Chinese Art

Pese a su origen y desarrollo filosofico, Logica y Psicologia, historicamente, han tendido no solo a la disociacion sino, mas alla, al enfrentamiento. Durante decadas, excepcion hecha de la llamada logica intuicionista. la peor acusacion que se le pudo hacer a un logico fue la de psicologista. Sin embargo, logica y psicologia. tal y como pretende sena larse en este trabajo, no solo estan mucho mas cercanas de lo que pudie ra parecer sino que. tambien, viven en una relacion complementaria.

This is a reflection on my academic and personal relationship with the late Yang Mu (aka, C. H. Wang, Wang Ching-hsien), my mentor and friend, over the last fifty years. The relationship is described through a series of forty letters he sent from 1971-1999, which are filled with advice, encouragement, news, and an occasional reprimand. This presents a personal portrait of Yang Mu complementary of his public persona of scholar, poet, and critic.

This article entitled “The Role and Importance of Ink in Contemporary Chinese Art” focuses on the traditional and contemporary practices of Chinese art, departing from the recent exhibition Out of Ink Interpretations from Chinese Contemporary Art curated by Karen Smith, at Pera Museum. The changes and transformations that Chinese art has faced in the process of avangardization have been examined within the socio-political dynamics of China. While the adventure of modernization of Chinese art will be exposed in this text, the relationships between ink, calligraphy and nature that constitute the theme of the exhibition will be opened to discussion.

Este artículo supone la edición electrónica del libro homónimo publicado en 2006 por la editorial La Xara, de Simat de Valldigna (Valencia). Para los autores principales (filósofo e historiador) el estudio de las migraciones humanas se enfoca mejor desde la idea de ruta, cuyo análisis más potente se deriva, a su vez, del uso de categorías histórico-fenomenológicas, frente a otras posibles de menor rendimiento (sociológicas, psicológicas o metafísicas). Nos sitúan así en el ámbito de la filosofía de la historia. La ruta es definida como una trayectoria que permite «unir y separar colectivamente (por contacto o contigüidad) sociedades, pueblos, culturas... y transformar así las relaciones entre los hombres, sus conocimientos sobre el mundo y los vínculos con las identidades que aún no se han incorporado a las rutas» (p. 29). Y la ruta es resultado incesante de la dialéctica entre las rutas históricas —del interior, religiosa, de la moneda, del desplazamiento, político-militar y de la ...

This research project builds on insights from a study of the ancient Chinese methods of ink and wash landscape painting in particular through a focus of Song Dynasty landscape painting. My research seeks to produce artworks that explore the potential in, and re-contextualise, the ancient tradition of the Wrinkle method (texture method) within Song Dynasty ink and wash work in order to innovate the tradition. The following questions inform the research: What can Song Dynasty ink and brush (wash) paintings offer contemporary art practice? How does ink and wash landscape paintings reveal Chinese philosophical thought, especially the philosophy of Yin and Yang, within environments outside of that tradition? How can the practice of calligraphy be re-contextualised within a contemporary art practice to communicate Yin and Yang philosophy in relationship to the landscape? How might the process of using ink and wash wrinkle methodology develop a new visual language that enters into a dialog...

In the late Qing dynasty (1644-1911), local gazetteer maps helped to disseminate the innovations of longitude and latitude used in Western cartography. The use of longitude and latitude lines alongside the traditional Chinese cartographic method of "grid scales" suggests that mapmakers chose an ingenious compromise to accommodate new knowledge alongside traditional practices.

🇬🇧 On the occasion of the publication of the volume "Il parato di Benedetto XI. Storia di un tesoro", the project "In the footsteps of Blessed Benedict XI:  the Perugia 'panni tartarici’ vestment in dialogue with..." is launched: a series of presentations of the book in the form of a traveling symposium aimed at contextualising the ‘cloth of gold’ papal vestments preserved in San Domenico, Perugia in the broader artistic, historical and cultural scenario of the time.
The presentations will be organised in different locations in Italy where some significant testimonies to the papal vestments and their history are preserved. 
The imaginary dialogue between Benedict XI, the vestments associated to him and other artefacts and protagonists of the period will be led by the curator and authors of the volume in dialogue with a speaker who will give voice to the object or subject chosen from time to time to explore the history of Perugia's vestments from different perspectives.

🇮🇹 In occasione della pubblicazione del volume "Il parato di Benedetto XI. Storia di un tesoro", viene lanciato il progetto "Sulle orme di Benedetto XI: il parato in ‘panni tartarici’ di Perugia in dialogo con..." : una serie di presentazioni del libro in forma di simposio itinerante finalizzato a contestualizzare i paramenti papali in 'panni tartarici' di San Domenico nel più vasto scenario artistico, storico e culturale dell’epoca.
Gli incontri saranno organizzati in diverse località italiane dove si conservano alcune testimonianze significative per i parati papali e per le loro vicende.
Il dialogo immaginario tra Benedetto XI, il suo parato e altri manufatti e protagonisti del periodo sarà condotto a più voci dal curatore e/o dagli autori del volume a confronto con un altro relatore che dia voce all’opera di volta in volta scelta per approfondire la storia delle vesti di Perugia secondo diverse prospettive.

