the study and analyze the results, we come up with advices in improving the teaching-studying of article for the students of PLE.
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Wang, Hongfeng. "Être artiste à Shanghai au début du XXI' siècle, entre institutions publiques et marché." Paris 7, 2014. http://www.theses.fr/2014PA070073.
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Depuis les deux derniers plans quinquennaux, le gouvernement chinois met au premier rang de ses priorités le développement des zones rurales. La stratégie suivie repose largement sur l'industrialisation et l'urbanisation, ce qui d'une part ne tient pas compte des thypicités de l'espace rural et d'autre part entre en contradiction avec les objectifs de protection de l'environnement et de stabilité sociale. Le développement rural est envisagé comme la diffusion du développement urbain. Dans cette thèse sont recherchés les moyens de réaliser des projets de développement socialement durable en Chine rurale. Partant du principe que les techniques et systèmes économiques durables existent déjà, le problème central est de trouver les moyens de les appliquer dans le contexte chinois. Le deuxième objectif est de déterminer quel acteur est à même de mettre en place un modèle de développement durable, et comment il peut légitimer ses actions auprès des acteurs actuels locaux que sont les gouvernements et les entrepreneurs. La thèse relate une recherche-action. Dans le cadre d'un village du Hebei, ont été lancés des projets de réhabilitation du patrimoine (tourisme, gîtes, produits du terroir). Le patrimoine est placé au centre du développement du village. Ces initiatives offrent l'occasion d'étudier la réaction de la population et du gouvernement local. Cette première série d'actions prépare l'étape suivante, une intervention à l'échelle d'un territoire de cinq villages. Cette proposition est analysée au regard d'autres modèles de développement alternatif, telles que celui formulé par le Nouveau mouvement de reconstruction rurale. Ces projets restent pour la plupart limités en termes d'échelleThe development of the art market in China has drastically changed the Chinese art world for 30 years. This market is supervised, controlled and monitored by the govemment which also vigorously takes part in its expansion. First, this thesis disçusses the analysis of public and private mechanisms which allow artists to practice their professions. All these mechanisms are presented in a historical perspective. The main research field of this thesis is the city of Shanghai. It shows that these public and private mechanisms, far away from opposing each other, interpenetrate each other. Second, this thesis talks about artistic careers: from training programs in schools and at universities to part-time or full¬time pursuit of the artistic profession on the local, national or international stage. This survey is based on questionnaires and interviews with artists and students who are very involved in visual arts. Thus, this thesis is both a contribution to the literature on changes in the fast 30 years and to the one on artistic careers
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Maués, Juliana Pinheiro 1987. "Chang Cheh e o cinema da força : estudo estilístico a partir de dez filmes do diretor." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284484.
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Orientador: Fernão Vitor Pessoa de Almeida RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T15:38:42Z (GMT). No. of bitstreams: 1 Maues_JulianaPinheiro_M.pdf: 9529207 bytes, checksum: f09dbf4511fe2a248642488c600339ef (MD5) Previous issue date: 2013
Resumo: O presente trabalho é resultado de pesquisa sobre o diretor chinês Chang Cheh, atuante no cinema de artes marciais de Hong Kong dos anos 1960 aos 1990. A proposta é traçar um perfil estilístico da obra deste cineasta, tendo como fio da meada a categoria que Noël Burch denomina "tema", ou seja, a matriz da forma cinematográfica. Para isso, foram selecionados dez filmes, de modo a compreender ao menos um de cada uma das fases da carreira do cineasta, sobre os quais foi realizada extensiva análise estilística, segundo parâmetros estabelecidos por David Bordwell. Desse modo, foi possível a identificação de um tema maior, que confere unidade à obra de Chang e cujos desdobramentos permitiram a sua identificação com o conceito de Força, conforme desenvolvido por Simone Weil. Logo, o cerne deste trabalho está no modo como Chang expressa estilisticamente à problemática da Força, com especial atenção para os seus pontos de contato com aspectos como o heroísmo, a violência e o trágico. Este trabalho pretende, ainda, ser uma apresentação do cinema de Chang, o qual, apesar da sua larga influência no cinema de Hong Kong e no filme de ação de modo geral, é pouco presente nos meios acadêmicos e na cinefilia canônica
Abstract: This work is presented as a result of a research on the Chinese director Chang Cheh, a filmmaker who worked in the martial arts cinema made in Hong Kong from the 1960s until the 1990s. The purpose is to trace a stylistic profile of his work, taking as conduction the category Noël Burch called "theme", in other words, the generator of cinematographic form. With this intention, it was selected ten movies, chosen in a way to content at least one representant of each one of the phases of the director's career. It was made extensive stylistic analyse over these movies, following parameters established by David Bordwell. Thus it was possible to identify a major theme that gives unity to Chang's work and whose deployment allowed its identification with the concept of Force, in the way it was developed by Simone Weil. The core of this work is in perceive the way Chang expresses in a stylistic mode the problematic of Force, with special attention to aspects such as heroism, violence and tragic. This work intends to be also a presentation of Chang's cinema. Although his large influence in the Hong Kong cinema and in the action movie altogether, Chang is still a filmmaker not very present in academic circles and in canonic cinephilia
Mestrado
Multimeios
Mestra em Multimeios
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Li, Tingting. "Through a Looking Glass: Chinese Artistic Practice and the Cross-Cultural Experience." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/389678.
