Thematische Bibliographien / Chinese artists

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Auswahl der wissenschaftlichen Literatur zum Thema „Chinese artists“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Chinese artists"

Zhao, Shuai. "Philosophical Foundations of Contemporary Chinese Neorealism." Общество: философия, история, культура, no. 2 (February 21, 2024): 93–98. http://dx.doi.org/10.24158/fik.2024.2.12.

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Chinese new realism painting is formed under the interaction of western philosophy and Chinese native phi-losophy. Philosophical and cultural theories have had a significant impact on artists’ understanding of real-world problems and the way they conceive art. For some contemporary Chinese artists, philosophical and cul-tural theories have become an integral part of their professional outlook. Neorealist artists depict objective reali-ty according to their feelings, emotions and spiritual values. This paper points out three philosophical concepts that influence Neo-Realism philosophy: symbol p

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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, no. 2 (July 6, 2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.

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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images i

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Chai, Fangyuan, Kaiping Peng, and Feng Yu. "Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks." Social Behavior and Personality: an international journal 44, no. 4 (May 18, 2016): 541–54. http://dx.doi.org/10.2224/sbp.2016.44.4.541.

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There are few studies in which the focus is on cognitive determinants of artwork bidding. Using a micro approach, we explored factors that may influence bidders' offering from a psychological perspective. The 157 participants rated 25 paintings on the price they were willing to offer for works by famous Chinese artists executed in the traditional Chinese style and variants of the same works by a modern Chinese artist working in adaptations of the style of famous Western artists. Results showed that for both the Chinese and Western-style paintings in 3 price anchoring and 3 price nonanchoring c

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Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.

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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that

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Kyan, Winston. "The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 157–75. http://dx.doi.org/10.1386/jcca_00060_1.

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This article discusses the work of Yan Xing, who has established an international career as a Chinese diaspora artist. This transnational identity, however, raises certain questions, including how Yan Xing’s work changed from when he lived in China to when he became a US resident in 2015, and how these changes differ from the globalized art of earlier diasporic Chinese artists. Accordingly, this article first argues that overt references in Yan Xing’s earlier work to sex and sexuality shift to an exploration of desire, truth and fiction in his later work that aligns with discourses on queer di

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Clunas, Craig. "Chinese Art and Chinese Artists in France (1924-1925)." Arts asiatiques 44, no. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.

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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.

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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobi

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Cui, Zhenye. "Collision and Challenge: Influences of Sociocultural Contexts in Early 20th Century China on Storm Society Artists Exploration and Practice of Western Modern Art." Communications in Humanities Research 4, no. 1 (May 17, 2023): 596–602. http://dx.doi.org/10.54254/2753-7064/4/20220896.

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This essay engages with the topic of Chinese modern artists introduction and adaptation of Western modern art. This essay conducts its analysis on a modern artist group named the Storm Society (JuelanShe) active in 1920s and 1930s China. Inspired by a social art historical approach, this essay places its focus on the sociocultural contexts specifically present during the active years of Storm Society artists. Three factors are identified to be influential challenges in these artists efforts of exploring and introducing Western modern art to China: Cultural conservatism, inhospitable social env

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Kruglova, Maria S. "Trash-art in China and Korea: Struggle for the Cultural Heritage — the Case of Porcelain." Oriental Courier, no. 4 (2022): 117. http://dx.doi.org/10.18254/s268684310023833-4.

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The article discusses examples of trash art created by contemporary Chinese and Korean artists. In view of the environmental and social agenda, contemporary artists often use materials once used for completely different purposes. Chinese and Korean artists are no exception here. The author considers examples of the broken porcelain used to create new art objects created in China and Korea. Beijing-based artist Li Xiaofeng creates wearable dresses from broken porcelain from the Song, Ming, and Qing dynasties, and works with new broken porcelain to create designs with fashion houses such as Laco

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Canbolat, Ayse. "Over Thousands: Ai Weiwei and Antony Gormley in Ceramic Perspective." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 214–21. http://dx.doi.org/10.18844/prosoc.v4i11.2877.

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Mass production that started with the Industrial Revolution, and the art movements that successively appeared with modernism and the psychological pressure of World Wars I and II affected the artist’s way of expression. This development process in art started with Dada, and was followed by Abstract Expressionism, Pop Art, Conceptual Art and Neorealism. During this period, the perception of uniqueness of an artwork was surpassed an an object or item from daily life started to be exhibited in art galleries. Artworks were made using an object in a composition, and this tendency started to be used

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Dissertationen zum Thema "Chinese artists"

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.<br>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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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.

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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, and 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 expl

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Leung, Mei-yin, and 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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Bücher zum Thema "Chinese artists"

Lucy, Lim, and Chinese Culture Center of San Francisco., eds. 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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Ciampi, Mario. Artists in China. London: Verba Volant, 2007.

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

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

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

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Luo, Xianyue. Watercolor: Paintings by Zhejiang artists. Paramus, New Jersey: Homa & Sekey Books, 2014.

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Museum of Photographic Arts (San Diego, Calif.), ed. Out of the shadows: Contemporary Chinese photography. San Diego: Museum of Photographic Arts, Becky Moores Center for Visual Learning, 2020.