First venue / Prima tappa: GENOVA

Benedict XI's vestments in dialogue with the Mongols / Il parato di Benedetto XI in dialogo con i Mongoli

🇬🇧 The vestments of Benedict XI made in precious panni tartarici are tangible evidence of the relations that were established between the new Mongol rulers of Asia and European rulers between the 13th and 14th centuries, often mediated by the Genoese.
🇮🇹 Le vesti di Benedetto XI realizzate nei preziosi panni tartarici sono testimonianza tangibile delle relazioni che tra il XIII e il XIV secolo si andarono instaurando tra i nuovi sovrani d’Asia mongoli e i regnanti europei, spesso mediate dai Genovesi.

👉 https://lnkd.in/dxP3E-gp
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👉https://lnkd.in/dpzwEmjM

Since the beginning of the post-reform era (1978–present), China has witnessed dramatic changes to its society such as falling birth rates, rising divorce rates and changing attitudes towards patrilineal values – trends that suggest a move away from the Confucian family. Yet, it remains the normative family model in China today. In this article, I examine a range of performance artworks that depict queer subjects and familial relationships to uncover the ways that these performances subvert current understandings of the Confucian family and (re)imagine fami- lies where queerness can emerge. First, I turn to Fan Popo and David Zheng’s documentary New Beijing, New Marriage (2009) to examine how it expands the definition of Confucian marriages to include same-sex couples. Second, I examine how He Chengyao’s Mama and Me (2001) and 99 Needles (2001) provide repre- sentation and reparations for the relationships and individuals that are rendered marginal in Confucian teachings – namely, the relationship between mother and daughter and individuals who suffer from mental health issues. Lastly, I study the Beijing East Village (Dongcun) as a form of chosen family to see how the rela- tionships and collaborations between the different members expand the definition of Confucian family model to include non-biogenetic kinships such as family-like friendships.

The historical region of Lingnan straddles the line between East and Southeast Asia. The official history of the Western Han Empire (202 BCE–9 CE) describes the sea-trade route between the Lingnan ports and the distant lands of the South China Sea and Indian Ocean basins. The archaeological remains of two of these coastal towns, Hepu and Xuwen, have recently been identified. This paper uses archaeological and textual evidence to explore the sea-oriented urban economies of the Han Far South and address the following questions: Did these ports have a distinctive economic, social, and cultural profile compared to other urban centers in the early Chinese empires? How were they integrated into the imperial economy, if at all? What role did they play in the political-economic changes that accompanied the empire’s decline from the late second century CE onward and in the intensification of Afro-Eurasian connectivity networks during late antiquity?

Kalāntars were the high officials of Ṣafavid, Afshārid and Qājār administration of towns, who managed the affairs referring to handicraft production and trade there. During the predominance of the Iranian states of the period the towns of Transcaucasia had kalāntars, and more often Armenian kalāntars were at the head of the towns, where Armenians formed the majority of the urban population. Armenian kalāntars were usually the representatives of local elite families of eminent melik's and merchants. The research on the topic has helped reveal the names of a few Armenian kalāntars in Agulis, Zagam, Loṙi, Erevan, Barda and Tiflis, also trace some peculiarities in the functions of this official in the region. The kalāntars of the mentioned towns usually managed the affairs of not only the town, but also those of the surrounding villages, since handicrafts and trade were among the main occupations of the inhabitants of many Armenian villages. The next peculiarity of office in the regions is the frequent cases of transmission of the post from father to son.

El éxito y la magna repercusión que acapararon en América figuras como Huntington, Sorolla o Zuloaga, han llegado a eclipsar la presencia de otros artistas y agentes de carreras menos altilocuentes, pero que sin embargo nos proporcionan las claves para poder redimensionar el proceso de introducción del arte español en el nuevo continente.

In one of Dr. Luk’s lecture, she talked about images of ‘Kunlun slave’(Chinese Kunlun nu, 崑崙奴) from a Stein collection — Four manifestations of Avalokiteshvara with Samantabhadra and Manjusri. I was fascinated by those dark skin, barefoot, small figures. Kunlun slaves are a kind of outsiders in the Tang dynasty. They have been recorded in ancient Chinese historical materials, in folk novels of the Tang dynasty, on wall paintings of Mogao Grottos, and on banners of cave 17. They can be divided into two categories, Kunlun slave in the secular world and Kunlun slave in Buddist art. I would like to take images of Kunlun slave as my research object, discuss the process by which the Kunlun slave images of Stein collection were discovered and identified, and how the various discoveries establish connections. I would also solve the question like how Kunlun slaves who were engaged in labor work combined with Buddhism. I find that plenty names of people in Stein documents were Kunlun nu at that time, and I would like to discuss the connection between these Tang dynasty names of Dunhuang county and the Kunlun slave image on the banners of Stein collection in this final paper, and to explore the social and religious beliefs of the Tang dynasty reflected by Kunlun slave, as well as the relationship between Kunlun slave in the secular world and Kunlun slave in Buddhist art.

In March 2017, Big Tail Elephants: One Hour, No Room, Five Shows opened, as scheduled, at the OCAT Institute, Beijing. During the press conference, a journalist raised a question implying the avant-garde status of the Big Tail Elephants-Chen Shaoxiong, Liang Juhui, Lin Yilin, and Xu Tan-was inseparable from the context of Guangdong Province's privileged position at the forefront of economic development in the1990s. Xu Tan volunteered to respond, asserting that Big Tail Elephants' exploratory work, far from being confined to the temporal axis of the 1990s or the spatial boundaries of Guangdong Province, in fact arose from a nascent critique of the universal, modernist faith in economic development as a necessary means for social progress. Four decades into China's economic reform, a global north-south divide was predicated on the assumption that there is a positive correlation between economic growth and cultural development, and its ensuing stratification remains the primary standard by which Chinese mainstream media determines artistic value.