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Following government reforms in China during the 1980s, an increasing number of Chinese artists are now studying and working overseas, including in Australia. This research explores the impact of changing attitudes in China toward contemporary art and what this means for an emerging generation of Chinese artists working internationally. I consider how Chinese artists working outside of China today can capture their cross-cultural experience and establish a sense of identity in a changing globalised world. I explore how contemporary art can capture two different worldviews and reflect a cross-cultural dialogue between different societies. My practice-led visual arts research project, accompanied by this exegesis, addresses these considerations through my experience as a Chinese artist working in Australia.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Nikolayeva, Tetyana, and Nannan Li. "The analysis of the artistic-compositional characteristics of the Chinese national Tang Dynasty costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17924.
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The Tang Dynasty clothing inherits the advantages of Han Dynasty, Wei Dynasty, Jin Dynasty, Southern and Northern Dynasties and creates many new styles with the characteristics of the times under the influence of Chinese and Western culture, which provided a lot of inspiration for the development of clothing for the later dynasties, current Chinese nation as well as for modern design. In article defined customs of people's life of Tang Dynasty period, their aesthetics preferences; revealed types and wearing habits of people's clothing; classified the decorative patterns and adorn elements for further use in modern design.
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Yu, Min. "Art sous contrainte : artistes, peinture et politique en République populaire de Chine (1949-1966)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0145.
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De la fondation de la République populaire de Chine (1949) à la veille de la Révolution culturelle (1966), les artistes furent soumis à un dogme : l'art doit être au service du peuple. Cet impératif, qui fut sans cesse répété, entraîna deux assujettissements. Celui des artistes dont le statut changea radicalement : devenus travailleurs artistiques, ils furent contraints de se plier aux flux et reflux des mouvements de masse et des campagnes politiques. Celui de la création dont la mission fut de cautionner et de célébrer le nouveau régime, et d'éduquer le peuple. Cette recherche tente de déterminer comment la politique artistique du Parti Communiste Chinois, en contraignant les artistes à être « rouges » avant d'être « experts », a bouleversé et mis en concurrence trois sortes de peintures : la peinture à l'huile, la peinture chinoise (guohua), la peinture du nouvel an (nianhua). Au centre de ces bouleversements, se pose la question du choix du réalisme, et plus particulièrement du réalisme socialiste soviétique, comme unique réponse aux attentes politiques : ce choix a-t-il privilégié la lisibilité de la peinture au détriment de ses qualités visuelles ? A-t-il engendré des modèles et des codes plastiques spécifiques pour illustrer la nouvelle politique ainsi que la transformation du paysage, la représentation du peuple ou la célébration du culte de Mao Zedong ? Ou encore cette instrumentalisation de la peinture a-t-elle rencontré des résistances ou des modes de contournement qui ont permis de préserver une part d'autonomie des peintres ?From the foundation of the People's Republic of China (1949) to the eve of the Cultural Revolution (1966), artists were subjected to a dogma : art must serve the people. This imperative, which was constantly repeated, cause two subjections. For the artists, their status changed radically. To become artistic workers, they were obliged to submit to the ebb and flow of mass movements and political campaigns. For the artistic creation, the mission was to support and celebrate the new regime, and to educate the people. This research attempts to examine how the artistic policy of the Chinese Communist Party, by forcing the artists to be "red" before being "experts", disrupts and put the three kinds of paintings in competition : oil painting, Chinese painting (guohua) and New Year painting (nianhua). At the center of these disruptions, the question of the choice of realism is posed, especially the Soviet socialist realism, which was a unique response to the political expectations. Has this choice prioritized the legibility of painting to the detriment of its pictorial qualities ? Has it engendered specific visual models and codes to illustrate the new policy and the transformation of landscape, the representation of the people, or the celebration of the cult of Mao Zedong ? Or has this instrumentalization of painting met with the resistance or a way of escape, which has preserved some of the autonomy of painters ?
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Wang, Kristen K. "Intergenerational Acculturation and Values in Chinese American Families: An Integrative Artistic Narrative Exploration." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/79.
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The main purpose of this qualitative research study is to explore first- and second-generation Chinese American’s immigration and acculturation experiences using semi-structured narrative interviews, inviting participants to engage in further exploration incorporating art making, a non- verbal method of expression. The research was designed to gain a greater understanding of Chinese Americans’ views and understandings of self, the experience and impact of cultural values on individuals and families, and to understand the role of communication and verbal and non-verbal modes of expression for this population. The findings are intended to potentially aid professionals working with this population: to promote greater awareness, understanding, and sensitivity to concerns of particular relevance, such as understanding the place of self-expression and expression of emotion, both verbal and non-verbal modes, and the role of value systems including traditional Chinese values, such as filial piety, interdependence and harmony, shame and face-saving reactions, and emphasis on achievement, especially in the context of family. Additionally this study contributes to the field of art therapy by exploring cultural and intergenerational considerations and the use of art in therapy with Chinese Americans.
