Gotowe bibliografie tematyczne / Chinese artists

Gotowa bibliografia na temat „Chinese artists”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 4 marca 2023

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Artykuły w czasopismach na temat "Chinese artists"

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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, nr 2 (6.07.2022): 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 i Feng Yu. "Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks". Social Behavior and Personality: an international journal 44, nr 4 (18.05.2016): 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, nr 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 (24.07.2014): 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, nr 1 (1.07.2022): 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, nr 1 (1.07.2022): 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, nr 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, nr 4 (kwiecień 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, nr 11 (28.12.2017): 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, i Taj Frazier. "‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists". International Journal of Cultural Studies 20, nr 6 (24.08.2015): 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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Rozprawy doktorskie na temat "Chinese artists"

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Zhou, Yan. "The centrality of culture in art the contemporary challenge to Chinese artists, particularly Wenda Gu /". Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117046188.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xvii, 298 p.; also includes graphics (some col.) Includes bibliographical references (p. 211-217). Available online via OhioLINK's ETD Center
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Ma, Nancy. "Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.

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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.
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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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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Perkins, Morgan. "Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds". Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.

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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College i Centre for Cultural Research. "Transexperience and Chinese experimental art, 1990-2000". THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
Doctor of Philosophy (PhD)
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Leung, Mei-yin, i 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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Zhang, Shibin. "A Comparison between Chinese and Western Women Artists' Work in the Late 1980s and Early 1990s". Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508738.

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Wong, Hoi-yan. "Centre for HK Cantonese Opera Artist's Association". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.

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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.

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Książki na temat "Chinese artists"

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Lucy, Lim, i Chinese Culture Center of San Francisco., red. Six contemporary Chinese women artists. [San Francisco]: Chinese Culture Foundation of San Francisco, 1991.

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Faccenda, Luca. La città proibita: Artisti cinesi contemporanei = The forbidden city : contemporary Chinese artists. Firenze: Giunti, 1999.

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Wu Hung on contemporary Chinese artists. Hong Kong, China: Timezone 8, 2009.

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Chinese artists: New media, 1990-2010. Atglen, PA: Schiffer, 2010.

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Phil, Tinari, red. Artists in China. London: Verba Volant, 2007.

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Ciampi, Mario. Artists in China. London: Verba Volant, 2007.

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Zhenqing, Gu, red. Chinese artists: Texts and interviews : Chinese contemporary art awards 2004. [Zhongguo]: Timezone 8 limited, 2005.

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Breakout: Chinese art outside China. Milan: Charta, 2006.

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AT WORK: Twenty-five Contemporary Chinese Artists. San Francisco: Long River Press, 2010.

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Sarah, Champion, i Chinese Arts Centre, red. Vital: International live artists of Chinese descent. [Manchester, England?]: Chinese Arts Center, 2008.

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Części książek na temat "Chinese artists"

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Ding, Min. "Company Type 5: Artists". W Rethinking Chinese Cultural Identity, 183–84. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9961-9_40.

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Clark, Paul. "Artists, Cadres, and Audiences". W A Companion to Chinese Cinema, 42–56. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch3.

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Tang, Ling-Yun. "Post-70s Artists and the Search for the Self in China". W Chinese Modernity and the Individual Psyche, 19–41. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137268969_2.

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Kennedy-Schtyk, Beccy. "Outside Chinatown: Shifting Factors and Considerations of Chinese British Artists". W Imaging Migration in Post-War Britain, 79–122. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429289941-3.

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Dhiman, Satinder. "Chinese and Greek Artists and the Restoration of an Old Palace". W Stories to Tell Your Students, 148–49. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230370432_66.

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Man, Eva Kit Wah. "The Notion of “Orientalism” in the Modernization Movement of Chinese Painting of Hong Kong Artists in 1960s: The Case of Hon Chi-Fun". W Chinese Contemporary Art Series, 57–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_8.

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Wu, Kan, i Dechao Li. "When Chinese Martial Artists Meet Western Heroes: A Stylometric Comparison of Translated Wuxia Fiction and Western Heroic Literature". W Understanding and Translating Chinese Martial Arts, 91–115. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8425-9_6.

