Journal articles on the topic 'Chinese artists'
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1
Meng, Qian. "The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.
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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.
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Chai, Fangyuan, Kaiping Peng, and Feng Yu. "Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks." Social Behavior and Personality: an international journal 44, no. 4 (May 18, 2016): 541–54. http://dx.doi.org/10.2224/sbp.2016.44.4.541.
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There are few studies in which the focus is on cognitive determinants of artwork bidding. Using a micro approach, we explored factors that may influence bidders' offering from a psychological perspective. The 157 participants rated 25 paintings on the price they were willing to offer for works by famous Chinese artists executed in the traditional Chinese style and variants of the same works by a modern Chinese artist working in adaptations of the style of famous Western artists. Results showed that for both the Chinese and Western-style paintings in 3 price anchoring and 3 price nonanchoring conditions, 3 factors affected the bidding for the artworks: positive attraction, artistic quality, and cognitive stimulation. Of these factors positive attraction and artistic quality were the primary influences. In each condition, positive attraction was always the positive predictor of the bidders' offering, emphasizing the importance of the artwork's aesthetic value. In contrast, artistic quality deterred participants from bidding. In addition, whether or not there was a reference-point price made a difference in the traditional Chinese group of artworks. Bidders wished to offer a higher price only if the price had been high for the previous example of this artist's work that had sold.
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Clunas, Craig. "Chinese Art and Chinese Artists in France (1924-1925)." Arts asiatiques 44, no. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.
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Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.
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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.
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Kyan, Winston. "The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 157–75. http://dx.doi.org/10.1386/jcca_00060_1.
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This article discusses the work of Yan Xing, who has established an international career as a Chinese diaspora artist. This transnational identity, however, raises certain questions, including how Yan Xing’s work changed from when he lived in China to when he became a US resident in 2015, and how these changes differ from the globalized art of earlier diasporic Chinese artists. Accordingly, this article first argues that overt references in Yan Xing’s earlier work to sex and sexuality shift to an exploration of desire, truth and fiction in his later work that aligns with discourses on queer diasporas and minor theories. Secondly, this article argues that the new generation of Chinese diaspora artists live and work in a different political climate from the earlier generation of Chinese diaspora artists; the new generation works in an art world in which they are not exoticized objects, but actively participates in the making of a global visual language.
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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.
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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.
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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.
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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”.
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Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.
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The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.
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Canbolat, Ayse. "Over Thousands: Ai Weiwei and Antony Gormley in Ceramic Perspective." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 214–21. http://dx.doi.org/10.18844/prosoc.v4i11.2877.
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Mass production that started with the Industrial Revolution, and the art movements that successively appeared with modernism and the psychological pressure of World Wars I and II affected the artist’s way of expression. This development process in art started with Dada, and was followed by Abstract Expressionism, Pop Art, Conceptual Art and Neorealism. During this period, the perception of uniqueness of an artwork was surpassed an an object or item from daily life started to be exhibited in art galleries. Artworks were made using an object in a composition, and this tendency started to be used by artists. Two artists who made their projects in ceramics are chosen in the research, and it is discussed why they used thousands of objects, and the conceptual perception of the work through the examples of ‘Sunflower Seeds’ by Chinese artist Ai Weiwei and ‘Field in the British Isles’ by English artist Antony Gormley. Keywords: Ceramic art, Ai Weiwei, Antony Gormley, installation, thousands.
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Zhang, Lin, and Taj Frazier. "‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists." International Journal of Cultural Studies 20, no. 6 (August 24, 2015): 567–84. http://dx.doi.org/10.1177/1367877915600554.
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This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.
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Vikram, Anuradha. "Spectres of orientalism: Patty Chang and Chinese American art in the pandemic." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 353–85. http://dx.doi.org/10.1386/jcca_00071_1.
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This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
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Yang, F. "Exhibition of Chinese Artists’ Plein Air Sketches at St. Petersburg Union Of Artists." Университетский научный журнал, no. 52 (2020): 127–35. http://dx.doi.org/10.25807/pbh.22225064.2020.52.127.135.
