Tesis: "Art, Chinese"

1

Tse, Ching-kan Curry y 謝正勤. "School of Chinese Art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984836.

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2

Tse, Ching-kan Curry. "School of Chinese Art". Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25950964.

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3

Li, Vivian Yan. "Art negotiations : Chinese international art exhibitions in the 1930s". Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1209143379.

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4

Wear, Eric Otto. "Patterns in the collecting and connoisseurship of Chinese art in Hong Kong and Taiwan". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21734653.

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5

Hill, Katie. "On relocating contemporary Chinese art". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401481.

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6

Bianchin, Francesco <1995&gt. "CHINESE ART MARKET ON AUCTION". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16702.

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One of the main developments in the art market history of the twenty-first century is the emergence of China as a strong market player, and the growing prominence of Chinese art and antiquities, based on the record-high prices attained at auction in 2010. Within a three year period between 2007 and 2010, China has gone from sixth place to being the second-largest art market in the world, behind the US. Based on fine art auctions statistics, the buyer demographic of Chinese art and antiquities in the past three decades has moved from the West to China. PRC Chinese are the largest group of art buyers today, collecting Chinese antiquities, classical and modern paintings, and contemporary Chinese art. Following the time chronology of China in the thesis is analyzed the development of the art market throw the different historic periods and art of collecting Chinese antiquities, from the ancients dynasties to the modern collectors of the twentieth century. The global market for Chinese art today covers an extensive geographical area and a history spanning over two millennia. The thesis will explore the main developments in the Chinese art market within the global context in the twentieth century, and how these developments have shaped the growth of the art market in the twenty-first century. Through historical analysis, key players in the demographic market and price trends will be identified.

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7

Gao, Jianping. "The expressive act in Chinese art : from calligraphy to painting /". Uppsala : Uppsala University, 1996. http://catalogue.bnf.fr/ark:/12148/cb376704405.

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8

Chiu, Melissa. "Transexperience and Chinese experimental art, 1990-2000". View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050615.104323/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.
"A thesis submitted in full completion of the requirements for the degree of Doctor of Philosophy, Department of Cultural Histories and Futures, University of Western Sydney" Includes bibliography.

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9

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 explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.

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10

Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College y 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 explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
Doctor of Philosophy (PhD)

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11

Lok, Susan Pui San. "A-Y of 'British Chinese' art". Thesis, University of East London, 2004. http://roar.uel.ac.uk/1291/.

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A-Y of 'British Chinese' Art takes as a point of departure the work of Lesley Sanderson, and her positionings within and between dominant and marginalised 'Black,' 'British, 'Chinese,' and 'Asian' curatorial and discursive frames during the 1980s and 1990s, to consider the politics and impossibily of naming 'British-Chinese-ness'. 'Take Outs' goes on to examine the central narrative of Chinese immigrants in Britain invoked by Anthony Key, Yeu-Lai Mo, and Mayling To, who draw on the motifs and mythologies of the takeaway, and the significations of flags, to engage contemporary discourses around 'Britishness' and 'Chineseness', migration, hybridity, cultural commodification and assimilation. 'Outtakes' looks then at the tactical postures and gestures staged by Sanderson, Mo, Erika Tan and To across a range of works, which deconstruct and play on the consumption of exoticised bodies i , across orientalist visual imagery and narratives, from the anthropological to the comic, the culinary to the cinematic. Whereas much of this work is 'mute', chapter four, 'Translators' Notes, ' begins with a multi-vocal, multi-screened sound and video Installation by Tan, going on to consider the politics and poetics of speaking and translating, the conflation of linguistic competence with cultural and ethnic 'authenticity, ' notions of diaspora and 'home, ' and the inevitability of 'pidgin' languages and cultures. These essays seek to identify various historical and cultural contexts to inform the coincident and divergent aesthetic strategies and thematic concerns of a number of peer practices, among them my own, which is discussed in the final chapter, 'Back Words. ' Attempting to locate myself and my writing/practice obliquely, by proxy, in proximity to others, I begin with the premise that our commonality is underpinned less by an Indubitable, unwavering 'Chineseness' (or for that matter, 'Britishness'), than a desire to subvert such a notion: to assume instead its complex fabrications and ultimate instability.

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12

Ng, Noel. "Chinese Delicacy Centre". Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B31984125.

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Thesis (M.Arch.)--University of Hong Kong, 1998.
Includes special report study entitled : Object, phenonmenon, theme in Chinese scholar landscape garden. Includes bibliographical references. Also available in print.