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Zhirong, Zhu. "Artistic representation of Chinese art". W Philosophy of Chinese Art, 188–253. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003204688-5.

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Yuan, Jixi. "Xing and Its Artistic Vigor". W Redefining Chinese Literature and Art, 67–97. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3555-6_4.

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Powers, Martin J. "Artistic Status and Social Agency". W A Companion to Chinese Art, 349–70. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch17.

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Streszczenia konferencji na temat "Chinese artists"

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Gu, T. "FEATURES OF THE WORK OF CHINESE ARTISTS EMIGRANTS". W IV International Conference ”Science and society - Methods and problems of practical application". Prague: Premier Publishing s.r.o., 2018. http://dx.doi.org/10.29013/iv-conf-canada-4-12-15.

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Vinogradova, Tatiana. "A HALF BOTTLE OF VINEGAR OR ZHANG THE DRAUGHTSMAN’S LITERARY OPINIONS". W 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.12.

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“A half bottle of vinegar” is a Chinese idiom academician Vasily Alekseev characterized the artists of Chinese popular prints nianhua. As a rule, these artisans were half-educated people without full complex of classical Confucian knowledge. These people were the conductors of ideas and images of high culture to the broad masses of consumers of folk pictures. One of them “the Draughtsman” Zhang Haoru (章浩如, 1870–?) helped V. M. Alekseev to disassemble his enormous collection of popular prints. We have at our disposal many comments belong to the Zhang Hao-ru’s brush, preserved at the Archive of the Russian Academy of Sciences, St. Petersburg branch (Stock 820, inventory 1) and we can get an idea of his education level and literary preferences.
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Qi, Jingkun. "The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts". W 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.076.

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

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"Artistic Expression of Traditional Chinese Painting". W 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.52.

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Rani, Sunanda, Dhaneshwar Shah, Meiyan Wang i Jining Dong. "Analysis on the Rare Chinese Women Landscape Artist". W International Conference on Arts, Humanity and Economics, Management (ICAHEM 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200328.012.

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Van, Kesin. "Bel Canto's Influence on the Development of Modern Chinese Opera Singing". W All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98545.

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Since the emergence of bel canto in China, traditional Chinese singing has been greatly influenced. Modern Chinese opera not only inherits the essence of Chinese national music, but also includes the unique vocal abilities of bel canto. It is thanks to Chinese national music and bel canto, which give Chinese opera singing in modern opera a whole new artistic experience that makes contemporary Chinese opera singing aimed at diversified development. The article analyzes the direction of development of bel canto in the field of Chinese art and the influence of bel canto on the direction of development of Chinese opera singing. Clarify the direction of development of the Chinese operatic art.
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Chen, Yunbing, Ke Shen, Gang Yu, Yuehan Qiao, Xiangning Yan, Wuwei Zhang i Yingqing Xu. "EEG Based Artistic Visualization of Dreams". W Chinese CHI 2021: The Ninth International Symposium of Chinese CHI. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3490355.3490376.

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Li, Wenxiu. "Artistic Conception of Blank Art in Chinese Painting". W 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.111.

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Полосина, Анастасия Игоревна. "THE ROLE OF THE COMPOSER JIA DAQUN IN DEVELOPMENT OF CONTEMPORARY CHINESE MUSICAL CULTURE". W Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Апрель 2022). Crossref, 2022. http://dx.doi.org/10.37539/ecs302.2022.86.90.002.

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Статья посвящена современному китайскому композитору Цзя Дацюню (р. 1955) и его творческой деятельности. Автор характеризует китайскую музыкальную культуру современности и раскрывает роль композитора Цзя Дацюня в её развитии. Цзя Дацюнь - представитель поколения китайских композиторов-авангардистов. Он ярко проявил себя не только как композитор, но и как музыковед, педагог, художник. The article is about the modern Chinese composer Jia Daqun (born in 1955) and his creative activity. The author of this article characterizes Chinese contemporary musical culture and reveals the role of the composer Jia Daqun in its development. Jia Daqun is a representative of a generation of Chinese avant-garde composers. He clearly showed himself not only as a composer, but also as a musicologist, teacher, and artist.
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