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Xu, Heidi Ping. "Between likeness and unlikeness a fusion of Chinese ink painting aesthetics into the medium of photography : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design (MA&D), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/365.
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Xiang, Weiwei. "Interculturalité et intermédialité chez les auteurs francophones chinois." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC018/document.
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Dans le domaine des littératures francophones, on peut dénombrer actuellement une vingtaine d’auteurs chinois francophones : Tcheng Ki-Tong, Sheng Tcheng, Chow Ching Lie, François Cheng, Gao Xingjian, Shen Dali, Ya Ding, Dai Sijie, Ying Chen, Wei Wei, Shan Sa, et Ling Xi… Ces écrivains circulent dans différentes cultures, se servent de deux langues, et, par conséquent, leurs écritures mélangent une couleur chinoise avec une couleur occidentale. À travers leurs expériences, nous remarquons que certains d’entre eux ont développé une double pratique artistique, en accord avec leur identité culturelle désormais duelle. Ils construisent ainsi non seulement un pont entre deux langues et deux cultures, mais aussi un pont entre différents médias ou supports artistiques (romanesque et cinématographique ou pictural). Comment s’est développée la littérature francophone chinoise ? Et comment appréhender l’écriture romanesque et la pratique artistique des auteurs francophones chinois ? Centré sur des auteurs francophones chinois et leurs œuvres, notre travail formule une hypothèse sur l’articulation entre interculturalité et intermédialité au sein de la francophonie chinoiseIn the field of francophone literature, there are currently about twenty French-speaking Chinese authors : Cheng Ki-Tong, Sheng Cheng, Cheng Ching, Francois Cheng, Gao Xingjian, Shen Dali, Ya Ding, Dai Sijie, Ying Chen, Wei Wei, Shan Sa, and Ling Xi... These writers circulate in different cultures, use two languages, and consequently their writing mixes a Chinese color with a Western one. Through their experiences, we note that some of them have developed a double artistic practice, in accordance with their cultural identity, which is now dual. They thus build not only a bridge between two languages and two cultures, but also a bridge between different media or artistic supports (novelistic and film or pictorial). How has Chinese francophone literature developped itself ? And how can we understand the novelistic writing and the artistic practice of the French-speaking Chinese authors ? Focused on French-speaking Chinese authors and their works, our research formulates a hypothesis about the articulation between interculturality and intermediality within the Chinese Francophonie
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Edelholm, Nike. "Exploring Spaces of Not Knowing : an Artist View." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7000.
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The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art practice. When as an arteducator,I went to China to inquire into the educational strategies of Chinese Classical Painting,I found myself thrown into a multitude of spaces of not knowing. This thesis, is an inquiry intohow being in such spaces, perform knowledge. To explore this, I return to the field-notes andvisual material including a report in the form of a visual essay of the study from 2011. I re-turnto this material with new tools and concepts inspired by Karen Barads metaphors of diffractionand earth-worms approach, as well as my artists tools: brush, water colours, ink, and paper;inrtoducing painting as a tool for analysis.As a theoretical approach, I entangle the flat ontology of Deleuze and Guattari, and theonto-epistem-ology of Barad, with the philosophical traditions in China of Buddhism and Dao.From an onto-epistem-ological perspective, I ask the question: "If we know about the worldbecause we are of the world," what knowledge then appear, when we experience our being in theworld as a space of not knowing. In this study, I have found that a space of not knowing performlearning through experiences of Vulnerability, Risk and Trust.The art part of this thesis is connected to Risk as well as to Vulnerability and Trust. Itfeatures a rope hanging from the ceiling to the floor. It is a rope that has been used during severalyears by a Circus artist during performances; hanging high up in the ceiling — demanding focusand presence from him. The installation at Konstfack spring-show 2018 featured the Circus artistrope together with a painting made in the context of Buddhist Vipassana meditation, entanglingmy tactile approach in art, with the text of this thesis.
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Simon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
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Chandellier, Armelle. "Origine, création et transition socialiste du système artistique chinois : du premier au quatrième Wendaihui (1937 – 1980)." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0018.
