Relevant bibliographies by topics / Chinese women artists

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Chinese women artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Chinese women artists"

1

Fong, Mary H., Marsha Weidner, Ellen Johnston Laing, Irving Yucheng Lo, Patricia Fister, and Lucy Lim. "Views from Jade Terrace: Chinese Women Artists 1300-1912." Woman's Art Journal 17, no. 1 (1996): 41. http://dx.doi.org/10.2307/1358528.

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Furmanik-Kowalska, Magdalena. "Which tradition is mine? Chinese women artists and cultural identity." Journal of Contemporary Chinese Art 6, no. 2 (2019): 305–19. http://dx.doi.org/10.1386/jcca_00009_1.

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Abstract References to native culture are frequently in the foreground of works by Chinese women artists. When they make contact with different cultures, although not necessarily connected with leaving their place of birth thanks to the transfer of information and cultural heritage that has developed extremely efficiently in the era of globalization (Gordon Mathews), they see their own entanglement in the cultural tradition. In the process of constructing their identity they try to find answers to the following question: which part of the cultural tradition is mine? Which one do I identify wit
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Merlin, Monica. "Cao Fei: Rethinking the global/local discourse." Journal of Contemporary Chinese Art 5, no. 1 (2018): 41–60. http://dx.doi.org/10.1386/jcca.5.1.41_1.

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Cao Fei (b. 1978) was born and raised in the southern Chinese city of Guangzhou by the Pearl River Delta (PRD), ‘the factory of the world’, as the artist defined it. Working with multimedia, primarily video, photography and machinima, her practice engages with popular culture, regional trends and globalized fashions. With an early official participation at the China Pavilion of the Venice Biennale in 2007, Cao Fei is one of the most renowned Chinese artists of the post-Cultural Revolution ‘new new human beings’ (xinxin renlei), and one of the few women artists from the People’s Republic of Chi
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Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.

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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salv
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Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.

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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorpora
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Maggio, Meg. "Six Contemporary Chinese Women Artists. By Lucy Lim. [San Francisco: Chinese Culture Foundation of San Francisco, 1991. 102 pp.]." China Quarterly 137 (March 1994): 286–87. http://dx.doi.org/10.1017/s0305741000034627.

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Yongbai, Tao. "Off the Margins." positions: asia critique 28, no. 1 (2020): 65–86. http://dx.doi.org/10.1215/10679847-7913054.

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This article offers a chronological survey of the development of women’s art in China between 1990 and 2010. Outlining the historical circumstances that first resulted in the dearth of a female consciousness in Chinese art until the end of the twentieth century, this article touches on the divergent roots of the women’s liberation movement and western feminism, the Maoist era’s negation of femininity, and the lingering patriarchal structure of art institutions. It was only after a series of groundbreaking exhibitions exploring the female psyche in the 1990s that women artists found a space to
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Belova, Darya Nikolaevna. "Female Images in Chinese and Japanese painting." Культура и искусство, no. 5 (May 2021): 114–38. http://dx.doi.org/10.7256/2454-0625.2021.5.35526.

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This article analyzes female images in Chinese and Japanese painting (Bijin-ga). The subject of this research is the depiction of Chinese beautiful women on the scrolls of the X – XVII centuries and Japanese woodblock printing of the XVII – XIX centuries. Attention is given to the works of modern artists. It is noted that the aesthetic ideals are oriented towards the perception of beauty in the context of national culture of China and Japan, which undergo changes in each era, nurtured by Buddhism, Shintoism, Taoism and Confucianism, which contributed to the development of f
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Brower, Matthew. "Photography, Curation, Affect." Journal of Visual Culture 17, no. 2 (2018): 177–97. http://dx.doi.org/10.1177/1470412918782354.

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This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe
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Dissertations / Theses on the topic "Chinese women artists"

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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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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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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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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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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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"The icon of gardens: how seventeenth-century women painters in Jiangnan constructed and developed their public personae and artistic identities." Thesis, 2011. http://library.cuhk.edu.hk/record=b6075325.

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Lee, Wun Sze Sylvia.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 261-268).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstract also in Chinese.
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Books on the topic "Chinese women artists"

1

A memoir. Bloomsbury, 2014.

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Taiwan dang dai nü xing yi shu shi, 1945-2002. Yi shu jia chu ban she, 2002.

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Zhongguo cai nü gu shi. Han xin wen hua shi ye you xian gong si, 1994.

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Zhongguo cai nü gu shi. Han xin wen hua shi ye you xian gong si, 1994.

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Lu Xiaoman de chuan qi yi sheng: Yi dai cai nü, kuang shi jia ren. De wei guo ji wen hua shi ye you xian gong si, 2005.

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Su he xian dai yi shu guan (Shanghai, China), ed. Shen du hu xi: Zhongguo dang dai nü xing yi shu de shi jiu ge yang ben. Shanghai shu hua chu ban she, 2008.

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Taibei Shi li mei shu guan, ed. Taiwan xian dang dai nü xing yi shu wu bu qu (1930-1983). Taibei Shi li mei shu guan, 2013.

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Shi ren tang: Saimdang. Ren min ri bao chu ban she, 2017.

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Zi wo hua xiang: Nü xing yi shu zai Zhongguo (1920-2010). Ling nan mei shu chu ban she, 2010.

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Nü xing yi shu. Hunan mei shu chu ban she, 2005.

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Book chapters on the topic "Chinese women artists"

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Wang, Qi. "Performing Bodies in Experimental and Digital Media." In Memory, Subjectivity and Independent Chinese Cinema. Edinburgh University Press, 2014. http://dx.doi.org/10.3366/edinburgh/9780748692330.003.0006.

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Chapter 5 examines experimental documentaries by women and queer filmmakers such as Tang Danhong, Shi Tou, and Cui Zi’en, as well as various experimental videos and digital media projects by Wang Qingsong, Feng Mengbo and other contemporary artists. All discussed works blur the boundary between self and other and between camera and performance, making it clear that subjectivities are actually imagined, contested, and produced in close and conscious relation to representational media and the particular historical moment, in this case, postsocialism. Shaping forth from this complex interplay of historical energy, media appropriation, and subjective interventions are some of the most sophisticated critical subjects of contemporary China. Documentaries under close analysis include: Nightingale, Not the Only Voice; Women’s Fifty Minutes; The Narrow Path; Night Scene.
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Chan, Kenneth. "The Chinese Cinematic Remake as Transnational Appeal: Zhang Yimou’s A Woman, a Gun and a Noodle Shop." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0006.

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The past two decades have witnessed the resurgence of Chinese cinemas on the global stage. As Chinese directors confront the notion of remaking American films, they do so with the assurance that there is a potential global market for their product, which in turn might foster a more creative reimagining of a Chinese version that can stand on its own artistic merits as transnational Chinese cinema. This chapter undertakes a close analysis of A Woman, a Gun and a Noodle Shop (Zhang Yimou 2009) as a transnational film remake to demonstrate how the film confidently reinvents the Coen Brothers’ original film, Blood Simple (1984) as an original in its own right. The analysis demonstrates the way in which the remake is infused with Zhang Yimou’s brand of cinematic pragmatism and the way in which the cooption of a transgressive politics of gender and postcoloniality becomes a route toward transnational appeal.
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Conference papers on the topic "Chinese women artists"

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

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