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 共查询到20条相似文献，搜索用时 31 毫秒
1.
I became acquainted with Chen Shibin through his calligraphic and painting works. Having appreciating almost all his creations from his teen years until now,I have been well informed of his artistic visage which fully demonstrates his scrutiny of life, art, nature and society.[第一段]  相似文献   

2.
Sculpture and painting are all that Western art means while calligraphy is unique to China, which is an art form between philosophy and design art. It is more concrete and lively than philosophy, but more abstract than painting and sculpture. Calligraphy is the very core of Chinese culture and homeland for Chinese spirit. --Xiong Bingming, renowned sculptor, painter and art theorist  相似文献   

3.
This article presents a case study of A Complaint with the Cadi (Algeria), ca. 1896 – a painting by the French Orientalist artist Marie Lucas-Robiquet (1858–1959). Using cultural and social history as prisms, it explores what Lucas-Robiquet’s visual record communicates to the cultural ‘outsider’ about Muslim social life in French colonial Algeria. Attention is given to this artwork because it depicts the Islamic judiciary system as practised in late nineteenth-century Algeria. This article argues that this painting and its subject matter are rare in the Orientalist canon; that the artist was female, is, I posit, crucial to the ways in which this work can be read. Lucas-Robiquet, a decorated Orientalist, used a Naturalist style of painting which was both nuanced and sensitive to Islamic cultural traditions. I contend that A Complaint with the Cadi (or qā?ī meaning judge) is an important work because it represents a locus of historicised forms of Otherness: the French female artist and the Algerian cultural attribute.  相似文献   

4.
ABSTRACT

During the summer of 2015, a series of events at the Museum of Fine Arts, Boston called Kimono Wednesdays encouraged visitors to try on a replica of the kimono Claude Monet's wife wore in her husband's 1876 painting La Japonaise and then pose for photos in front of the painting. This seemingly benign act of appreciation sparked protests from those who considered the events as perpetuating an exoticizing imperialist gaze and orientalizing stereotypes. This paper contextualizes this controversy by examining the history of white women cross-dressing as Japanese, how it constitutes a form of naturalized whitewashing linked to the pleasure of consumption through its connections to Gilbert and Sullivan's The Mikado (1885), and how the same act for Asian American women at the turn into the twentieth century is fraught with the anxiety of racial identity suppression.  相似文献   

5.
Miao Mo, born in Hua County, Henan Province in 1940, learned Chinese traditional painting under the mentorship of such masters as Zhao Wangyun and Shi Lu. He is currently professional painter with Shaanxi Province Traditional Painting Academy and member of China Artists Association. Miao is awarded the national firstgrade artist.[第一段]  相似文献   

6.
Tibetan fine arts have embraced a whole new era sincethe 1980s. Diverse subjects and innovative techniquesfeature the styles of contemporary Tibetan painting.Murals of NorbulingkaThe epic mural series”Origins of Tibetans: Politics andReligions” in the new palace of Norbulingka mix differentstyles of Tibetan painting and feature plain colors and grandscenes. The murals illustrate the political and religious historyof Tibet: from pre-historic Tibetans said to be decedents of amale monkey a…  相似文献   

7.
ABSTRACT

Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the ‘evolution’ of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and ‘ending’ with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea’s ultimate ‘progressive’ and ‘modern’ art form, a ‘Korean’ painting style combining the Western art form with traditional artistic concepts of ‘Scholarly Painting’ (muninhwa). Japanese‐influenced painting styles originating in the colonial period (1910–45) are rejected as ‘non‐authentic.’ The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre‐modern Korea, and thus its revival as an ‘ultimate modern’ and ‘Korean’ form has the consequence of locating traditionally‐gendered notions of art and artist at the core of the South’s modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign ‘Koreaness’ in South Korean modern art, showing how it is defined within Korean Abstract Painting as an ‘ultimate Korean sign’ and how its use of anti‐Japanese rhetoric covers up the traumatic history of the Korean War.  相似文献   

8.
Puppet and shadow plays are two old artistic expressions that integrate painting, engraving, carving and performing. Their history in China can date back to at least more than 2500 years.  相似文献   

9.
The National Art Museum of China opened an exhibition to display its collection of New Year painting masterpieces prior to the Spring Festival 2008, or Chinese New Year.  相似文献   

10.
Guizhou Province, located in southwest China, boasts numerous mountains and valleys. Over the sweep of history, local people have created many calligraphic and painting works on cliffs and rocks, leaving much information about the culture and traditions of the ancient society.[第一段]  相似文献   

