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1
Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College e 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.
Testo completoAbstract (sommario):
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)
2
Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/677.
Testo completoAbstract (sommario):
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.
3
Fournier, Anik Micheline. "Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.
Testo completoAbstract (sommario):
This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.
4
Wong, Mei-kin Maggie, e 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.
Testo completo
5
Liang, Wei. "Zaji ou les arts acrobatiques chinois : un voyage entre Chine et France". Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30020.
Testo completoAbstract (sommario):
Zazi (杂技), qui signifie « compétences variées » et dont l’équivalent en français est « l’acrobatie chinoise » est un ensemble d’arts vieux d’au moins trois millle ans. Il n’existe pas à ce jour en français de synthèse accessible et documentée par des sources chinoises de sa chronologie et de l’évolution de ses formes des origines à nos jours.Cette thèse a pour objectif de combler ce manque en documentant le sujet à partir d’un corpus d’ouvrages chinois et français. L’auteure de la thèse, chinoise, enseignante de français et traductrice, a pu accéder aux sources utiles et a conduit une enquête, voyageant entre France et Chine sur les différents terrains de conservation (bibliothèques, musées, documentation en ligne) et d’exploitation (spectacles, festivals, écoles) des arts acrobatiques chinois.La thèse met à disposition de furures recherches une synthèse des résultats obtenus lors de cette enquête, bibliographiques (250 références), iconographiques (128 documents), présentés chronologiquement en déroulant un vaste panorama, qui s’articulent en trois parties.La première propose une chronologie du développement des formes de l’acrobatie chinoise dans le contexte de chaque dynastie jusqu’à la dernière dynastie en 1912, à partir de sources et documents chinois, par des traductions originales et inédites de textes anciens ou contemporains de sinologues et d’historiens des spectacles en chine, notamment, et avec son autorisation, de textes du Pr Quifeng Fu, ainsi qu’une riche iconographie en collaboration avec la bibliothèque de Nanjing. En n’hésitant pas à s’affronter à ces problèmes de traductions, la thèse rend ainsi accessible au lecteur français une partie de l’histoire d’un des arts majeurs parmi les spectacles mondiaux.La deuxième partie étudie l’intégration en quatre étapes de l’acrobatie chinoise en France et de ses influences sur la société et la scène françaises, notamment à travers quelques exemples concernant les modes du « à la chinoise » et de la « Chinoiserie » entre les XVIIe et XIXe siècles. Elle s’intéresse ensuite aux échanges sous la République de Chine jusqu’au rebondissement de l’acrobatie chinoise au XXe siècle après la fondation de la République Populaire de Chine en 1949. Elle observe à cette occasion ses nouveaux codes artistiques et culturels, les messages politiques qu’elle véhicule lors de l’invitation des artistes chinois dans les grands festivals du cirque en France et à Monaco.La troisième partie dresse briévement les contours et les perspectives de collaborations artistiques sino-françaises en acrobatie et cirque au XXIe siècle, observe l’apport des acrobates chinois sur la scène contemporaine et les influences du spectacle vivant occidental sur l’acrobatie chinoise contemporaine, pour se questionner enfin sur le devenir de l’acrobatie chinoise en appliquant les résultats de ce voyage documentaire dans le temps et entre deux cultures, à un projet de création de festival franco-chinois de cirque et d’acrobatie en ChineZaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi
6
Zhao, Bai. "Influences étrangères dans la musique contemporaine des compositeurs chinois exerçant ou ayant exercé en France et en Amérique du Nord". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040162.
Testo completoAbstract (sommario):
Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiquesAs of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations
7
Julien, Marie-Pierre. "Les meubles laqués chinois made in France". Paris 5, 2002. http://www.theses.fr/2002PA05H021.
