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Dissertations / Theses on the topic 'Chinese artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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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2

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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3

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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5

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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6

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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8

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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9

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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10

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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Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000." Thesis, View thesis, 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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12

Huang, Yue. "BETWEEN POSTMODERNISM AND CHINESE FOLK ART : An Analysis of The Yelang Valley." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-161820.

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13

Loh, Panni Poh Yoke. "'Five Contemporary British Chinese Artists- The impact of cultural experiences on their work and their attitudes towards the natural world and spirituality'." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515331.

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14

Chan, Flora Kay, та 陳鳳姬. "呂壽琨的藝術發展". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B1300587X.

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15

David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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16

Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.

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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Fol

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17

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.

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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 structu

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18

Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.

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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-di

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19

Tham, Hong Wan. "To occupy a different space of mind investigating the connection between socio-cultural and historical contexts and the positioning of the self in the studio art practice of the Post-80s Generation student artists at the Chinese Art School in Beijing, China." Thesis, Teachers College, Columbia University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590269.

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<p> This is a case study that focuses on the socio-cultural and historical contexts that influenced the studio art practice of three Post-80s Generation student artists attending the Chinese Art School in Beijing. This study is grounded on the idea that the creation of art is determined by an interplay between multiple factors within the milieu (of what makes it understood to be “art” by the majority) and their influence on the artistic creation, which is non-assertive and invariably established in relation to others that happen to share and coexist within this processual context o

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20

Chang, An-ching. "The use of perspective in the works of French artist Cezanne and Chinese artist Ku." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/491468.

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The purpose of this creative project was to conduct a study on the usage of perspective in the works of French Artist Paul Cezanne and Chinese Artist Ku, Hung-Chung. By finding the relationships between the two, the student would be able to better his understanding of both Western and Eastern Art.In this project, the student identified and compared the physical and theoretical similarities, as well as the differences, in the use of perspective by Cezanne and Ku.From the result, the student attempted to develop and refine his personal concept of the perspective in his own works.

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21

Eastburn, Melanie. "The living specimen: Guan Wei: a Chinese-Australian artist." Thesis, Canberra : Australian National University, 1997. http://hdl.handle.net/1885/266282.

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22

Jing, Anning. "Anige (1245-1306) : a Nepali artist at the Yuan court." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260459201.

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23

Zhu, Sicong. "Poetic feeling in a thatched pavilion attributed to the Chinese Yuan artist Wu Zhen." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4983.

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In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.

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24

Zhang, Naiyong. "Les femmes artistes d'origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA042.

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Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’acc

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25

黃凱茵 and Hoi-yan Wong. "Centre for HK Cantonese Opera Artist's Association." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984216.

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26

Yun, Kusuk. "Etre exotique dans l'art contemporain : la scène internationale de l'art et trois pays d’Asie – Japon, Corée du Sud et Chine – dans la mondialisation : création et stratégies de diffusion." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080135/document.

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Depuis « l’ère de la mondialisation », le monde occidental s’est vivement engagé dans la découverte de nouvelles cultures du monde dans le domaine des arts visuels. En effet, il est devenu la norme de valoriser la diversité du monde et le relativisme culturel parce que les cultures perçues comme authentiques développeraient des valeurs esthétiques et économiques considérables grâce à leur aspect original, singulier et pittoresque. Même si l’on ne peut pas réellement saisir toutes les nuances de la culture d’un pays éloigné, nous pouvons malgré tout esquisser une image plaisante de ce pays dans

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27

Xinliang, Wang. "A aquisição dos artigos por aluno chineses de PLE." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/17736.

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Mestrado em Línguas, Literaturas e Culturas<br>A presente dissertação apresenta os resultados duma investigação sobre a aprendizagem dos artigos em português por alunos chineses de PLE. Com base num inquérito feito a alunos universitários chineses a estudar em Portugal, analisamos os principais problemas com que um aprendente chinês de PLE se depara no processo de aquisição do uso do artigo. No final, depois do estudo e análise dos resultados, propomos sugestões para melhorar o ensino-aprendizagem do artigo por estes aprendentes de PLE.<br>This paper shows the results of investigation about t

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28

Wang, Hongfeng. "Être artiste à Shanghai au début du XXI' siècle, entre institutions publiques et marché." Paris 7, 2014. http://www.theses.fr/2014PA070073.