11.
ABSTRACT

I deconstruct the distinctive facets of mediated framing of integration through a textual analysis of Flemish newspapers. Using Entman’s framing theory, I identified four primary integration frames: Fortress Europe, Streamlined Labour, Solipsistic Representation, and Competing Integration Frames. Specifically, I describe the ambivalence of media framing, which intertextually borrows from dominant representation of (im)migrants. The papers simultaneously frame integration as an assimilative social contract to be agreed to by (im)migrants and as a responsibility of the host society to integrate (im)migrants. Counter-framing, present in all four media frames, is critical to both dismantling systemic marginalization and ameliorating processes of integration.  相似文献   

12.
He is tall, gentle, modest, friendly and calm. There is a hint of undemonstrative passion and confidence in his dignified manner.Probably it is the unique charm of his personalities that bestows the irresistible authority upon him in the present painting circle of Chengdu.[第一段]  相似文献   

13.
Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China, from  相似文献   

14.
United Arab Emirates (UAE) is currently a hub of 200 nationalities with a variety of lifestyles and religions. Nonetheless, the attitudes of locals towards reasoning with others have not yet been investigated. This investigation studied fundamental orientations to arguing among UAE residents (N = 157), with a range of self-report instruments including argument frames, personalization of conflict, argumentativeness, and verbal aggressiveness. Data analysis showed that UAE respondents had responses comparable to three comparison countries (US, India, and China) in terms of argument motives, but they manifested differences regarding argument frames and taking conflict personally. These are discussed in relation to cultural dimensions and their significance for business and education.  相似文献   

15.
In my opinion.paintings of the South Yangtze River are to be tenderly portrayed.They seem to be embodied by neither drawing nor painting, but by a kind of way softly playing out on a bamboo flute Nature that it beholds, and a carefree brush merely bespeaks the essence of it.  相似文献   

16.
This between-subject survey experiment, conducted in two waves using a German sample (N = 1166 in Wave 1, N = 829 in Wave 2), examined the hypothesis that identity-related frames – specifically, assimilation versus multicultural – affect outgroup prejudice and admission policy preferences by increasing the salience of different national identity representations (NIR). Participants were exposed to identical articles (except for the manipulations) framing information about Syrian refugees in Germany in either assimilation or multicultural terms. As predicted, exposure to assimilation versus multicultural frames led to higher ethnocultural NIR salience and, in turn, to higher outgroup prejudice and preference for more restrictive admission policies. Still, findings pointed to the defining role of frame content and valence perception in these effects, as perceiving the frame as more assimilationist and anti-immigration was related to higher ethnocultural NIR salience. Furthermore, frame perception explained a larger portion of variation in ethnocultural NIR salience than treatment alone. Additionally, ethnocultural NIR salience fostered intergroup threat perception leading to higher outgroup prejudice and preference for restrictive asylum policies. In contrast, civic NIR salience was unaffected by the experimental manipulation. We discuss the impact of identity-related frames on ethnocultural NIR salience and the role of exclusionary national identities on outgroup prejudice and preference for restrictive admission policies. We also highlight the benefits of using multicultural frames to frame information about refugees and asylum to foster positive intergroup perceptions.  相似文献   

17.
On November 8, an exhibition on the replicas of lost painting and calligraphic masterpieces, used to be part of the Qing court collection, opened in the National Library of China. This one-month exhibition was co-organized by the collection connoisseurship committee of China Cultural Relics Soceity and Liaoning Provincial Museum. During the exhibition, the reporter interviewed Mr. Li Chun, curator of this exhibition.[第一段]  相似文献   

18.
Artist and photographer Li Xiaoke grew up looking to his father as a role model. But ,growing up in the shadow of the great modem master of traditional Chinese landscape ink and water painting, brought its own particular burden. Now in his sixties, the son has established his own place in the Chinese world of fine arts and photography, and created his own artistic vision.[第一段]  相似文献   

19.
Jiaxing County, located in the Yangtze Delta in southeast China, is a land of abundance and home of silk. For many local peasants in Jiaxing, painting is an important means of artistic expression.Most of the artists labor in the field during daylight and paint at night. Their paintings are known for rustic styles, bright colors and plain designs, drawing extensive attention and praise of the art circle nationwide.  相似文献   

20.
艺术承担着在世俗生活中的精神救赎功能。在当代艺术的先锋性与大众审美需求间进行调和,是当代艺术家的一个难题。本文以成都画家林跃的藏獒油画作品为分析个案,兼及孟涛、邱光平两位成都本土画家,对当代艺术近年来日渐增多的以动物为描绘主题的文化现象进行符号解读,解剖凸现出这一现象背后的实质是艺术家"回归自然"的精神诉求,从审美的维度体现了当代艺术家对人与自然关系的深刻反思。  相似文献   

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