Testo completoAbstract (sommario):
Les meubles laqués chinois constituent le fil conducteur d'une analyse anthropologique consacrée aux relations qu'entretiennent avec ces objets des laqueurs chinois et français et des amateurs principalement français. Ces rapports qui s'instaurent au sein d'un réseau d'actions sur les actions -en l'occurence la filière du meuble en France- engendrent à la fois l'existence d'un type d'objets sur le marché et la construction d'immigrés chinois en laqueurs, de clients français en amateurs, d'apprentis français en artisansThis thesis focuses on the anthropological analysis of the interactions between Chinese and French lacquerers, amateurs (mainly French) on the one hand and Chinese lacquered furniture on the other hand. Those relations, embedded in a system of actions on the action of others (in this case, the provision system of furniture manufactered in France), involve, on the one hand, the existence of a type of object on the market, and on the other hand, the construction of Chinese immigrants as lacquerers, of French buyers as amateurs, of French apprentices as craftsmen
8
Leung-Hang-King, Cécile. "The language of the "other" : Etienne Fourmont : 1683-1745 : Chinese, Hebrew and Arabic in pre-enlightenment France". Chicago [Illi.], 1993. http://catalogue.bnf.fr/ark:/12148/cb394573674.
Testo completo
9
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.
Testo completoAbstract (sommario):
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
10
Situ, Shuang. "De l'influence de la Chine dans la décoration et l'iconographie en France à la fin du XVIIème siècle et au début du XVIIIème". Paris 4, 1991. http://www.theses.fr/1991PA040162.
Testo completoAbstract (sommario):
Le présent travail est construit en quatre parties:le parcours historique qui mène à la découverte de la Chine par l'Occident à travers le commerce de la soie et de la porcelaine,la vogue des chinoiseries du XVIIème au XVIIIème siècle,les imitations qui s'en sont suivies en France et pour terminer,une description analytique des motifs pris essentiellement dans des produits français pour démontrer l'influence chinoise sur la décoration et l'iconographie en France durant cette périodeThe present work consists of four parts : the historical course which led to the discovery of China by the West through the trade in silk and porcelain. .
11
Ma, Li. "Les représentations de l'art de gouverner chinois dans les périodiques de langue française de la seconde partie du XVIIIe siècle". Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30062.
Testo completoAbstract (sommario):
Le dix-huitième siècle ouvre une nouvelle ère dans l’histoire des échanges culturels franco-chinois. La Chine apparaît non seulement comme un pays mystérieux, qui inspire les auteurs de fiction, mais encore, aux yeux des philosophes, comme une nation qui mérite d’être étudiée. Cette étude porte sur un domaine jusqu’à présent peu exploré dans les travaux sur les échanges culturels entre la France et la Chine, à savoir la presse. Notre enquête se propose d’étudier les représentations de l’art de gouverner chinois dans les périodiques de langue française dans la seconde moitié du XVIIIe siècle et le rôle joué par ceux-ci dans la diffusion de représentations de la Chine dans la société françaiseThe eighteenth century opens a new era in the history of Franco-Chinese cultural exchanges. China appears not only as a mysterious country, which inspired the authors of fiction, but also, in the eyes of the philosophers, as a nation deserves to be studied. This study focuses on a field so far little discovered in the works on cultural exchanges between France and China, namely the press. Our investigation intends to consider the representations of the Chinese art of governing in French-language periodicals in the second half of the 18th century and the role played by them in the dissemination of representations of China in French society
12
Albou, Philippe. "L'introduction de l'art occidental dans la peinture chinoise autour des années 1920". Paris 8, 2003. http://www.biusante.parisdescartes.fr/ressources/pdf/histmed-asclepiades-pdf-albou2.pdf.
Testo completoAbstract (sommario):
La Chine, dotée d'un art raffiné deux fois millénaire, s'est avec quatre peintres - Yan Wenliang, Xu Beihong, Liu Haisu et Lin Fengmian - ouverte sur l'Europe afin d'apprendre une vertu que son art semblait ignorer, le réalisme. L'art chinois était peu enclin à représenter scientifiquement un objet, tel qu'il existait, une carte militaire, un canon. Il était subjectif, symbolique et intuitif. La peinture occidentale restait alors, malgré le développement des avant-gardes, le produit objectif d'une observation directe combinée avec une connaissance empirique. À travers la vie, l'œuvre et l'enseignement des peintres étudiés, la confrontation des deux univers esthétiques permet d'analyser une tentative d'acculturation - la peinture chinoise occidentaliste autour des années 1920 - que d'un point de vue occidental on analyse en termes de ruptureTwo millenniums chinese fine arts had, with four painters -- Yan Wenliang, Xu Beihong, Liu Haisu and Lin Fengmian - opened to Europe in order to learn a virtue of an art unknown there, realism. Chinese art was not inclined to represent an object scientifically as it existed, a military map or a canon. It was subjective, symbolical and intuitive. Western painting was still, despite the developments of the avant-garde movement, the product of a direct objective observation combined with empirical knowledge. Through the lives, the works and the teachings of the painters studied, the confrontations of two esthetic worlds may now enable to analyze an attempt of a acculturation - Western Chinese paintings in the 1920's - which from a western point of view, would be analyze as a turning point
13
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.