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Fei, Yan. "Xu Beihong and his activities in the field of popularization of Chinese painting abroad." Культура и искусство, no. 5 (May 2022): 10–18. http://dx.doi.org/10.7256/2454-0625.2022.5.37942.
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The article analyzes the international activities of the outstanding representative of the Chinese art world Xu Beihong. The subject of consideration is the artist's trips to the countries of Europe, Southeast Asia and the USSR in the 30s - early 40s of the XX century. Special attention is paid to how the painter organized the participation of Chinese artists in international exhibition projects. A detailed description of the most significant of them is given. The emphasis is on how Xu Beihong selected works for exhibition projects that could be called "pure and representative Chinese art." The role of Xu Beihong in the popularization of Chinese art is also revealed. The article reveals for the first time the stages and features of the activities of the outstanding Chinese artist Xu Beihong, focused on the popularization of Chinese fine art and culture outside China. As a conclusion, it is argued and argued that Xu Beihong's activities abroad, which included a variety of forms of representation of Chinese painting – exhibitions, lectures, master classes, scientific reports, information platforms, etc., was the first serious step that allowed showing the heritage of Chinese art culture to the general public outside China, to bring Chinese painting to the international arena.
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Eschenburg, Madeline, and Ellen Larson. "The Round Table 03 圆桌: A Conversation with Xu Bing." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 201–7. http://dx.doi.org/10.5195/contemp.2015.157.
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The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.
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Юаньпэн, Хуан, and Цинь Тинтин. "The Yellow River in modern Chinese painting: artistic image and means of its expression." Iskusstvo Evrazii [The Art of Eurasia], no. 2(25) (June 30, 2022): 26–35. http://dx.doi.org/10.46748/arteuras.2022.02.002.
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В современных живописных работах художники Китая используют особые средства художественной выразительности, чтобы передать мысли и эмоции, связанные с восприятием природы и жизни в целом. Индивидуальный язык, выработанный живописцем, является тем средством, которое максимально раскрывает творческий замысел художника. И каждая успешная работа подчеркивает уникальные методы художественного выражения идеи мастера. На своеобразие индивидуальной формы выражения влияют и среда формирования творческой личности каждого художника, культурный контекст (большое значение имеют и региональные культуры), длительное формирование индивидуального образа мысли и образование, которое получает живописец. Своеобразие регионального культурного наследия и особый ландшафт бассейна реки Хуанхэ создали оригинальный стиль многих художников. Исследование индивидуального художественного языка связано с несколькими аспектами: пространственной композицией, колористикой, структурой мазка и другими. В данной статье проанализирован образ реки Хуанхэ в китайской масляной живописи, а также индивидуальный подход ряда художников к его воплощению. Modern Chinese artists, expressing the image of Yellow River, use special means of artistic expression to convey thoughts and emotions related to the perception of nature and life in general. The individual language of the painter is the means that maximizes the artist's creative intent. And each successful work emphasizes the unique methods of artistic expression of the master's idea. The originality of the individual form of expression is also influenced by the environment in which the creative personality of each artist is formed, the cultural context (regional cultures are also of great importance), the long-term formation of an individual way of thinking and the education that the painter receives. The peculiarity of the regional cultural heritage and the special landscape of the Yellow River Basin have created the original style of many artists. The study of an individual artistic language is associated with several aspects: spatial composition, coloring, stroke structure, and others. This article analyzes the image of the Yellow River in modern Chinese oil painting, as well as the individual approach of a number of artists to its expression.
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Kuryanova, Anastasia M. "Russian Artists at the Russian Orthodox Ecclesiastical Mission in Beijing in the 19th Century: Some Research Concerns." Oriental Courier, no. 4 (2022): 105. http://dx.doi.org/10.18254/s268684310023832-3.