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13

Chi, Mei-Fung Agnes Kang. "A Performance guide for contemporary Chinese art songs from Taiwan /". Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974527.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.
Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Accompanying tape has Recitation of Chinese poems. Includes bibliographical references (leaves 251-257).

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14

Cornell, Christen. "Contemporary Chinese Art and the City: Beijing Art Districts 1989‐2013". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16364.

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As themes in Chinese art since economic reform, space and the environment have been crucial. Many artists have focussed on issues of urbanisation, globalisation, and the radical spatial reorganisation of Chinese society during the reform and post-‐reform era, and many scholars have written about these artists’ spatial concerns. What, however, of these artists’ formative relationship to space itself? What might we learn by going beyond the text and asking how space has produced these artists – and their work – and what places their communities and culturalactivities have produced in turn? This thesis presents an alternative history of the emergence of China’s Contemporary Arts scene, focussing on these artists’ everyday engagements with the rapidly transforming space of Beijing in the years between 1989-‐2013. Drawing on a series of case studies, it traces the emergence of the residential ‘painters’ village’ (huajiacun 画家村) through to the transnationally networked ‘international art district’ (guojiyishuqu 国际艺术区) and state-‐endorsed ‘creative industries precinct’ (chuangyi chanye jujiqu 创意产业聚集区), foregrounding the agency of participant artists within these new socio-‐spatial formations throughout its research. By taking a spatial approach, this analysis identifies modes of political engagement beyond those typically identified within the work of art history. In considering the ways in which these artists worked tactically from within the country’s new spatial disorder, it also seeks to illuminate a politics that is not disruptive, but which capitalises instead upon ambiguity and ambivalence. Such a politics is described with the use of concepts developed across the work of Michel de Certeau and Henri Lefebvre, among other cultural and spatial theorists. The political function of the thesis itself, however, is considered in dialogue with the work of Inter-‐Asia Cultural Studies, and Lawrence Grossberg’s writings on contextual and conjunctural analysis. To this extent, this study is both a history of these artists’ interventions within the disorder of Beijing’s urban change in these years, as well as a reflection on the ways and reasons such a history might be told. While advancing its own interpretation of this particular era, it is also self-conscious about the act of its own interpretation, theoretically addressing the situatedness of different forms of knowledge, the contingency of its own propositions, and the material effects of epistemological work.

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15

Huang, Ellen. "China's china Jingdezhen porcelain and the production of art in the Nineteenth Century /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3316155.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Sept. 4, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 256-271).

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16

Wang, Xuan. "Gallery's Role in Contemporary Chinese Art Market". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258577100.

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17

Zhang, Tieyi. "The first generation of Chinese art song". Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6900.

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18

Torresin, Chiara <1996&gt. "Genesis and development of Chinese Scar Art". Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19245.

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This work analyses the birth and development of Chinese Scar Art of late 1970s and early 1980s. With the end of the Cultural Revolution and the death of Mao Zedong, China went through a period of political and social loosening. This was also reflected in art and literature: following the motto "Seek the truth from facts", new scenarios opened up in the Chinese artistic and literary panorama, especially thanks to the works produced by young people returning from the Down to the Countryside Movement launched by Mao Zedong in 1968. They left little more than teenagers, returned as adults after more than ten years of forced labour and oppression in the countryside, they found a completely changed society. Afterwards, artists began to wonder the reason of what they had experienced, exposing in their works the reality of what they had seen and lived. The advent of Scar Literature first, and Scar Art later, upset public opinion. Based on realism and developed mainly in Sichuan, Scar Art included various currents: the art of the so-called Sichuan School of Painting (Native Soil Art, Melancholy Youth Painting, Contemplative Painting) and Life-stream Art. By analysing the artworks of artists such as Gao Xiaohua, Cheng Conglin, Luo Zhongli, He Duoling, Ai Xuan, Chen Danqing, this thesis researches how they exposed, and then tried to heal, the deepest and most intimate scars of an entire generation, denouncing what they had experienced or saw during the Cultural Revolution.

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19

Huang, Claudia (Chang). "Han-minority relations as depicted in twentieth century Chinese art". Thesis, Boston University, 2008. https://hdl.handle.net/2144/27676.

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Thesis (B.A.)--Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02

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20

Huang, Ching-Yi. "John Sparks, the art dealer and Chinese art in England, 1902-1936". Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602817.

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21

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.
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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22

Chan, Nicole E. "Xing: Sex, Gender and Revolution in Contemporary Chinese Art". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/315.