Testo completoAbstract (sommario):
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
14
Abdallah, Thouraya. "La découverte de l'Asie orientale par la France du XVIe siècle". Grenoble 2, 1994. http://www.theses.fr/1994GRE29023.
Testo completoAbstract (sommario):
L'objet de ce travail est precisement de montrer les progres des connaissances des francais du xvie siecle dur l'asie orientale : au debut du siecle les francais ont une image mytique de l'asie, heritage du moyen age. Puis le savoir se construit a partir d'une part d'observations des voyageurs en majorite "etrangers" (iberiques, italiens ou hollandais) dont les recits sont traduits en francais et publies au xvie siecle. Et d'autre part, les missionnaires jesuites dont les temoignages reposant sur plusieurs annees d'experience et d'observations attentives, ont un impact tres important sur la connaissance de l'asie orientale. En temoigne leurs nombreuses lettres traduites en francais et publiees. Ce travail incorpore egalement les travaux des cartographes, des cosmographes et des humanistes qui circulaient en francais a cette epoque. In el resulte une inde peu connue des francais alors que la chine et le japon soulevent leur interet : le premier etat par le niveau de sa civilisation, et le japon parce qu'il suscita tous les espoirs de conversion au christianismeThe specific aim of this study is to demonstrate the progress in knowledge of the far east among frenchmen in the sixteenth century : at the beginning of the century the french image of that part of the world was based on myth, which was itself inherited from mediaeval sources. Gradually knowledge became more empirical, based on travel literature written mainly by foreigners (spanish, italian or dutch), translated into french and published during the sixteenth century. The other main source for french knowledge of the far east was the accounts of jesuit missionaries which were based on years of scrupulous observation and experience of that region, as is shown by numerous collections of their letters translated and published in french. The other sources studied are the productions of the cartographers and the humanists which were published in french at the time. It is concluded that, by the end of the century, india remained more or less unknown to the french, whereas china and japan gained significantly more attention : china fascinated by virtue of the splendour of its civilization, and japan was seen as fertile terrain for new converts to christianity
15
Chen, Jing. "La peinture chinoise en littérature : l'œuvre de François Cheng". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL092.
Testo completoAbstract (sommario):
Esthète, calligraphe, poète, écrivain, François Cheng se présente comme un lettré accompli des temps modernes. Il est le premier à étudier la peinture chinoise d'un point de vue structuraliste et sémiologique. Ce qui permet d'une part, de changer le préjugé et le cliché qu'a l'Occident de la peinture chinoise, et d'autre part, d'offrir une nouvelle perspective à l'étude de l'art pictural chinois. François Cheng envisage le monde d'une manière poétique et picturale, ses pensées esthétiques se reflètent ultérieurement dans ses créations littéraires. Il n'écrit pas, il peint. La thèse vise à étudier, à travers la vie et les œuvres de François Cheng, ses pensées philosophique et esthétique sur l'art pictural chinois ainsi que les liens qui unissent littérature et peintureAs a calligrapher, aesthete, poet and writer, Francois Cheng is claimed to be an outstanding representative of modern Chinese literati. He was the first to study Chinese painting from the perspective of structuralism and semiotics. On the one hand, his approach changes the Western stereotypes of Chinese painting; on the other hand, it provides a new perspective for the study of Chinese painting. Francois Cheng looks at the world with the eyes of a poet and painter, and his aesthetic thoughts are reflected in his later literary works. Cheng’s writing gives people the impression that he doesn’t just write but paints. Through an analysis of Cheng’s life and works, this thesis attempts to examine Cheng’s thoughts on Chinese painting embodied in his aesthetic works, poems and novels and also the relationship between literature and painting
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Tse, Ching-kan Curry, e 謝正勤. "School of Chinese Art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984836.
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Tse, Ching-kan Curry. "School of Chinese Art". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950964.
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Hill, Katie. "On relocating contemporary Chinese art". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.
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Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s". Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.
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Wear, Eric Otto. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21734653.