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In 1830, a Russian painter named Anton M. Legashov (1798–1865) went to Beijing as part of the Russian Orthodox Ecclesiastical Mission becoming the first professional Russian artist in China. In total, four Russian painters visited China being included in the mission: A. M. Legashov, K. I. Korsalin, I. I. Chmutov, and L. S. Igorev. In Beijing, the artists were supposed to paint portraits commissioned by the Chinese and thereby establish useful contacts with influential Chinese officials; in fact, the painters acted as diplomatic agents. At the same time, they had to fulfill the task of the Imperial Academy of Arts, St. Petersburg, which instructed them to collect visual evidence about the life, customs and views of the distant eastern country. Upon arrival in China, Russian painters were introduced to a unique artistic scene of the late Qing Dynasty, where Chinese, European and Occidental art interacted. Thanks to that, the work of Russian artists acquired a very distinctive look. However, nowadays the heritage of these painters is practically not studied due to several issues connected with a small number of their surviving works, questionable attribution, unclear provenance, insufficient study of neighboring artistic phenomena, such as Chinese export art or the art of the followers of Giuseppe Castiglione and other Jesuit artists at the Chinese imperial court. The article is thus devoted to the analysis of the difficulties regarding the study of the work of Russian artists at the Russian Orthodox mission in Beijing. The identification and analysis of these research concerns will allow to further develop methodology for studying the work of these painters, whose unique oeuvre remains a noticeable gap in Russian art history, while the history of the Russian Ecclesiastical mission itself or the art of Western missionaries in China have been deeply analyzed by both Russian and foreign scholars.
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Yang, Fei. "Individual Approaches of Chinese Artists to Landscape Painting." Университетский научный журнал, no. 61 (2021): 265–79. http://dx.doi.org/10.25807/22225064_2021_61_265.
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Jiehong, Jiang. "Contemporary Chinese artists in the globalized art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 3–6. http://dx.doi.org/10.1386/jcca.5.1.3_2.
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Merlin, Monica. "Cao Fei: Rethinking the global/local discourse." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 41–60. http://dx.doi.org/10.1386/jcca.5.1.41_1.
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Cao Fei (b. 1978) was born and raised in the southern Chinese city of Guangzhou by the Pearl River Delta (PRD), ‘the factory of the world’, as the artist defined it. Working with multimedia, primarily video, photography and machinima, her practice engages with popular culture, regional trends and globalized fashions. With an early official participation at the China Pavilion of the Venice Biennale in 2007, Cao Fei is one of the most renowned Chinese artists of the post-Cultural Revolution ‘new new human beings’ (xinxin renlei), and one of the few women artists from the People’s Republic of China who has been recognized and collected internationally by art establishments such as the Tate Collection in Britain, the Centre Pompidou in Paris and MoMA in New York. This article proposes to use Cao Fei’s work to explore the limitations of the global/local discourse and offer a more nuanced and complex understanding of this dichotomy in Chinese contemporary art.
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Xiangsheng, Feng. "A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros." ARTMargins 9, no. 1 (February 2020): 92–99. http://dx.doi.org/10.1162/artm_a_00257.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.
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This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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Wang, Yang. "Envisioning the Third World: Modern Art and Diplomacy in Maoist China." ARTMargins 8, no. 2 (June 2019): 31–54. http://dx.doi.org/10.1162/artm_a_00234.
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In the mid-1950s, China conducted robust cultural exchange with the Third World in tandem with a parallel political program to influence non-aligned nations in contestation to the Soviet Union and Western powers. This article examines this underrecognized facet of Maoist-era art through the international engagements of two Xi'an artists, Shi Lu (1919–1982) and Zhao Wangyun (1907–1977), who traveled to India and Egypt as cultural attaché of the Chinese state. By tracing the travels of the two artists in light of their artistic and theoretical formulations, this article argues that contact with decolonizing spheres of the Third World inspired Chinese artists to embrace forms of indigenous Chinese art like ink painting in rejection of Euro-American modernism. In solidarity with other non-Western art spheres that developed similar nativist responses to the hegemony of Western modernism, Chinese artists belonged to a global postwar movement to assert political independence through artistic autonomy and national style.