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Ce présent travail de thèse propose d’explorer le système artistique chinois à travers une analyse de la dynamique complexe qui caractérise les relations entre les milieux artistiques et le Parti Communiste Chinois (PCC) de 1937 à 1980. En dégageant les trois aspects qui conditionnent cette relation : la structure organisationnelle, le cadre idéologique et les conjonctures politiques, l’objectif est de démontrer dans quelle mesure le système artistique est un haut lieu du politique.La convocation du premier Congrès National des Travailleurs Littéraires et Artistiques de Chine (Wendaihui 文代会) en juillet 1949, inaugure l’édification du système artistique chinois et incarne le point de départ d’une institutionnalisation d’un nouveau modèle de gestion des milieux artistiques fonctionnant en symbiose avec les organes du gouvernement et du PCC. Avant d’être une manifestation dédiée aux seuls milieux artistiques, le Wendaihui constitue un moment politique qui s’inscrit dans une stratégie globale de restructuration nationale dirigée par le PCC.Ainsi, grâce à une analyse des origines, de la création, de la dérive socialiste et de la restauration du Wendaihui, cette approche pluridisciplinaire permet de rompre avec l’idée que le système artistique chinois serait une organisation homogène, uniforme et intemporelle. Elle l’envisage, au contraire, comme une construction sociale historiquement située, résultant de l’interaction de multiples facteurs et prenant des formes diverses dans le temps et dans l’espaceThis research investigates the Chinese artistic system through an analysis of the complex dynamic that characterizes the relationship between the artistic circles and the Communist Party of China (CPC) from 1937 to 1980. By identifying the three aspects that condition this relationship: the organizational structure, the ideological framework and the political conjunctures, the aim of this thesis is to demonstrate to what extent the Chinese artistic system is a high place of politics.The convocation of the first National Congress of Literary and Arts Workers of China (Wendaihui 文代会) in July 1949, inaugurates the construction of the Chinese artistic system and embodies the starting point for the institutionalization of a new model of management of artistic circles that works in symbiosis with the organs of the government and the CPC.Before being an event strictly dedicated to artistic circles only, the Wendaihui is a political moment that is part of a comprehensive national restructuring strategy led by the CPC.Thus, thanks to an analysis of the origins, the creation, the socialist drift and the restoration of the Wendaihui, this multidisciplinary approach breaks with the idea that the Chinese artistic system is a homogeneous, uniform and timeless organization. This research is considering it, on the contrary, as a historically situated social construction, resulting from the interaction of multiple factors and taking various forms in time and space
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Chen, Hsiu-Hsiung. "The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan." FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2131.
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For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.
Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.
The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education.
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Figliulo, Roberto. "Between public and private spaces: photographic visions in contemporary China." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.
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The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them.
We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand the complexity of determinate phenomenon related to the spaces represented by the selected artists.
This research wants to present the Chinese photographic production through determinate criteria that enable the understanding of its relevance in the comprehensive Chinese current cultural production.El objetivo de esta disertación es presentar una visión concreta sobre la producción fotográfica china contemporánea. Se analizarán aquellos trabajos fotográficos que tratan de manera directa o indirecta la representación de espacialidades concretas, con mayor atención al tratamiento de las espacialidades pública y privada, y a las problemáticas a ellas conectadas. La época que se analizará es la que va del decenio de los Ochenta hasta hoy en día, un periodo de particular desarrollo de la producción fotográfica en China. La metodología aplicada conisistirá en un acercamiento multidisciplinar que permita comprender la complejidad de determinados fenómenos ligados a las espacialidades representadas por los artistas seleccionados. Esta investigación quiere presentar la producción fotográfica en China a través de un determinado criterio que permita comprender las numerosas facetas y la importancia que tiene en la actual producción cultural china.
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Åsa, Back. "SINNLIG (sensuous) in Beijing : towards an Artistic Ethnography." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-312.
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Projektet bygger på åtta veckors fältarbete på en oberoende teater i Peking våren 2017,baserat på antropologisk och konstnärlig metod. Det är ett försök att utveckla begreppet konstnärlig etnografi, samt tillämpa det praktiskt. I detta är konsten inte huvudsakligen en produkt eller en presentationsform, utan ett sätt att tänka, att förhålla sig till världen. Materialet består av fältanteckningar, video, foto, rörelsematerial, personliga berättelser, minnen av dofter, ljud och smaker och någonting så vagt som stämning – stadens tempo, känslan i en repsituation… Hur kan scenen förmedla en plats och dess människor? Kan jag levandegöra mina upplevelser så att de blir angelägna för någon annan än mig själv? Det praktiska arbetet utgör ett försök att besvara dessa frågor. Vilka bilder har vi, och vad ser vi när vi speglar oss i varandra? Vad betyder det att våra världar redan är sammanflätade? Spegeln som bild och lek, träder fram både som tema och metod. Begrepp som exotism, representation och mötet med den andre diskuteras, liksom växlingen mellan identifikation och främmandegörande (”othering”) som en grund för förståelse. Hur påverkas människors liv av Kinas snabba samhällsförändringar, balansgången mellan socialism och kapitalism? Och vilken roll har scenkonsten i detta? Här diskuteras frågor om yttrandefrihet, liksom relationen mellan politik och spelstil, så kallad ”fejk realism”. Frågorna knyts samman genom en diskussion om autenticitet, följd av en betraktelse om utanförskap, för att slutligen återvända till det personliga mötet, till en berättelse om kontaktsökande – om vänskap.This project is based on eight weeks of fieldwork at an independent theatre in Beijing in the spring of 2017, based on anthropological and artistic methods. It is an attempt to develop the concept artistic ethnography, and apply it practically. In this, art is seen not mainly as a product or a form of presentation, but as a way of thinking, of relating to the world. The material consists of field notes, video, pictures, movement material, personal stories, the memories of smells, sounds and tastes and of something as vague as atmosphere – the pace of the city, the feeling of a rehearsal situation... How can the stage render a place and its people? Can I bring my experiences to life, making them relevant for anybody else? The practical artistic work with an exposition is an attempt to answer these questions. What images do we have, and what do we see when we mirror each other? What does it mean that our worlds are already intertwined? The mirror as image and play appear both as a theme and a method. Concepts like exoticism, representation and the encounter with the other are discussed, as well as the movement between identification and othering, contributing to understanding. How are people’s lives affected by China’s rapid social changes, balancing between socialism and capitalism? What role do the performing arts have in this? Questions about freedom of expression are discussed, along with the relation between politics and styles of acting, the so called “fake realism”. The research questions are tied together in a discussion of authenticity, to finally return to the personal encounter and a story of seeking contact, of friendship.