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Ng, Noel. "Chinese Delicacy Centre". Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B31984125.
Testo completoAbstract (sommario):
Thesis (M.Arch.)--University of Hong Kong, 1998.Includes special report study entitled : Object, phenonmenon, theme in Chinese scholar landscape garden. Includes bibliographical references. Also available in print.
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Lok, Susan Pui San. "A-Y of 'British Chinese' art". Thesis, University of East London, 2004. http://roar.uel.ac.uk/1291/.
Testo completoAbstract (sommario):
A-Y of 'British Chinese' Art takes as a point of departure the work of Lesley Sanderson, and her positionings within and between dominant and marginalised 'Black,' 'British, 'Chinese,' and 'Asian' curatorial and discursive frames during the 1980s and 1990s, to consider the politics and impossibily of naming 'British-Chinese-ness'. 'Take Outs' goes on to examine the central narrative of Chinese immigrants in Britain invoked by Anthony Key, Yeu-Lai Mo, and Mayling To, who draw on the motifs and mythologies of the takeaway, and the significations of flags, to engage contemporary discourses around 'Britishness' and 'Chineseness', migration, hybridity, cultural commodification and assimilation. 'Outtakes' looks then at the tactical postures and gestures staged by Sanderson, Mo, Erika Tan and To across a range of works, which deconstruct and play on the consumption of exoticised bodies i , across orientalist visual imagery and narratives, from the anthropological to the comic, the culinary to the cinematic. Whereas much of this work is 'mute', chapter four, 'Translators' Notes, ' begins with a multi-vocal, multi-screened sound and video Installation by Tan, going on to consider the politics and poetics of speaking and translating, the conflation of linguistic competence with cultural and ethnic 'authenticity, ' notions of diaspora and 'home, ' and the inevitability of 'pidgin' languages and cultures. These essays seek to identify various historical and cultural contexts to inform the coincident and divergent aesthetic strategies and thematic concerns of a number of peer practices, among them my own, which is discussed in the final chapter, 'Back Words. ' Attempting to locate myself and my writing/practice obliquely, by proxy, in proximity to others, I begin with the premise that our commonality is underpinned less by an Indubitable, unwavering 'Chineseness' (or for that matter, 'Britishness'), than a desire to subvert such a notion: to assume instead its complex fabrications and ultimate instability.
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Cornell, Christen. "Contemporary Chinese Art and the City: Beijing Art Districts 1989‐2013". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16364.
Testo completoAbstract (sommario):
As themes in Chinese art since economic reform, space and the environment have been crucial. Many artists have focussed on issues of urbanisation, globalisation, and the radical spatial reorganisation of Chinese society during the reform and post-‐reform era, and many scholars have written about these artists’ spatial concerns. What, however, of these artists’ formative relationship to space itself? What might we learn by going beyond the text and asking how space has produced these artists – and their work – and what places their communities and culturalactivities have produced in turn? This thesis presents an alternative history of the emergence of China’s Contemporary Arts scene, focussing on these artists’ everyday engagements with the rapidly transforming space of Beijing in the years between 1989-‐2013. Drawing on a series of case studies, it traces the emergence of the residential ‘painters’ village’ (huajiacun 画家村) through to the transnationally networked ‘international art district’ (guojiyishuqu 国际艺术区) and state-‐endorsed ‘creative industries precinct’ (chuangyi chanye jujiqu 创意产业聚集区), foregrounding the agency of participant artists within these new socio-‐spatial formations throughout its research. By taking a spatial approach, this analysis identifies modes of political engagement beyond those typically identified within the work of art history. In considering the ways in which these artists worked tactically from within the country’s new spatial disorder, it also seeks to illuminate a politics that is not disruptive, but which capitalises instead upon ambiguity and ambivalence. Such a politics is described with the use of concepts developed across the work of Michel de Certeau and Henri Lefebvre, among other cultural and spatial theorists. The political function of the thesis itself, however, is considered in dialogue with the work of Inter-‐Asia Cultural Studies, and Lawrence Grossberg’s writings on contextual and conjunctural analysis. To this extent, this study is both a history of these artists’ interventions within the disorder of Beijing’s urban change in these years, as well as a reflection on the ways and reasons such a history might be told. While advancing its own interpretation of this particular era, it is also self-conscious about the act of its own interpretation, theoretically addressing the situatedness of different forms of knowledge, the contingency of its own propositions, and the material effects of epistemological work.