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This paper will explore the intersections of gender, sexuality and revolution in contemporary Chinese art through the lens of the Chinese Cultural Revolution. As an integral part in the process of narrative reconstruction, the propaganda imagery from the Cultural Revolution provides important insights into societal expectations for the masses. This paper will also analyze how contemporary artists seek to appropriate and respond to the events of the Cultural Revolution through their artwork, and describe the processes by which the I interpreted this information in order to create my own artwork.

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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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24

Wang, Yiyou. "The Loouvre from China a critial study of C. T. Loo and the framing of Chinese art in the United States, 1915-1950 /". Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1195498748.

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Chow, Wan-king Janice. "Urban villa for Chinese folk arts and crafts". Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B31986390.

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Thesis (M.Arch.)--University of Hong Kong, 2002.
Includes 1 technical study and 1 special report. Content page of thesis report missing. Includes bibliographical references. Also available in print.

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Wei, Linna y Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art". Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.

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This thesis focuses on the blooming market of Chinese 20th Century Art. The study object is one category of Christie’s Auction house, Chinese 20th Century Art, before 2009. Eight artists’ auction results are selected to the dataset for the research. We find that the previous researches based on the collection of Western arts cannot explain the whole situation of Chinese 20th Century Art. It has speculative character as an invest option in global art market. And some factors would affect the price changing in the auction activities. The Capital Asset Pricing Model is applied to study the investment condition of Chinese 20th Century Art as a capital asset. The result we get from our dataset presents that Chinese 20th Century Art is with high risks and high returns, which is quite different from the previous studies based on Western Artworks. Regression analysis reveals that some factors do affect the rate of price changes. We find that young Chinese artists who born after 1950 achieve better sale results than older ones. Their artworks are always sold on high realized prices. In addition, the high price sale more often happened in the auction house of Hong Kong and the market of Chinese 20th Century Art is enlarging these years. The rate of price change is increasing by the sale year growing. The prices of the artworks are growing higher and higher recently. However, the findings above just explain parts of the price increasing. All the reasons for the price increasing are not clear in this thesis.

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Ho, Yi-hsing Joan. "Art and the Taiping Rebellion". Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/HKUTO/record/B39557716.

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28

Green, Judith Tybil. "Britain's Chinese collections, 1842-1943 : private collecting and the invention of Chinese art". Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271892.

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29

Chen, Albert Yi Fu 1967. "Art and social dislocation : a Chinese diasporic condition". Monash University, Dept. of Fine Arts, 2004. http://arrow.monash.edu.au/hdl/1959.1/5203.

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30

Holmes, Rosalind M. "'Civilising' China : visualising wenming in contemporary Chinese art". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:30fe2e43-7b5d-4563-bb3b-8dd7a773b57a.

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This study examines how the discourse of wenming (civilisation/civility) has been visualised throughout twentieth century Chinese art, with a particular emphasis on contemporary practice. Originally linked to concepts of modernity and change in the early twentieth century I argue that wenming continues to be of crucial importance in understanding how contemporary China wishes to be seen by the rest of the world. Through a series of close visual readings and case studies I explore how wenming attained considerable saliency as it was invoked to address a range of artistic and political reforms which resulted from China's socioeconomic transformations. Individual chapters focus on the work of Sun Yuan and Peng Yu, Liu Gang, Wang Jin and Ai Weiwei amongst others. Taken together they provide an emic account of artistic praxis that seeks to understand contemporary art from China on its own terms. The study begins by examining how wenming was visualised in the early twentieth century. It then charts what happened to the term after the founding of the PRC in 1949 and how its appearance in locations such as Taiwan and Hong Kong provide sites of contention and alterity to mainland wenming discourse. It analyses how the bifurcation between material civilisation and spiritual civilisation that gained prominence following the economic reforms of the 1980s reconfigured the visual art of this period. Then, turning to a single art work, it theorises the relationship of wenming to an emerging corporeal politics. Finally, it explores how the discourse of wenming is being visually articulated in contemporary China as a result of these developments and traces its interaction with consumer culture, urbanisation and the politics of the internet.

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31

Davis, Walter B. "Wang Yiting and the Art of Sino-Japanese Exchange". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213111969.

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32

Wang, Shu-Chin. "Realist agency in the art field of twentieth-century China : realism in the art and writing of Xu Beihong (1895-1953)". Thesis, SOAS, University of London, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547458.

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33

Lai, Mei-lin. "Words and images in contemporary Hong Kong art : 1984-1997 /". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21982211.