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Cao, Jing. "Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”." ARTMargins 9, no. 1 (February 2020): 83–91. http://dx.doi.org/10.1162/artm_a_00256.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak, and Jarosław Rogóż. "A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)." Applied Sciences 13, no. 4 (February 13, 2023): 2414. http://dx.doi.org/10.3390/app13042414.
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This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods supplemented with archival sources and enabled characterising the investigated paint mixtures and revealing details of the artist’s painting technique. The study has proved the artist’s ability to produce a variety of hues by utilising a conventional palette of colours. The predilection for ultramarine, viridian, yellow and red iron-rich earth pigments, umber, yellow chromate pigments, as well as lead white, zinc white or Zn-base compounds like lithopone and barium white was recorded. The study emphasises a minor use of Prussian blue, emerald green, cadmium yellow or its variant and bone black. Although it remains unknown what brands of paints Liu Kang used, the available archival sources give insights into the painting materials available in Shanghai that the artist could have had at his disposal during the period under review. The archival information is based on the Chinese and overseas colourmen advertisements printed in Chinese journals and the respective contemporary colourmen catalogues. The artist’s painting technique departs from the experimental approach of his Paris phase. In Shanghai, he focused on synthesising the painting principles of the School of Paris with traditional Chinese calligraphy. The outcomes of this research may support future technical studies of works by other artists contemporary to Liu Kang and who were active in pre-war Shanghai.
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Ong, Emelia Ian Li. "Resistance and Representation: The Making of Chinese Identity in the Art of The Yiyanhui and the Equator Art Society in 1950s Singapore." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 13–27. http://dx.doi.org/10.21315/ws2020.19.2.
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This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.
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Leibenluft, Michael, and Maja-Stina Johansson Wang. "Spiritual Farming: Performance at Shanghai's Downstream Garage." TDR/The Drama Review 58, no. 1 (March 2014): 24–41. http://dx.doi.org/10.1162/dram_a_00326.
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Since 2004, Shanghai's Downstream Garage has been a center for independent artists who challenge the conventions that limit the language, physicality, and content of contemporary Chinese performance. By presenting unregistered open rehearsals and providing space free of charge, Downstream minimizes the commercial pressures and strict governmental oversight that typically confine Chinese artists.
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Valjakka, Minna. "Parodying Mao’s Image: Caricaturing in Contemporary Chinese Art." Asian Studies, no. 1 (December 1, 2011): 87–114. http://dx.doi.org/10.4312/as.2011.-15.1.87-114.
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Although Chinese contemporary artists are often criticized for creating superficial works that parody Chairman Mao without any deeper meaning, the employment of parody is a far more complex phenomenon. Instead of being representatives of Jamesonian pastiche, many artists employ varying methods of trans-contextual parody to express their mixed and even controversial intentions and notions. With a detailed structural analysis of the art works, and taking into account the socio-cultural context and the artists’ own intentions, I will show that the common assumptions—that parodying Mao is equivalent to political pop or that political pop represents pastiche—are oversimplifications of this complex phenomenon, especially when caricaturing is used as a method to violate the visual norms.
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Conceison, Claire. "What's New-and Renewed-Onstage in China." TDR/The Drama Review 47, no. 1 (March 2003): 74–80. http://dx.doi.org/10.1162/105420403321250008.
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This new feature of TDR presents reports on various performances and artists. In this issue we offer an account of the 2002 Chinese theatre season, a performance rumination on the atomic bomb and 9/11, the experience of groupies at a parodic “cock-rock” concert, and a selection of performative haikus composed by a San Francisco performance artist.
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Xing, Nizhen. "Associations of Chinese Artists in the World and Promotion of Chinese Art Abroad." Университетский научный журнал, no. 65 (2022): 163–72. http://dx.doi.org/10.25807/22225064_2021_65_163.
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Fong, Mary H., Marsha Weidner, Ellen Johnston Laing, Irving Yucheng Lo, Patricia Fister, and Lucy Lim. "Views from Jade Terrace: Chinese Women Artists 1300-1912." Woman's Art Journal 17, no. 1 (1996): 41. http://dx.doi.org/10.2307/1358528.