Sinnlig - the movie finns länkad dels i dokumentet och dels som egen fil
Movit –Direction and Dramaturgy of movement based Performing Arts
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Bories, Estelle. "Art et révolution : une perspective sur les avant-gardes et la question de la modernité en Chine au vingtième siècle (1976-2003)." Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0057.
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Cette thèse porte sur l’institutionnalisation du concept d’art contemporain chinois. Notre problématique repose sur la jonction entre la question de la modernité, les manifestations d’un particularisme culturel et le maintien d’un positionnement contestataire. Souvent envisagé comme l’expression d’un art mondialisé, l’art contemporain chinois masque un processus évolutif complexe. La revendication d’un décalage, voire d’une rupture, entre l’évolution de l’art en occident et en Chine a été à l’origine de nombreux débats. Les critiques portant sur les mouvements artistiques "avant-gardistes" affiliés aux courants de désidéologisation après la mort du président Mao en 1976 (Xingxing, bawu yundong) sont marquées par une scission entre les partisans d’un activisme artistique et les défenseurs d’une approche formelle tenant mieux compte des évolutions de l’art occidental. Un art perçu comme le reflet des mutations que connaît le pays dans les années 1990 -via le retour au réalisme (Réalisme cynique, Gaudy art) ou à la spécificité de l’expérience révolutionnaire (Pop politique)- va accentuer les controverses sur la place à accorder à la critique sociale dans la création contemporaine. La focalisation sur les données environnementales (beijing) sur laquelle s’appuie certains critiques (Li Xianting, Gao Minglu) a été pourtant condamnée par des artistes et des critiques d’art partis vivre à l’étranger (Fei Dawei, Huang Yongping…)This thesis considers the institutionalization of the concept of Contemporary Chinese Art. The main issue is drawn on the analysis of expressions of cultural distinctiveness and its link to the question of modernity. Mostly regarded as the manifestation of a globalized art, Chinese contemporary art conceals in fact a complex evolutionary process. The claim that a gap, or even a break-away, between the evolution of art in the Western World and China, initiated many debates. The study of the artistic movements involved in the ideological emancipation process, after the death of Chairman Mao in 1976, (Xingxing, bawu yundong), shows a split between supporters of an artistic activism on the one side and partisans of a formal approach taking better account of developments in Western art on the other. Likewise, art perceived as an echo to the many changes sweeping the country since the 1990s has stimulated controversies on the role of social contest in contemporary art - through the return to realism (Cynical Realism, Gaudy Art) or the specificity of the revolutionary experience (Political Pop). Follows the emphasis on environmental data (Beijing) entertained by critics (Li Xianting, Gao Minglu), deeply condemned by artists and critics who were living abroad (Fei Dawei, Huang Yongping) ; also, there persists a rebellious stance (Ai Weiwei, Gao Shiming) aiming beyond the limits of denouncing Western attitude
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Bernard, Marie-Hélène. "Les compositeurs chinois au regard de la mondialisation artistique : Résider-Résonner-Résister." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040156.