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34

Matsumoto, Toyoko. "The convergence of Western and Chinese traditions in the New Guohua painting of China: The impact of study abroad in Japan /". Ann Arbor, Mich. : ProQuest LLC, 2009. http://proquest.umi.com/pqdweb?did=1937733941&sid=1&Fmt=2&clientId=23658&RQT=309&VName=PQD.

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35

Lai, Siu-lun Francis. "Vanishing puppets : the demise of a Chinese traditional art form /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24534407.

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36

DeBevoise, Jane. "Seismic states the changing system of support for contemporary art in China, 1978-1993 /". Thesis, Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B41633726.

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37

Ho, Yi Hsing Joan y 何懿行. "Art and the Taiping Rebellion". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hdl.handle.net/10722/194565.

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This thesis aims to point out primarily the layered meanings behind Taiping art. It will provide an overview of the art made by the Taipings, and thereafter show how different political parties in post-Taiping China have manipulated the images and values of the Taipings to their advantage. A discussion of each party’s ideology will also be included. The contextual approach adopted by this thesis intends to illustrate the relationship between art and the Taiping Rebellion over time. The visual materials discussed in this thesis are the murals and wood engravings of the Taipings, a series of paintings made in 1886 as part of an imperial project and Shanghai lithographic illustrated publications in relation to the project, and the visual propaganda of Nationalists and Communists of the twentieth century which embody the two parties’ own interpretations of Taiping history. In view of the complexity of the subject, this thesis is primarily an information collecting exercise, offering a wider academic perspective, and revealing the characteristics of the visual works related to the Taipings, so that there can be more interpretations of the nuances of the Taiping Rebellion in the study of Chinese art history.
published_or_final_version
Humanities
Master
Master of Philosophy

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38

Steiger, Levine Gabrielle. "Deviance and disorder: the naked body in Chinese art". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21914.

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This thesis concerns the representation of nakedness in traditional Chinese art. Its objects of inquiry are representations of demons in images of Zhong Kui, the penitent in purgatory in images of the ten kings based on The Scripture on the Ten Kings, and the representation of beggars and street characters. This thesis provides initial inquiry into a motif which has not garnered much scholarly attention. It argues that the naked body signified various forms of deviance from the normative social and moral order which defined traditional China and its inhabitants such as the foreign, the marginal, and the subaltern. As such, the representation of nakedness functioned to highlight order within the imperial realm by displaying what the Chinese center and its inhabitants were not. It could also serve, however, and by virtue of the naked body's deviance from the normative human being, to suggest potential disorder within the imperial realm.
Cette thèse a pour sujet la nudité dans l'art Chinois traditionnel. Les sujets d'analyse traitent de la représentation des démons dans l'imagerie de Zhong Kui, des pénitents au purgatoire dans l'iconographie des dix rois basées sur le texte « The Scripture of the Ten Kings », ainsi que la représentation des mendiants et les artistes de la rue. Cette thèse se penchera pour la première fois sur un thème qui n'a pas encore suscité l'intérêt de la communauté académique; celui de la nudité vue sous forme de non-conformisme, de non-appartenance à l'ordre moral et social qui définissait la Chine traditionnelle et ses habitants. Lorsque présente la nudité peut a la fois mettre en évidence l'ordre au sein de l'empire en affichant l'image contraire de ses sujets, mais égalment demontrer le désordre potentiellement présent.

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Teo, W. W. H. "One world, one dream : contemporary Chinese art and spectacle". Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1336875/.

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The central research question of this thesis is to ask: what is the relationship between Chinese contemporary art and spectacle? I argue that the relationship is uncertain and ambivalent, and mobilise the variegated term ‘spectacle’ in order to track the transformational logic at play in recent Chinese artistic production, consumption and reception. I regard the spectacular event of the first Olympic games held in the People’s Republic of China as a trope for the complex processes of national reconstruction, forms of social control and geopolitical influence set in train by China’s rapid economic advance. I look at the mixed messages and ideological contradictions of such a spectacular global event, and examine the role art plays in China’s 21st century cultural reconstruction. I suggest that since Deng Xiaoping’s ‘open door’ economic reforms in 1978, Chinese art has operated within what I define as a spectacular framework, which subtends to how these artists recursively (re)imagine their own histories; reflect or reject the ambivalent legacy of totalitarian aesthetics; and also, confront and/or comply with the commercialisation, institutionalisation and indeed spectacularisation of their work as ‘imagineered’ by fantasies, projections and longstanding anxieties of China. Through an interdisciplinary and broadly deconstructive approach, this thesis explores the multifaceted dimensions of spectacle as a cross-cultural interface that reveals much of the geopolitical imaginary beneath the façade of ‘One World, One Dream.’