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Wang, Xuan. "Gallery's Role in Contemporary Chinese Art Market". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.
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Zhang, Tieyi. "The first generation of Chinese art song". Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.
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Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050615.104323/index.html.
Testo completoAbstract (sommario):
Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis submitted in full completion of the requirements for the degree of Doctor of Philosophy, Department of Cultural Histories and Futures, University of Western Sydney" Includes bibliography.
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Chow, Wan-king Janice. "Urban villa for Chinese folk arts and crafts". Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31986390.
Testo completoAbstract (sommario):
Thesis (M.Arch.)--University of Hong Kong, 2002.Includes 1 technical study and 1 special report. Content page of thesis report missing. Includes bibliographical references. Also available in print.
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Huang, Ching-Yi. "John Sparks, the art dealer and Chinese art in England, 1902-1936". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602817.
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Wei, Linna, e Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art". Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.
Testo completoAbstract (sommario):
This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.
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Chi, Mei-Fung Agnes Kang. "A Performance guide for contemporary Chinese art songs from Taiwan /". Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974527.
Testo completoAbstract (sommario):
Thesis (Ed.D.)--Teachers College, Columbia University, 1996.Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Accompanying tape has Recitation of Chinese poems. Includes bibliographical references (leaves 251-257).
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Green, Judith Tybil. "Britain's Chinese collections, 1842-1943 : private collecting and the invention of Chinese art". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271892.
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Bollivier, Patricia de. "Art contemporain réunionnais, art contemporain à la Réunion : construction locale de l'identité et universalisme en art en situation post-coloniale". Paris, EHESS, 2005. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/M/TH_EHESS_Bollivier_2005.pdf.
Testo completoAbstract (sommario):
À La Réunion, depuis la décentralisation, les politiques culturelles véhiculent de fortes revendications identitaires fondées sur les multiples appartenances territoriales de la société réunionnaise, son histoire et sa population spécifiques. Cette thèse propose, après un historique du développement culturel, une étude du champ des arts plastiques et de l'art "contemporain", que nous posons comme émergeant dans La Réunion des annnées 80-90, avec une mise en perspective des enjeux politiques, esthétiques, éthiques. La production classée comme "art contemporain réunionnais" a-t-elle un caractère spécifique ? La réponse se trouve-t-elle dans les oeuvres ou dans les discours qui les légitiment ? Quelles stratégies identitaires sont à l'oeuvre dans le processus d'homologation de l'art dans cette société créole où la France est longtemps restée seule garante des labels esthétiques et culturels ? In fine, c'est la question postcoloniale de l'émergence de nouvelles "centralités" qui apparaîtSince the decentralisation policy (initiated by the French government during the 1980s), cultural policies in La Réunion (French overseas department -DOM- in the Indian Ocean) have been enabling strong identity claims founded on the multiterritorial belonging and the specific history and population of La Réunion's society. Based on an initial historic approach of cultural development (in La Réunion), this thesis suggests the study of the field of visual arts and "contemporary" art emergent in La Réunion during the 1980s and 1990s, with a particular focus on the political, aesthetic and ethical issues herein involved. Does the production of what has been classified as "contemporary Reunion art" contain a specific character? Is the answer to this question to be found in the artworks themselves or within their legitimizing discourses? Which identity strategies are "at work" in the art homologation process in this Creole society in which "France" has long been the only reference for aesthetic and cultural labelling? This is the main question of this work
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Chen, Albert Yi Fu 1967. "Art and social dislocation : a Chinese diasporic condition". Monash University, Dept. of Fine Arts, 2004. http://arrow.monash.edu.au/hdl/1959.1/5203.
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Holmes, Rosalind M. "'Civilising' China : visualising wenming in contemporary Chinese art". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:30fe2e43-7b5d-4563-bb3b-8dd7a773b57a.