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Zhang, Suixin. "Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity." Advances in Social Science and Culture 4, no. 1 (February 27, 2022): p39. http://dx.doi.org/10.22158/assc.v4n1p39.
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This article will reveal the discussion of identity conflict between past and present Chinese art practice abroad through reflection on the Art works- Trace, and through Homi Bhabha’s theory of identity hybridization. It seeks to explore the significance of the individual and its connection to the globalized art theme.
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Lee, Joohyun. "Chinese Artists visiting North Korea during the Korean War." Journal of Korean Association of Art History Education 30 (August 31, 2015): 187. http://dx.doi.org/10.14769/jkaahe.2015.08.30.187.
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Luo, Yun, Pengcheng Xiang, and Bo Li. "Research on Sustainable Development Model of Chinese Artist Village." Buildings 13, no. 1 (January 9, 2023): 164. http://dx.doi.org/10.3390/buildings13010164.
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As a development form of the creative industry, the Artist Village is a high concern of the Chinese government, and it has achieved rapid developments in China in recent years. However, many Artist Villages come to an untimely end a short period after their birth and fail to realize sustainable development. In this study, an empirical analysis on 80 Artist Villages in China was carried out. A field investigation and research on eight Artist Villages was implemented. Attention was paid to thoroughly analyze three typical Artist Villages of Guangzhou Xiaozhou Artist Village, Chongqing Gujianshan Artist Village and Beijing Songzhuang Artist Village. It has been found from studies that the development of Artist Villages in China has experienced initiation, development and maturity stages. The development of Artist Villages in China generally has many problems, such as an insufficient endogenous impetus, the excessive intervention of government, market capital “squeezing out” the original artists, and so on. This paper proposed a sustainable development model for Artist Villages during urbanization in China based on the findings and conclusions of this study. This study not only enriches research contents in this field, but can also provide meaningful references for the sustainable development of Artist Villages in China.
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Yi, Gu. "The “Peasant Problem” and Time in Contemporary Chinese Art." Representations 136, no. 1 (2016): 54–76. http://dx.doi.org/10.1525/rep.2016.136.1.54.
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This article examines the time-based artworks involving peasants as participants, coworkers, and fellow artists that were created by Chinese artists during the first decade of the millennium. These works bring into relief China’s postsocialist reality and socialist legacy, offering a unique perspective on the politics of time in global contemporary art.
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Xing, Nizhen. "Associations of Artists of “Greater China” in the System of Creative Unions of the Chinese Artists." Manuskript, no. 12 (December 2021): 2876–81. http://dx.doi.org/10.30853/mns20210499.
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Furmanik-Kowalska, Magdalena. "Which tradition is mine? Chinese women artists and cultural identity." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 305–19. http://dx.doi.org/10.1386/jcca_00009_1.
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Abstract References to native culture are frequently in the foreground of works by Chinese women artists. When they make contact with different cultures, although not necessarily connected with leaving their place of birth thanks to the transfer of information and cultural heritage that has developed extremely efficiently in the era of globalization (Gordon Mathews), they see their own entanglement in the cultural tradition. In the process of constructing their identity they try to find answers to the following question: which part of the cultural tradition is mine? Which one do I identify with? In the case of Chinese women artists, is it the legacy of literati? Classic ink painting and calligraphy? Or perhaps women's crafts that bear no name? Or perhaps a mixture of inspirations? Such questions about material heritage might also be augmented by others that consider aspects of the immaterial heritage of China. This article explores how Chinese women artists such as Chen Qingqing, Qin Yufen, Shi Hui, Wang Xiaohui, Cheng Caroline, Lin Tianmiao, Zhang Yanzi, Man Fung-yi, Liu Liyun, Peng Wei, Chen Lingyang, Chen Qiulin, Zhang Ou and Liu Ren refer to their cultural tradition.
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Sur, Heui-yeon. "A Study on the Art Strategy of Wenda Gu." Korean Society of Calligraphy 41 (September 30, 2022): 213–45. http://dx.doi.org/10.19077/tsoc.2022.41.09.