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Smith, Weidner Marsha, and Indianapolis Museum of Art, eds. Views from Jade Terrace: Chinese women artists, 1300-1912. Indianapolis, Ind: Indianapolis Museum of Art, 1988.

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Mak, Sonia. 'Round the clock: Chinese American artists working in Los Angeles. Monterey Park, CA: Vincent Price Art Museum, East Los Angeles College, 2012.

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Buchteile zum Thema "Chinese artists"

Ding, Min. "Company Type 5: Artists." In 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." In 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." In 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." In 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." In 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." In 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, and Dechao Li. "When Chinese Martial Artists Meet Western Heroes: A Stylometric Comparison of Translated Wuxia Fiction and Western Heroic Literature." In 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." In Philosophy of Chinese Art, 188–253. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003204688-5.

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Chen, Shanshan. "Artistic Representation of Chinese Landscapes." In Art, Science, and Diplomacy: A Study of the Visual Images of the Macartney Embassy to China, 1793, 107–46. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-1160-8_5.

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Yichuan, Wang. "Winning the hearts of the people with artistic masterpieces: An artistic aesthetic tradition of Chinese Marxism." In Contemporary Chinese Marxism, 5–12. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003384984-2.

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Konferenzberichte zum Thema "Chinese artists"

Gu, T. "FEATURES OF THE WORK OF CHINESE ARTISTS EMIGRANTS." In 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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Sorokina, K. S., and A. V. Karpov. "CONTEMPORARY CHINESE ART ON THE GLOBAL ART MARKET: RANKING ANALYSIS OF LEADING CHINESE ARTISTS." In Художник и менеджер в пространстве современного арт-рынка. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868874_30.

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Sorokina, K. S. "ACTUALIZATION OF ARTISTIC HERITAGE AS THE AUTHOR'S MARKET STRATEGY (on the example of modern chinese artists)." In Художник и менеджер в пространстве современного арт-рынка. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868874_27.

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Vinogradova, Tatiana. "A HALF BOTTLE OF VINEGAR OR ZHANG THE DRAUGHTSMAN’S LITERARY OPINIONS." In 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

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Qi, Jingkun. "The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts." In 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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Wen, Xingyi, Wei Cui, Huiyan Chen, Fan Liu, Yulin Shao, and Fang You. "Cross-border Integration and Innovation of Traditional Chinese Exercises and Digital Media Technology: The Case of Baduanjin." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004978.

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Baduanjin is an independent and complete set of traditional Chinese fitness techniques originating in the Northern Song Dynasty, known for its holistic health benefits rooted in ancient Chinese customs, and is enjoying renewed popularity around the globe. In this study, through the use of body sensing camera, dynamic capture and limb movement recognition following the movement of Baduanjin martial artists in space, the body sensing camera data is combined with Touch designer to realise a new form of digital interaction design for real-time interaction of visual images. The transformative impac

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Shevchenko, Marianna. "Song Dynasty Gate Structure and Its Typology Reflected in the Paintings of Chinese Artists of 10th–13th Centuries." In 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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Varenov, A. V. "An Episode from the History of Southern Xiongnu and Han Empire Contacts as Reflected in the Southern Song Painting by Chen Juzhong." In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-1-8-49-54.

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This paper briefly describes the biography of Han poetess Cai Yan (Cai Wenji). After the capture of Eastern Han capital city Luoyang by general Dong Zhuo’s troops in 192 AD she became a prisoner of Southern Xiongnu and 12 years later was redeemed by Cao Cao general. Cai Wenji was often a subject for artists of different periods. Southern Song painting “Wenji returns to Han” by Chen Juzhong was finished at the beginning of the XIII century. It expresses allegorically the hope of the author that Chinese territories captured by Jurchen will return to Song.

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Cheng Xie, Li, Chao Zheng, Xinhao Zhan, Yichen Zeng, Xinlei Zhang, and Bingkun Qiu. "The application of digital art in experimental font design." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003436.

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The development of digital art has profoundly changed people's reading habits and also affected the design methods and visual presentation of fonts. Meanwhile, the application media, scenes, and fonts' communication modes have become more diverse. Since the development of font design, a font is no longer a two-dimensional symbol that can only be communicated through shape and language. More and more artists create and express words through digital art. At this time, the role of "character" has gone far beyond the communication of sound or ideographic information, but has become the carrier of

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Wang, Ying Miao, and Carolina Quintero Rodriguez. "The Aesthetic Factors Shaping Chinese Millennial Consumers' Purchase Intentions of Luxury Pyjamas: Implications for Future Design." In 22th AUTEX World Textile Conference. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-u2ezkj.

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The luxury fashion market is rapidly expanding worldwide, and the demand for designer pyjamas is on the rise. Pyjamas originated in South Asia as loose, lightweight trousers or two-piece suits for sleeping and lounging, and evolved into swishy palazzo-like pants and jumpsuit styles popular in Europe. Over time, pyjamas have undergone multiple functional and aesthetic changes while the luxury fashion goods purchasing power of Chinese millennials who were born in a rapidly evolving digital world has increased fast. However, limited academic research on luxury pyjamas and scarce information on th

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