Testo completoAbstract (sommario):
This study examines how the discourse of wenming (civilisation/civility) has been visualised throughout twentieth century Chinese art, with a particular emphasis on contemporary practice. Originally linked to concepts of modernity and change in the early twentieth century I argue that wenming continues to be of crucial importance in understanding how contemporary China wishes to be seen by the rest of the world. Through a series of close visual readings and case studies I explore how wenming attained considerable saliency as it was invoked to address a range of artistic and political reforms which resulted from China's socioeconomic transformations. Individual chapters focus on the work of Sun Yuan and Peng Yu, Liu Gang, Wang Jin and Ai Weiwei amongst others. Taken together they provide an emic account of artistic praxis that seeks to understand contemporary art from China on its own terms. The study begins by examining how wenming was visualised in the early twentieth century. It then charts what happened to the term after the founding of the PRC in 1949 and how its appearance in locations such as Taiwan and Hong Kong provide sites of contention and alterity to mainland wenming discourse. It analyses how the bifurcation between material civilisation and spiritual civilisation that gained prominence following the economic reforms of the 1980s reconfigured the visual art of this period. Then, turning to a single art work, it theorises the relationship of wenming to an emerging corporeal politics. Finally, it explores how the discourse of wenming is being visually articulated in contemporary China as a result of these developments and traces its interaction with consumer culture, urbanisation and the politics of the internet.
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Boucherat, Véronique. "Recherches sur le rôle des modèles dans la production artistique en Champagne méridionale à la fin du Moyen Age : (v. 1485 - v. 1535)". Paris 4, 2001. http://www.theses.fr/2001PA040148.
Testo completoAbstract (sommario):
A la fin du Moyen Age, des conditions économiques fastes déterminent, en Champagne méridionale et dans sa capitale, Troyes, l'émergence d'une production artistique nombreuse, notamment caractérisée par un usage important de modèles, souvent gravés et étrangers. Après avoir précisé les conditions de cet essor et l'ancienneté d'un style annoncé par la statuaire des XIVe et XV e siècles, la thèse présente les spécificités de cette production. Une mise en évidence appuyée fait ressortir les rôles multiples de l'usage des modèles, par exemple essentiel dans la structuration du style troyen et dans l'affirmation d'une identité culturelle puissante. Etonnamment variés et nombreux, ces modèles nuancent une production qui reflète un milieu champenois curieux, cosmopolite dans ses relations, mais à l'identité parfaitement structuréeAt the end of the Middle Ages, many works of art, based on engraved foreign models, were produced in Southern Champagne and its capital Troyes. After explaining the conditions, the thesis reveals the particulars of the works, underscoring the use of models essential to the structuring of the Troyes style and the affirmation of a powerful cultural and perfectly structured identity. The models are amazingly varied and large and reflect the cosmopolitan relations of Champenois milieu
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Huang, Ellen. "China's china Jingdezhen porcelain and the production of art in the Nineteenth Century /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3316155.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed Sept. 4, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 256-271).
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Huang, Claudia (Chang). "Han-minority relations as depicted in twentieth century Chinese art". Thesis, Boston University, 2008. https://hdl.handle.net/2144/27676.
Testo completoAbstract (sommario):
Thesis (B.A.)--Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Wang, Yiyou. "The Loouvre from China a critial study of C. T. Loo and the framing of Chinese art in the United States, 1915-1950 /". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1195498748.
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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.
Testo completoAbstract (sommario):
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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Thériault, Mark J. "Art as propaganda in Vichy France, 1940-1944". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.
Testo completoAbstract (sommario):
The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist.The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.
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Driskel, Michael Paul. "Representing belief : religion, art, and society in nineteenth-century France /". University Park (Pa.) : Pennsylvania State university press, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716402q.
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Steiger, Levine Gabrielle. "Deviance and disorder: the naked body in Chinese art". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21914.
Testo completoAbstract (sommario):
This thesis concerns the representation of nakedness in traditional Chinese art. Its objects of inquiry are representations of demons in images of Zhong Kui, the penitent in purgatory in images of the ten kings based on The Scripture on the Ten Kings, and the representation of beggars and street characters. This thesis provides initial inquiry into a motif which has not garnered much scholarly attention. It argues that the naked body signified various forms of deviance from the normative social and moral order which defined traditional China and its inhabitants such as the foreign, the marginal, and the subaltern. As such, the representation of nakedness functioned to highlight order within the imperial realm by displaying what the Chinese center and its inhabitants were not. It could also serve, however, and by virtue of the naked body's deviance from the normative human being, to suggest potential disorder within the imperial realm.Cette thèse a pour sujet la nudité dans l'art Chinois traditionnel. Les sujets d'analyse traitent de la représentation des démons dans l'imagerie de Zhong Kui, des pénitents au purgatoire dans l'iconographie des dix rois basées sur le texte « The Scripture of the Ten Kings », ainsi que la représentation des mendiants et les artistes de la rue. Cette thèse se penchera pour la première fois sur un thème qui n'a pas encore suscité l'intérêt de la communauté académique; celui de la nudité vue sous forme de non-conformisme, de non-appartenance à l'ordre moral et social qui définissait la Chine traditionnelle et ses habitants. Lorsque présente la nudité peut a la fois mettre en évidence l'ordre au sein de l'empire en affichant l'image contraire de ses sujets, mais égalment demontrer le désordre potentiellement présent.