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The purpose of this research is to find out what strategies Chinese artist Wenda Gu (1955~) used to build awareness in the international art world and China. In the early 1980s, the trend of modern Western philosophy and modern art flowed into China following the wave of China's reform and opening up. In addition, global interest in Chinese contemporary art is increasing. Amid this trend, the 85 New Wave, which called for the modernization of Chinese art, served as a turning point in history as a major event that revealed its presence in the global art world.
In this study, Wenda Gu, a leading Chinese avant-garde writer, examined the significance of the 85 New Wave through analysis of his work as a person who participated in the 85 New Wave. The 85 New Wave is a kind of cultural movement in which young artists, including Wenda Gu, try to reform Chinese society and art through art, and this completely changed the trend of modern Chinese art.
In order to investigate Wenda Gu art strategy, he first visualized China's turbulent political and economic situation, and then went to the U.S. to grasp the characteristics of the expansion of the art world and internationalization factors that enabled artists to succeed. It can be seen that he incorporated elements of traditional Chinese culture into his works and actively utilized elements of literati culture in his works.
This study is meaningful because it aims to present another perspective on his work based on his attitude change using traditional Chinese cultural elements depending on his position in China and international art circles.
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Yui, Wei. "Chinese Women’s Art." Культура и искусство, no. 5 (May 2022): 86–95. http://dx.doi.org/10.7256/2454-0625.2022.5.38062.
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The article discusses the origin and evolution of women's visual art in China. The development of this artistic direction was due to the radical social transformations since the beginning of the Open Door Policy in 1978. Analysis of the art by Li Hong, Cui Xiuwen, Feng Jiali, Yuan Yaomin and others reveals main features of the evolution of women's creativity in China. The search and acquisition of female identity, the destruction of psychological barriers imposed by traditional ideas and stereotypes about a woman, her physicality, beauty, etc., the study of gender differences, the reflection of female subjectivity, the assertion of a new status for women in modern society - all this makes the content of Chinese women's art. The novelty of the research lies in the fact that the article studies the works of quite reputable Chinese artists who were not presented earlier in Russian art history science. This article is intended to contribute to the study of the processes of emancipation of the consciousness of the Chinese and raising the status of women artists in society. Reflections on personal experience, social problems and historical destinies determine the specifics of the artistic language of women's works. In view of the active feminist movements of our time, increasing attention to the inner world of women and criticism of patriarchal foundations, addressing this topic seems very relevant today.
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Huang, Yuanpeng, and Galina Alekseeva. "The Image of the Yellow (Huang He) River in Chinese Painting." Bulletin of Baikal State University 31, no. 4 (December 28, 2021): 546–52. http://dx.doi.org/10.17150/2500-2759.2021.31(4).546-552.
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The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.
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Lu, Sa. "The role of the "plum blossom" in the development of traditional landscape painting in China." Философия и культура, no. 7 (July 2022): 139–47. http://dx.doi.org/10.7256/2454-0757.2022.7.38534.
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The article analyzes the works of Chinese artists of various historical eras who used a stylistic and thematic direction with the image of a plum blossom. The artists' appeal to images of nature to convey feelings and experiences contributed to the emergence of this image and its formation as a symbol of steadfastness and inflexibility of character. Thus, the subject of the proposed study is Chinese painting, the object is the formation of such a common motif as a plum blossom. The purpose of this publication is to determine the main types of images of this image in Chinese traditional painting in the time interval from the VI century to the end of the XIV century — the most fruitful period of its formation and development. Plum blossom is of greater importance in the development of traditional landscape painting in China. For almost a millennium, the interpretation, compositional solution, as well as the technique of depicting this image have changed. The author's contribution to the development of the problem is a comprehensive analysis of images of plum blossoms in landscape paintings by Chinese artists of various historical eras, as well as the characteristics of the process of evolution and the features of the embodiment of this image. The paper traces the origins of this plot in the art works of Chinese artists, analyzes the processes of change and development of images, and characterizes the specifics of its external expression and internal content.