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Depuis les deux derniers plans quinquennaux, le gouvernement chinois met au premier rang de ses priorités le développement des zones rurales. La stratégie suivie repose largement sur l'industrialisation et l'urbanisation, ce qui d'une part ne tient pas compte des thypicités de l'espace rural et d'autre part entre en contradiction avec les objectifs de protection de l'environnement et de stabilité sociale. Le développement rural est envisagé comme la diffusion du développement urbain. Dans cette thèse sont recherchés les moyens de réaliser des projets de développement socialement durable en Chi

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Maués, Juliana Pinheiro 1987. "Chang Cheh e o cinema da força : estudo estilístico a partir de dez filmes do diretor." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284484.

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Orientador: Fernão Vitor Pessoa de Almeida Ramos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T15:38:42Z (GMT). No. of bitstreams: 1 Maues_JulianaPinheiro_M.pdf: 9529207 bytes, checksum: f09dbf4511fe2a248642488c600339ef (MD5) Previous issue date: 2013<br>Resumo: O presente trabalho é resultado de pesquisa sobre o diretor chinês Chang Cheh, atuante no cinema de artes marciais de Hong Kong dos anos 1960 aos 1990. A proposta é traçar um perfil estilístico da obra deste cineasta, tendo como fio da meada a categoria que

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30

Li, Tingting. "Through a Looking Glass: Chinese Artistic Practice and the Cross-Cultural Experience." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/389678.

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Following government reforms in China during the 1980s, an increasing number of Chinese artists are now studying and working overseas, including in Australia. This research explores the impact of changing attitudes in China toward contemporary art and what this means for an emerging generation of Chinese artists working internationally. I consider how Chinese artists working outside of China today can capture their cross-cultural experience and establish a sense of identity in a changing globalised world. I explore how contemporary art can capture two different worldviews and reflect a cross-c

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31

Nikolayeva, Tetyana, and Nannan Li. "The analysis of the artistic-compositional characteristics of the Chinese national Tang Dynasty costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17924.

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The Tang Dynasty clothing inherits the advantages of Han Dynasty, Wei Dynasty, Jin Dynasty, Southern and Northern Dynasties and creates many new styles with the characteristics of the times under the influence of Chinese and Western culture, which provided a lot of inspiration for the development of clothing for the later dynasties, current Chinese nation as well as for modern design. In article defined customs of people's life of Tang Dynasty period, their aesthetics preferences; revealed types and wearing habits of people's clothing; classified the decorative patterns and adorn elements for

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32

Yu, Min. "Art sous contrainte : artistes, peinture et politique en République populaire de Chine (1949-1966)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0145.

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De la fondation de la République populaire de Chine (1949) à la veille de la Révolution culturelle (1966), les artistes furent soumis à un dogme : l'art doit être au service du peuple. Cet impératif, qui fut sans cesse répété, entraîna deux assujettissements. Celui des artistes dont le statut changea radicalement : devenus travailleurs artistiques, ils furent contraints de se plier aux flux et reflux des mouvements de masse et des campagnes politiques. Celui de la création dont la mission fut de cautionner et de célébrer le nouveau régime, et d'éduquer le peuple. Cette recherche tente de déter

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33

Wang, Kristen K. "Intergenerational Acculturation and Values in Chinese American Families: An Integrative Artistic Narrative Exploration." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/79.