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Teo, W. W. H. "One world, one dream : contemporary Chinese art and spectacle". Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336875/.
Testo completoAbstract (sommario):
The central research question of this thesis is to ask: what is the relationship between Chinese contemporary art and spectacle? I argue that the relationship is uncertain and ambivalent, and mobilise the variegated term ‘spectacle’ in order to track the transformational logic at play in recent Chinese artistic production, consumption and reception. I regard the spectacular event of the first Olympic games held in the People’s Republic of China as a trope for the complex processes of national reconstruction, forms of social control and geopolitical influence set in train by China’s rapid economic advance. I look at the mixed messages and ideological contradictions of such a spectacular global event, and examine the role art plays in China’s 21st century cultural reconstruction. I suggest that since Deng Xiaoping’s ‘open door’ economic reforms in 1978, Chinese art has operated within what I define as a spectacular framework, which subtends to how these artists recursively (re)imagine their own histories; reflect or reject the ambivalent legacy of totalitarian aesthetics; and also, confront and/or comply with the commercialisation, institutionalisation and indeed spectacularisation of their work as ‘imagineered’ by fantasies, projections and longstanding anxieties of China. Through an interdisciplinary and broadly deconstructive approach, this thesis explores the multifaceted dimensions of spectacle as a cross-cultural interface that reveals much of the geopolitical imaginary beneath the façade of ‘One World, One Dream.’
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Zheng, Yong Hong. "A Chinese view of art in an American university". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300135745.
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Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931". Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.
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Chan, Nicole E. "Xing: Sex, Gender and Revolution in Contemporary Chinese Art". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/315.
Testo completoAbstract (sommario):
This paper will explore the intersections of gender, sexuality and revolution in contemporary Chinese art through the lens of the Chinese Cultural Revolution. As an integral part in the process of narrative reconstruction, the propaganda imagery from the Cultural Revolution provides important insights into societal expectations for the masses. This paper will also analyze how contemporary artists seek to appropriate and respond to the events of the Cultural Revolution through their artwork, and describe the processes by which the I interpreted this information in order to create my own artwork.
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Combs, Nicole E. "Postmodernism, Globalization and the Connections to Contemporary Chinese Art". Thesis, University of Oregon, 1999. http://hdl.handle.net/1794/22587.
Testo completoAbstract (sommario):
149 pagesThe reopening of China's economic and cultural doors in the 1970s provided the fundamental stage for development of a new art. The Chinese government focusing its efforts on economic development created policies that actually encouraged an awareness of global culture, tending to an environment conducive to artistic change. The 1980s supplied artists with an introduction to, or reintroduction to Western art theory and practice. Many artists continued to work in traditional style and technique, but others, under the influence of non-Chinese modern art, began infusing their works with a dramatically different feel inspired by the changing society. As a dialogue between global culture and China, Chinese contemporary artists are creating a discourse on the transformation taking place within their society over the past two decades. It is therefore important to look at their art as a "registering apparatus" and realize that its production stems from a reaction to the postmodern, global culture.
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Peterson, Nathan James. "Re-imaging China: Ai Weiwei and contemporary Chinese art". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5824.
Testo completoAbstract (sommario):
This dissertation connects the life and work of Ai Weiwei to Chinese art history. This field is dynamic and, during certain periods, an influx of outside ideas has revolutionized it. Ai’s belief in democratic values—criticized as being anti-Chinese—is part of a tradition in China emphasizing diversity. From the Hundred Schools of Thought (zhu zi baijia) during the Warring States (475 BCE-221 BCE) to the spread of Buddhism during the post-Han era (220-589), divergent thinking has been part of China’s intellectual development. This diversity, however, has been crushed by ideology during other periods.