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Après la Révolution culturelle, toute une génération de compositeurs de Chine continentale a émergé sur la scène internationale. Ce mouvement est indissociable de la mondialisation artistique, puisque beaucoup de ces compositeurs se sont dispersés dans le monde pour se construire hors de leur contexte culturel d’origine. C’est à Chen Zhen, un plasticien chinois de la même génération, que nous avons emprunté les trois concepts de « résidence, résonance et résistance », pour éclairer leurs trajectoires. 1 Résidence Comment relier par cette notion des compositeurs qui vivent aux États-Unis, en Europe, et même … en Chine ? Ce n’est pas dans la géographie qu’il faut chercher un ancrage commun, mais plutôt dans l’histoire. Dix années de Révolution culturelle, suivies de dix années d’ouverture, ont façonné très fortement cette génération.2 Résonance Dans la délicate alchimie à opérer entre techniques occidentales et traditions musicales chinoises, on repère une sorte de circulation entre différentes couches de mémoire. L’étude des œuvres permet de voir combien les influences s’enchevêtrent.3 Résistance On note chez nombre de compositeurs chinois une volonté de se démarquer de la musique contemporaine occidentale : univers incontournable pour être reconnu, elle semble avoir opéré à la manière d’une sorte de « surmoi ». On peut y voir la résurgence de l’idéal esthétique chinois ancien du naturel (ziran), mais aussi un accommodement aux lois du marchéAfter the Cultural Revolution, a whole generation of Chinese composers arrived on the international music scene. It is not possible to dissociate this movement from the artistic globalisation, since almost all of these composers are spread out over the different continents and are working outside of their original cultural context. To clarify the paths taken by these composers, we shall use the categories (“residence, resonance and resistance”) elaborated by Chen Zhen, a Chinese visual artist of the same generation1. ResidenceHow can we possibly group together under this term composers living in the United States, Europe and even … in China? We cannot look to geography to find a common basis but rather to history. Ten years of the Cultural Revolution followed by another ten where China had opened to the West have had a very strong impact on this generation of composers.2. ResonanceIn the delicate alchemy that takes place between Western technique and Chinese musical tradition, we can see a certain inter-penetration of different layers of memory. Studying the works of these composers, we can see how much these influences become entangled.3. ResistanceWe can notice with many of these Chinese composers a growing tendency to take distance from Western contemporary music, a world essential to be part of, if one wants recognition, acting as a kind of Super-Ego. We can see this phenomenon like the resurgence of very old Chinese aesthetic concept, the ideal of the “natural” (ziran) or like a compromise with the market power
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Shi, Wen. "Les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire »." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2020/document.
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Cette thèse se situe dans la perspective de la philosophie de l’éducation et de l’art. Elle propose d’aborder, au travers de grands textes issus de la philosophie et de l’esthétique, la question des valeurs éducatives des arts. Cette question est ici considérée dans une perspective comparative et historique entre la culture chinoise et la culture occidentale. Le critère de comparaison, notamment inféré depuis des données de la mythologie chinoise et/ou de la Grèce ancienne, est celui d’approches soit « binaires », fondées sur deux pôles, ce que nous qualifions aussi de « bipolaire », soit « ternaires » ou « tripolaires », avec le rôle d’un Tiers, d’un « milieu ». La problématique ainsi retenue est la suivante :Quelles sont les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire » ?Au niveau historique, pour chaque culture, deux périodes jugées « significatives » dans le cadre de la philosophie de l’éducation esthétique/artistique ont été retenues. La première période correspond à l’Antiquité. Pour la chine, il s’agit de l’époque des Printemps et Automnes (771 à 476 av. J.-C.), pendant laquelle sont nés les courants philosophiques du confucianismeet du taoïsme. Pour l’Occident, il s’agit de la pensée grecque telle qu’elle est soulignée par Platon et Aristote. La seconde période, ne correspond pas à une synchronie entre la Chine et l’Occident. En revanche, elle se traduit dans un cas comme dans l’autre, par une profonde réforme des valeurs éducatives des arts. Cette réforme correspond pour l’Occident aux Lumières, notamment allemandes, par exemple avec la naissance, au XVIIIe siècle, de l’esthétique sous la plume de Baumgarten. Si la Chine était restée en phase avec la tradition de l’époque des Printemps et Automnes, il fallut attendre l’époque républicaine, à partir de 1919, pour que cette réforme se produise, précisément sous l’influence d’intellectuels chinois qui introduisirent de nouvelles conceptions très influencées par les Lumières européennes.Tel est le parcours historique que propose cette thèse, pour revenir finalement à la question de sa démarche comparative sur la base du « binaire » ou du « ternaire », base sur laquelle oscille l’ensemble du corpus présenté, tant en Chine qu’en Occident. Cette double configuration, repérée au centre des axiologies ici présentées, se prête ainsi, au-delà des valeurs éducatives des arts, à articuler un opérateur comparatif « transculturel » dont la proposition et l’essai constituent l’originalité de cette thèse au regard des approches sino-occidentalesThis thesis is situated in the perspective of the philosophies of education and of art. It proposes to broach, through the principal texts stemming from philosophy and aesthetics, the question of the educational value of the arts. This question is considered in a comparative and historical perspective between Chinese and Western cultures. The object of the comparison, especially inferred from the figures of Chinese and/or ancient Greek mythology, is that of the “binary” approach, based on two poles that we also describe as “bipolar”, or of the “ternary”/“tripolar” approach, with the role of a Third, or a “middle”. The issue retained is as follows: What are the educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration?At a historical level, for each culture, two periods judged “significant” within the context of the philosophy of education/aesthetic/art were retained. The first period corresponds to antiquity. For China, it is the Spring and Autumn period (771 to 476 BC), during which the Confucianism, and Taoist movements were born. For the West, it is Greek thought asemphasized by Plato and Aristotle. The second period does not correspond to synchrony between China and the West. However, it manifests in both cases a profound reformation of the educational value of the arts. For the West, this reform corresponds to the Luminaries, especially German, for example with the 18th century birth of aesthetics in the writings ofBaumgarten. If China stayed within the tradition of Spring and Autumn, it wasn’t until the republic period, from 1919 onward, that this reform happened, precisely under the influence of the Chinese intellectuals, who introduced new conceptions which were highly influenced by the European Luminaries.This is the historical course that this thesis proposes, in order to return to the question of its comparative approach on the basis of the “bipolar” or the “tripolar” configuration. The entire corpus that we present oscillates on this basis, in China as well as in the West. This double configuration, found at the center of the axes presented here, is well suited, beyond the educational value of the arts, to articulate a “transcultural” comparative operator. This proposition constitutes the originality of this thesis with respect to Chinese-Western approaches
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Ngor, Aaron Seav. "The Influence of Dry Cupping Therapy on Musicians with Chronic Neck Pain: An Initial Case Series." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525726057063134.