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The main purpose of this qualitative research study is to explore first- and second-generation Chinese American’s immigration and acculturation experiences using semi-structured narrative interviews, inviting participants to engage in further exploration incorporating art making, a non- verbal method of expression. The research was designed to gain a greater understanding of Chinese Americans’ views and understandings of self, the experience and impact of cultural values on individuals and families, and to understand the role of communication and verbal and non-verbal modes of expression for t

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34

Xu, Heidi Ping. "Between likeness and unlikeness a fusion of Chinese ink painting aesthetics into the medium of photography : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design (MA&D), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/365.

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35

Xiang, Weiwei. "Interculturalité et intermédialité chez les auteurs francophones chinois." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC018/document.

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Dans le domaine des littératures francophones, on peut dénombrer actuellement une vingtaine d’auteurs chinois francophones : Tcheng Ki-Tong, Sheng Tcheng, Chow Ching Lie, François Cheng, Gao Xingjian, Shen Dali, Ya Ding, Dai Sijie, Ying Chen, Wei Wei, Shan Sa, et Ling Xi… Ces écrivains circulent dans différentes cultures, se servent de deux langues, et, par conséquent, leurs écritures mélangent une couleur chinoise avec une couleur occidentale. À travers leurs expériences, nous remarquons que certains d’entre eux ont développé une double pratique artistique, en accord avec leur identité cultur

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36

Edelholm, Nike. "Exploring Spaces of Not Knowing : an Artist View." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7000.

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The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art pr

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37

Simon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.

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38

Chandellier, Armelle. "Origine, création et transition socialiste du système artistique chinois : du premier au quatrième Wendaihui (1937 – 1980)." Thesis, Paris, INALCO, 2019. http://www.theses.fr/2019INAL0018.

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Ce présent travail de thèse propose d’explorer le système artistique chinois à travers une analyse de la dynamique complexe qui caractérise les relations entre les milieux artistiques et le Parti Communiste Chinois (PCC) de 1937 à 1980. En dégageant les trois aspects qui conditionnent cette relation : la structure organisationnelle, le cadre idéologique et les conjonctures politiques, l’objectif est de démontrer dans quelle mesure le système artistique est un haut lieu du politique.La convocation du premier Congrès National des Travailleurs Littéraires et Artistiques de Chine (Wendaihui 文代会) e

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Chen, Hsiu-Hsiung. "The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan." FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2131.

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For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations. Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education.

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Figliulo, Roberto. "Between public and private spaces: photographic visions in contemporary China." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398145.

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The aim of this dissertation is to present a particular point of view on the contemporary Chinese photographic production. We will analyze the photographic works that deal directly or indirectly with the representation of concrete spaces. We will give special attention to the representation of public and private spaces and to the problems related to them. We will analyze the period that coincides with the eighties until today, the time of particular development of photographic production in China. The methodology employed will be a multidisciplinary approach that allows to better understand

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Åsa, Back. "SINNLIG (sensuous) in Beijing : towards an Artistic Ethnography." Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-312.

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Projektet bygger på åtta veckors fältarbete på en oberoende teater i Peking våren 2017,baserat på antropologisk och konstnärlig metod. Det är ett försök att utveckla begreppet konstnärlig etnografi, samt tillämpa det praktiskt. I detta är konsten inte huvudsakligen en produkt eller en presentationsform, utan ett sätt att tänka, att förhålla sig till världen. Materialet består av fältanteckningar, video, foto, rörelsematerial, personliga berättelser, minnen av dofter, ljud och smaker och någonting så vagt som stämning – stadens tempo, känslan i en repsituation… Hur kan scenen förmedla en plats

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42

Bories, Estelle. "Art et révolution : une perspective sur les avant-gardes et la question de la modernité en Chine au vingtième siècle (1976-2003)." Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0057.

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Cette thèse porte sur l’institutionnalisation du concept d’art contemporain chinois. Notre problématique repose sur la jonction entre la question de la modernité, les manifestations d’un particularisme culturel et le maintien d’un positionnement contestataire. Souvent envisagé comme l’expression d’un art mondialisé, l’art contemporain chinois masque un processus évolutif complexe. La revendication d’un décalage, voire d’une rupture, entre l’évolution de l’art en occident et en Chine a été à l’origine de nombreux débats. Les critiques portant sur les mouvements artistiques "avant-gardistes" aff

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Bernard, Marie-Hélène. "Les compositeurs chinois au regard de la mondialisation artistique : Résider-Résonner-Résister." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040156.