Ai embraces diversity as the future of China. His life and work reestablish a narrative of Chinese intellectual history. This narrative is free from ideological mandates to erase the past. Ai looks at everything critically. His art reveals new ways of understanding China. His career also corresponds to the policies of opening China known as Gaige kaifang. As a result, economic issues are recurrent themes in Ai’s work. He questions the value of liberalizing China’s economy when political and judicial systems are still closed. This contradiction could have manifold consequences to the world.
Another feature of Ai’s work is the legacy he inherited from his father, the Modern poet Ai Qing. This legacy is being tasked with modernizing China. The issues about modern China are addressed in this dissertation, and it is contextualized according to a balance between Western and Chinese thought. Ai has passed down this legacy to young artists, and his example recalls the axiom “the green comes from the blue and will surpass it” (qing chu yu lan, er sheng lan.
A student’s abilities have the potential to surpass the teacher’s talent. Ai Qing was a great poet, but his son is his “masterpiece.” Ai Weiwei has hope that the next generation will be better than his. The way they improve it is by including heterodox voices in Chinese society. China is ascendant, but its opaque system appears to be contradictory to Ai’s desire for transparency and the sharing of information globally. The future could resemble the lamenting of Lu Xun’s provincial character Jiujin laotai: “Yes, indeed. Each generation is worse than the last.”
Ai’s life and work show that the future of China is far from being determined. What is certain, and what Ai has done through his art, is that China and the world must be engaged. Human rights, specifically the freedom of expression, are paramount. The outcome of the twenty-first century depends on it.
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Trapani, Roberta. "Patrimoines irréguliers en France et en Italie : origines, artification, regard contemporain". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100087.
Testo completoAbstract (sommario):
Depuis les années 1930, un lent processus d’« artification » investit des lieux de vieembellis par leurs propres habitants avec des techniques improvisées. Considérés àl’origine comme des curiosités locales, ces sites sont révélés au monde de l’art par lessurréalistes, qui amorcent leur documentation. Dans l’après-guerre, ils connaissent uneréception de plus en plus enthousiaste au sein de certains milieux artistiques et serontannexés successivement à l’art médiumnique, à l’art naïf, à l’art brut, à l’outsider art, àl’architecture fantastique, entre autres, donnant lieu à une pléthore de définitions. Cesenvironnements irréguliers seront alors considérés souvent comme l’expressionspontanée d’impulsions intérieures, sans influences ni tradition. Cette thèse propose derevenir aux origines de cette forme artistique, en révélant le mouvement circulaire qui larelie, d’une part, aux cultures populaires et, d’autre part, aux courants officiels del’histoire de l’art contemporaine. Elle examine également les conditions de sa réceptions,dans un contexte dominé jusque dans les années 1970 par le paradigme primitiviste,avant de se concentrer sur la multiplication des initiatives qui, depuis la fin des années1970, marquent un renouvellement du regard. Tout au long, les environnementsirréguliers sont questionnés dans leur faculté à associer des notions fondamentales –art, culture, marginalité, architecture, grotesque, baroque, ornemental, entre autres – età être saisis comme un outil opératoire désignant une forme d’authenticité artistique ouculturelleSince the 1930s, a slow process of « artification » invested living spaces decorated bytheir own inhabitants with improvised techniques. Originally regarded as localcuriosities, these sites have been introduced to the artistic world by the Surrealists, whobegan their documentation. In the post war period, they have been seen with increasingenthusiasm in some artistic circles and then have been linked to mediumistic art, naiveart, art brut, outsider art, fantastic architecture, among others, creating a plethora ofdefinitions. Irregular environments have often been considered as the spontaneousexpression of inner impulses, without influence or tradition. This thesis proposes toreturn to the origins of this form of art, revealing the circular movement that connects it,on one hand, to the popular cultures and, on the other hand, to the officials movementsof the history of contemporary art. It also examines the conditions of its own reception,in a context dominated until the 1970s by the primitivist paradigm, before of focusing onthe many initiatives that, since the late 1970s, brought a renewed look. All along,irregular environments have been questioned in their ability to combine fundamentalconcepts - art, architecture, culture, marginality, ornamental, among others - and to betaken as an operational tool for a form of artistic or cultural authenticity