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Skaggs, Meredith L. "Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338435148.
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Li, Yuping. "Landscape painting as a critical cross-cultural art practice : exploring how the theories and methodologies in ancient Chinese painting can be fused into contemporary landscape art practice to expand existing artistic formats." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/83083/.
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This thesis is part of a practice-based Ph.D. study that investigates the genre of landscape painting through a cross-cultural perspective and method of practice. It attempts to link and step across the fields of ancient Chinese and contemporary Western art, with a focus on how to critically understand and use Chinese aesthetic traditions to make a contribution to contemporary landscape painting practice. This study argues that ancient Chinese art theory can provide unique insights and ways of thought, as a different interpretive strategy from the Western art tradition; and the traditional Chinese pictorial methodology is able to integrate into contemporary landscape painting practice and, as a result, expand existing artistic formats. This study aims to provide a cross-cultural perspective on thinking and the methods of analysis, broadening the cultural boundary of landscape painting and enriching the current understanding in the field. The theoretical section aims to provide the direction and systematic inquiry to develop a critical awareness and the appropriate methodology of studio practice. Studio practice, in the study, seeks the possibilities to create new forms of contemporary landscape painting as well as the new methods of making it, which include diverse aesthetic traditions and cultural understandings.
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Cinquini, Philippe. "Les artistes chinois en France et l’Ecole nationale supérieure des beaux-arts de Paris à l’époque de la Première République de Chine (1911-1949) : pratiques et enjeux de la formation artistique académique." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30003/document.
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La présence des artistes chinois en France durant la première moitié du XXe siècle s’est fixée de manière exceptionnelle et durable à l’École des beaux-arts de Paris, au point qu’on puisse, à partir du dépouillement des archives nationales (cote AJ52), parler d’un « phénomène chinois à l’École des beaux-arts de Paris ». Ce phénomène a engagé plus de 130 élèves chinois inscrits dans les galeries et dans les ateliers de peinture et de sculpture entre 1914 et 1955. Aussi, cette présence à l’École des beaux-arts constitua une caractéristique essentielle du mouvement des artistes chinois en France et plus largement en Occident. À ce titre, ce phénomène a joué un rôle important dans l’évolution du champ artistique chinois moderne, sur le plan social,technique et artistique à travers un processus de « transfert culturel ». Ce phénomène fut possible grâce à une relation privilégiée qui exista entre la France et la Chine au début du XXe siècle (le « dialogue entre deux républiques »). Mais l’École des beaux-arts fut aussi un espace de concurrence entre les différentes tendances artistiques modernes chinoises dont beaucoup des chefs de file passèrent par les ateliers de l’École. Parmi eux,Xu Beihong (1895-1953) occupa une place particulière car il développa une stratégie sociale et artistique cohérente qui posait comme fondamentales la formation artistique académique et l’expérience à l’École des beaux-arts de Paris. Cette expérience enrichie par la maîtrise du dessin académique, de l’anatomie artistique et de la peinture d’histoire, fut orientée vers une production inédite à bien des égards en Chine, à l’huile et à l’encre. Aussi, après une période consensuelle des années 1910 aux années 1920, il semble qu’à partir des années 1930, le phénomène chinois à l’École des beaux-arts de Paris alimenta essentiellement le pôle éducatif et artistique de Xu Beihong en France et en Chine. Ce phénomène chinois à l’École des beaux-arts de Paris,attaché à la formation académique et à l’art académique français, fut un élément dynamique dans l’élaboration de la modernité artistique en Chine au XXe siècleThe presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China
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Su, Mei-Yu. "La naissance du trait de ciseau : l’espace pictural restructuré : histoire de la sculpture sur bambou à l’époque des qīng." Paris 4, 2006. http://www.theses.fr/2006PA040180.