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Cooper, Sarah. "Decolonial gesture and the screening of the botanical artist in Miasma, Plants, Export Paintings (Bo Wang and Pan Lu, 2017)." Alphaville: Journal of Film and Screen Media, no. 23 (July 15, 2022): 93–110. http://dx.doi.org/10.33178/alpha.23.05.
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Bo Wang and Pan Lu’s split-screen video essay Miasma, Plants, Export Paintings (2017) charts the relationship between its titular categories and British imperialism in China, especially the colonial possession of Hong Kong as a result of the Opium Wars in the nineteenth century. It centres on the collecting of plants from China for the Royal Botanic Gardens at Kew, along with their documentation through botanical drawings by local Chinese artists. The video essay shows fleeting glimpses of several anonymous Chinese paintings, revealing in the process the dual sense of screening at the heart of the colonialist enterprise that involved showcasing the art while obscuring the artist. Wang and Lu, in contrast, return attention to the skills of the Chinese artists. Through their own dual vision, they challenge myriad hierarchical colonial images of human-plant relations. Drawing on Vilém Flusser’s work on the gesture of video and combining this with Walter D. Mignolo’s discussion of decolonial gesture, I show how Wang and Lu question through their own artistic gestures the distortions of the colonial gaze evident within dominant western image regimes. In this, their work speaks indirectly to recent writings in the environmental humanities and critical plant studies that valorise more lateral relations between humans and plants.
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Fan, Liu. "Lijiang river image in painting of Chinese 20TH century artists." Humanities science current issues 2, no. 39 (2021): 33–41. http://dx.doi.org/10.24919/2308-4863/39-2-6.
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Грачева, С. М. "Creative mutual influences of contemporary St. Petersburg and Chinese artists." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 86–101. http://dx.doi.org/10.46748/arteuras.2021.04.007.
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Конец ХХ – XXI век — период активного взаимодействия России и Китая в сфере искусства. Китайское изобразительное искусство испытало серьезное влияние русской академической школы и традиций русского реализма в целом. Современная российская живопись также обогащается элементами китайского искусства, поскольку в последние десятилетия чрезвычайно расширились культурные контакты, которые влияют на творчество отечественных художников. В петербургском искусстве происходят интересные процессы взаимодействия и взаимовлияния разных культур. Петербург становится центром пересечения Востока и Запада. Эти изменения касаются даже такой устойчивой школы, как академическая, связанной с традициями реалистического искусства. Этот феномен нуждается в изучении. Особую роль в художественном взаимообмене играет современная петербургская академическая школа. Новизна данного исследования состоит в изучении некоторых явлений китайской культурной жизни, связанных с влиянием петербургского искусства, и в выявлении взаимовлияний, которые обнаруживаются в творчестве китайских и петербургских мастеров живописи. В статье использованы методы компаративного анализа, наблюдения, интервьюирования для определения общих закономерностей развития искусства двух стран. Современные петербургские художники, представляющие академическую школу, чрезвычайно востребованы в Китае, многократно там бывали и сотрудничают на разных уровнях с представителями культурной общественности. Китайские коллекционеры и деятели искусства активно сотрудничают с художниками и разрабатывают интересные проекты. Во время пандемии в 2019–2020 годы реальные контакты между странами сократились, но переместились в виртуальное пространство, теперь многие образовательные и культурные программы проходят в дистанционном режиме. Творческие связи не ослабевают, и это дает надежду на дальнейшее развитие культурного сотрудничества на всех уровнях. The end of the 20th and the 21st century is a period of active interaction between Russia and China in the field of art. Chinese fine art has been seriously influenced by the Russian academic school and the traditions of Russian realism in general. Modern Russian painting is also enriched with elements of Chinese art, since cultural contacts that influence the art of domestic artists have expanded enormously in recent decades. Interesting processes of interaction and mutual influence of different cultures take place in Petersburg art. St. Petersburg becomes the center of the intersection of East and West. These changes concern even such a stable school as the academic one, connected with the traditions of realistic art. This phenomenon needs to be studied. A special role in the artistic interchange is played by the modern St. Petersburg academic school. The novelty of this research consists in studying some phenomena of Chinese cultural life associated with the influence of St. Petersburg art and in identifying mutual influences that are found in the works of Chinese and St. Petersburg masters of painting. The article uses methods of comparative analysis, observation, and interviewing to identify common patterns of the development of art in the two countries. Contemporary St. Petersburg artists representing the academic school are extremely in demand in China, have been there many times and cooperate at various levels with representatives of the cultural community. Chinese art-collectors and artists actively cooperate with artists and develop interesting projects. During the pandemic, real contacts between countries decreased, but moved to the virtual space. Now many educational and cultural programs are held remotely. Creative ties do not weaken and this gives hope for the further development of cultural cooperation at all levels.