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Après la Révolution culturelle, toute une génération de compositeurs de Chine continentale a émergé sur la scène internationale. Ce mouvement est indissociable de la mondialisation artistique, puisque beaucoup de ces compositeurs se sont dispersés dans le monde pour se construire hors de leur contexte culturel d’origine. C’est à Chen Zhen, un plasticien chinois de la même génération, que nous avons emprunté les trois concepts de « résidence, résonance et résistance », pour éclairer leurs trajectoires. 1 Résidence Comment relier par cette notion des compositeurs qui vivent aux États-Unis, en Eu

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Shi, Wen. "Les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire »." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2020/document.

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Cette thèse se situe dans la perspective de la philosophie de l’éducation et de l’art. Elle propose d’aborder, au travers de grands textes issus de la philosophie et de l’esthétique, la question des valeurs éducatives des arts. Cette question est ici considérée dans une perspective comparative et historique entre la culture chinoise et la culture occidentale. Le critère de comparaison, notamment inféré depuis des données de la mythologie chinoise et/ou de la Grèce ancienne, est celui d’approches soit « binaires », fondées sur deux pôles, ce que nous qualifions aussi de « bipolaire », soit « te

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Ngor, Aaron Seav. "The Influence of Dry Cupping Therapy on Musicians with Chronic Neck Pain: An Initial Case Series." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1525726057063134.

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Skaggs, Meredith L. "Fluidity and Transformation: Positioning the Art of Cai Guo-Qiang." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1338435148.

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Li, Yuping. "Landscape painting as a critical cross-cultural art practice : exploring how the theories and methodologies in ancient Chinese painting can be fused into contemporary landscape art practice to expand existing artistic formats." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/83083/.

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This thesis is part of a practice-based Ph.D. study that investigates the genre of landscape painting through a cross-cultural perspective and method of practice. It attempts to link and step across the fields of ancient Chinese and contemporary Western art, with a focus on how to critically understand and use Chinese aesthetic traditions to make a contribution to contemporary landscape painting practice. This study argues that ancient Chinese art theory can provide unique insights and ways of thought, as a different interpretive strategy from the Western art tradition; and the traditional Chi

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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.

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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

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Su, Mei-Yu. "La naissance du trait de ciseau : l’espace pictural restructuré : histoire de la sculpture sur bambou à l’époque des qīng." Paris 4, 2006. http://www.theses.fr/2006PA040180.

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Le bambou n’est pas considéré comme un matériau précieux. Cependant, il occupe un rôle symbolique, spirituel et moral dans la vie des Chinois depuis la dynastie des Jìn (265-420). L’art de la sculpture sur bambou se développe, vers le milieu de la dynastie des Míng (ca. 1500) dans la province du Jiāngsū, avec l’impulsion des lettrés qui s’intéressent à cet art. Ils transmettent aux artisans leur goût et leur concept esthétique, comme ils l’ont fait auparavant à travers les pièces en jade. Les objets artistiques en bambou, appréciés tant par la Cour que par les lettrés, deviennent ainsi une des

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Du, Yixiong. "La transmission du patrimoine culturel immatériel par le biais de la formation : étude comparative du mode de formation professionnelle des artisans de la céramique en Chine et en France." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100193.

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De nos jours, la transmission du patrimoine culturel immatériel reste une problématique internationale qui touche à la fois la question de conservation de notre passé et la question actuelle du développement de l’économie créative. Cependant, cette transmission se réalise à travers de différents biais éducatifs, qui pourraient être formels ou non formels, qui pourraient viser à former les professionnels ou les amateurs. Cette présente thèse a choisi le patrimoine artisanal et sa transmission comme le sujet de recherche, avec une attention particulière portée sur les formations formelles et non

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