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40

Zheng, Yong Hong. "A Chinese view of art in an American university". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300135745.

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41

Kamata, Mayumi. "Chinese art exhibitions in Japan, ca 1900 to 1931". Connect to resource, 2001. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1233600845.

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42

Combs, Nicole E. "Postmodernism, Globalization and the Connections to Contemporary Chinese Art". Thesis, University of Oregon, 1999. http://hdl.handle.net/1794/22587.

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149 pages
The reopening of China's economic and cultural doors in the 1970s provided the fundamental stage for development of a new art. The Chinese government focusing its efforts on economic development created policies that actually encouraged an awareness of global culture, tending to an environment conducive to artistic change. The 1980s supplied artists with an introduction to, or reintroduction to Western art theory and practice. Many artists continued to work in traditional style and technique, but others, under the influence of non-Chinese modern art, began infusing their works with a dramatically different feel inspired by the changing society. As a dialogue between global culture and China, Chinese contemporary artists are creating a discourse on the transformation taking place within their society over the past two decades. It is therefore important to look at their art as a "registering apparatus" and realize that its production stems from a reaction to the postmodern, global culture.

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43

Peterson, Nathan James. "Re-imaging China: Ai Weiwei and contemporary Chinese art". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5824.

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This dissertation connects the life and work of Ai Weiwei to Chinese art history. This field is dynamic and, during certain periods, an influx of outside ideas has revolutionized it. Ai’s belief in democratic values—criticized as being anti-Chinese—is part of a tradition in China emphasizing diversity. From the Hundred Schools of Thought (zhu zi baijia) during the Warring States (475 BCE-221 BCE) to the spread of Buddhism during the post-Han era (220-589), divergent thinking has been part of China’s intellectual development. This diversity, however, has been crushed by ideology during other periods. Ai embraces diversity as the future of China. His life and work reestablish a narrative of Chinese intellectual history. This narrative is free from ideological mandates to erase the past. Ai looks at everything critically. His art reveals new ways of understanding China. His career also corresponds to the policies of opening China known as Gaige kaifang. As a result, economic issues are recurrent themes in Ai’s work. He questions the value of liberalizing China’s economy when political and judicial systems are still closed. This contradiction could have manifold consequences to the world. Another feature of Ai’s work is the legacy he inherited from his father, the Modern poet Ai Qing. This legacy is being tasked with modernizing China. The issues about modern China are addressed in this dissertation, and it is contextualized according to a balance between Western and Chinese thought. Ai has passed down this legacy to young artists, and his example recalls the axiom “the green comes from the blue and will surpass it” (qing chu yu lan, er sheng lan. A student’s abilities have the potential to surpass the teacher’s talent. Ai Qing was a great poet, but his son is his “masterpiece.” Ai Weiwei has hope that the next generation will be better than his. The way they improve it is by including heterodox voices in Chinese society. China is ascendant, but its opaque system appears to be contradictory to Ai’s desire for transparency and the sharing of information globally. The future could resemble the lamenting of Lu Xun’s provincial character Jiujin laotai: “Yes, indeed. Each generation is worse than the last.” Ai’s life and work show that the future of China is far from being determined. What is certain, and what Ai has done through his art, is that China and the world must be engaged. Human rights, specifically the freedom of expression, are paramount. The outcome of the twenty-first century depends on it.

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Wang, Meiquin. "Confrontation and complicity rethinking official art in contemporary China /". Diss., Online access via UMI:, 2007.

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Kim, Mina. "Pan Tianshou (1897-1971): Rediscovering Traditional Chinese Painting in the Twentieth Century". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469004754.

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Wang, Yinghua. "Participatory Action Research with Chinese-American Families: Developing Digital Prototypes of Chinese Art Education Resources". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385092278.

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Gao, Xindan y 高昕丹. "Chen shizeng (1876-1923) and the reform of Chinese art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245328.

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Lai, Siu-lun Francis y 黎兆麟. "Vanishing puppets: the demise of a Chinese traditional art form". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31972445.

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Chen, Lilly. "The heart of the dragon /". Online version of thesis, 1993. http://hdl.handle.net/1850/12146.

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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. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.

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Tesis sobre el tema "Art, Chinese"

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