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Kelly, Niamh Ann. "Chinese Whispers: A Portfolio of Irish Residencies for Visual Artists." Circa, no. 93 (2000): 15. http://dx.doi.org/10.2307/25563607.
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Qin, Xiaofeng, and Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century." Observatory of Culture 17, no. 6 (February 10, 2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.
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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.
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Pedone, Valentina, and Federico Picerni. "Body and language as carriers of transculturality in two Sinophone transnational artists." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 133–55. http://dx.doi.org/10.1386/jcca_00059_1.
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In a global context characterized by a growing complexity of the dynamics of Chinese transnational mobility, we find the need to resort to a new vocabulary to understand the localized artistic expressions related to such dynamics. In this article, we focus on two Chinese artists, Musk Ming (1979‐present) and Tony Cheung (1987‐present), who live and work across China and Europe, reflecting on how their transnational life trajectories combine with the transculturality expressed in their works. Considering body and language as two privileged sites of ethnicity, the article suggests that, in their representation, the authors engage in a process of critical deconstruction of ‘national culture’ and ‘ethnic identity’. Such deconstruction is achieved by disconnecting cultural tokens from their ‘ethno-national’ or historical referents, creating instead unlikely or unexpected associations with elements extracted from non-Chinese contexts, or using them to critique the very cultural lineage they are supposed to embody. Considering the critical reception of the artists’ work in Europe, the article also discusses how this act of defamiliarization provokes the viewer by contesting both the ‘Chineseness’ and the ‘westernization’ of the artwork itself. The critical representation of body and language thus creates a powerful discourse to question the equation of ethnicity and culture, compelling viewers to go beyond a superficial characterization of the two artists’ work as either ‘genuinely’ Chinese or ‘critically’ hybrid.
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Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (June 20, 2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.
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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salvation Cartoons and War of Resistance Cartoons, this article shows that depictions of sexual violence inflicted on Chinese women were integral to the artists' attempts to arouse the spirit of resistance. By comparing their depictions of different types of bodies (Chinese and Japanese, male and female, soldiers' and civilians') the article argues that the cartoonists believed that the depiction of sexually mutilated Chinese women would build resistance and spur patriotism while equivalent depictions of mutilated male soldiers would sap morale and hamper the war effort. The article concludes with a discussion about the dubious efficacy of propaganda that invokes a hypersexualized, masculine enemy other.
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Byrnes, Corey. "Chinese Landscapes of Desolation." Representations 147, no. 1 (2019): 124–60. http://dx.doi.org/10.1525/rep.2019.147.1.124.
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This essay explores how landscape forms are used by writers, photographers, filmmakers, and other artists from inside and outside of China to represent environmental problems in that country. It considers the “landscape of desolation” as an ecocritical mode designed to change how people see and act in the world in relation to both the shifting status of “Chinese tradition” and to earlier moments in Euro-American landscape art, particularly the so-called New Topographics Movement of the 1970s.
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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.
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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.
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Hamlyn, Nicky. "London Avant-Garde Round-Up." Film Quarterly 61, no. 2 (2007): 46–55. http://dx.doi.org/10.1525/fq.2007.61.2.46.
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ABSTRACT This article surveys avant-garde moving-image work in London, 2006––07, ranging from 16mm films by young local artists, to video installations in Battersea Power Station by Chinese artists, to events at Tate Modern. The article also includes venue information and a listing of web resources.