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Le bambou n’est pas considéré comme un matériau précieux. Cependant, il occupe un rôle symbolique, spirituel et moral dans la vie des Chinois depuis la dynastie des Jìn (265-420). L’art de la sculpture sur bambou se développe, vers le milieu de la dynastie des Míng (ca. 1500) dans la province du Jiāngsū, avec l’impulsion des lettrés qui s’intéressent à cet art. Ils transmettent aux artisans leur goût et leur concept esthétique, comme ils l’ont fait auparavant à travers les pièces en jade. Les objets artistiques en bambou, appréciés tant par la Cour que par les lettrés, deviennent ainsi une des créations les plus raffinées du XVIIIe siècle. C’est Jīn Yuányù 金元鈺, lettré des Qīng, qui dès 1807 parle des artistes-sculpteurs sur bambou de la ville de Jiādìng 嘉定, dans son Répertoire des artistes-sculpteurs sur bambou (Zhúrén lù, 竹人錄). Les artistes-sculpteurs ont réussi à transposer dans leur art les conceptions de la peinture, de la calligraphie et de la poésie en « maniant le ciseau comme le pinceau » (yòng dāo rú yòng bǐ, 用刀如用筆) et en traitant la peau du bambou comme le papier, donnant naissance à un art raffiné et élégantBamboo is not regarded as a precious material. Nevertheless, since the Jìn dynasty (265-420), it plays a symbolic, spiritual and moral role in the life of the Chinese. The art of bamboo sculpture was developed in the middle of the Míng dynasty (ca. 1500) in the Jiāngsū province, under the impulse of the scholars who were interested in this art. They passed on to craftsmen their taste and their aesthetic concept as they did before through pieces of jade. The bamboo artistic objects, appreciated by the Court as well as by the scholars, became one of the most refined creations of the XVIIIe century. It is Jīn Yuányù 金元鈺, a scholar of the Qīng dynasty, who, as early as 1807, spoke about the bamboo artists-carvers from his own town, Jiādìng 嘉定, in his Record of Bamboo Carvers (Zhúrén lù, 竹人錄). The artists-carvers succeeded in transposing in their art the painting, calligraphic and poetic conceptions by “handling the chisel like a brush” (yòng dāo rú yòng bǐ, 用刀如用筆) and by handling the bamboo skin as paper, giving birth, by this way, to a refined and elegant true art
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Du, Yixiong. "La transmission du patrimoine culturel immatériel par le biais de la formation : étude comparative du mode de formation professionnelle des artisans de la céramique en Chine et en France." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100193.
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De nos jours, la transmission du patrimoine culturel immatériel reste une problématique internationale qui touche à la fois la question de conservation de notre passé et la question actuelle du développement de l’économie créative. Cependant, cette transmission se réalise à travers de différents biais éducatifs, qui pourraient être formels ou non formels, qui pourraient viser à former les professionnels ou les amateurs. Cette présente thèse a choisi le patrimoine artisanal et sa transmission comme le sujet de recherche, avec une attention particulière portée sur les formations formelles et non formelles, qui sont considérées comme les dispositifs de transmission professionnelle du patrimoine artisanal, le chercheur s’est approché vers un terrain spécifique, celui de l’artisanat de la céramique et a mené une étude comparative sur les formations formelles et non formelles, organisées dans les deux sociétés contrastées dont celle de la Chine et celle de la France, qui transmettent cet artisanat. En analysant les discours de 28 céramistes dont 14 céramistes indépendants (7 Chinois et 7 Français) et 14 céramistes salariés (7 Chinois et 7 Français), cette thèse vise à faire comprendre quels sont actuellement les modes (formels et non formels) de formation professionnelle en artisanat de la céramique, les plus respectivement favorisés par les céramistes praticiens en Chine et en France. Des perspectives sont dégagées sur les similarités et les écarts dans les comportements et les routines des activités de transfert, d’appropriation des savoirs et des savoir-faire concernés et de création à partir des savoirs et des savoir-faire transmis de chacun des modes de formation, employés dans ces deux contextes sociaux dissemblables que sont ceux de la Chine et de la FranceToday, the transmission of intangible cultural heritage remains an international issue that touches not only the preservation of the past but also the practical question of the development of creative economy. However, this transmission can be realized via various educational channels, whether it is formal or non-formal, which could aim to train professionals or amateurs. This thesis decided to choose the artisanal heritage and its transmission as the research subject, with a particular focus on formal and non-formal formations, which are considered as devices for the professional transmission of the artisanal heritage. The author advanced the topic towards a specific field, that of the craft of ceramics and carried out a comparative study on formal and non-formal formations, organized under the context of two contrasting societies, that of China and France, which transmit this craft. By analyzing the talks of 28 ceramists, including 14 independent ceramists (7 Chinese and 7 French) and 14 ceramists-employees (7 Chinese and 7 French), this thesis aims to offer a clear understanding on what are the prevailing modes (formal and non-formal) of vocational training in the craft of ceramics, that favored mostly by the ceramic practitioners in China and France. Observations and perspectives have been made on the similarities and differences in terms of practices and routines of transfer, acquisition, and creation of knowledge and the know-how of each of the training mode, adopted under the different social contexts of China and France, which are marked by sharp contrasts