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chinese culture during the 19th century
topic about Chinese painting
chinese culture during the 19th century
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While in 19th century, when the western artists were actively engaged in art works of their own heritages, there had been very few Asian artists stand out to present Asian arts. However, at the time that we started to see masses of Chinese painting showing in museums, people began to be aware of the name ‘Hung Liu’ because her art work was unique and impressive due to her Chinese culture background. Hung Liu’s art works mostly aim at Chinese woman and prostitutes. She is fond of painting Chinese women’s body because she considers the women’s body as a powerful symbol and she tries to give people an image of what Chinese women look like and how strong and beautiful they are through her painting. Thus, Hung Liu’s art works become famous for the body images of Chinese women, and are widely known by people from all over the world.
Like the Mexican artist using blood quite a lot as a powerful symbol in her art works, Hung Liu think that the body image of Chinese woman stand for the strong power. Hung Liu is a Chinese American artist who was born in China in 1948. She attended Beijing Teachers College in 1975 and studied mural paintings at the Central Academy of Fine Arts in Beijing. However, she ended up transferring to Sichuan Art University and graduated in 1982 with Painting major. In 1984, she immigrated to the U.S with her family. Later on, she got into UC, San Diego University and again majored Art. At that point of time, she was already good at historical photograph and oil painting. Her oil painting can be seen as critiques of Chinese socialist realistic style because of her using of strong Chinese traditional images. Today, her art works are massively shown in many exhibitions and museums worldwide. The most recent exhibitio...
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...passes over in the girl’s life. The fish was colored by light green, like a little shinning spot in the blue sea. The girl’s massy hair shows her upset and frustrate. On the contrary, her face
(Figure 2, “The Lost Fish” 76×68 in)
shows peace and quiet as if nothing happens. Hung Liu creates a visional world in this painting. The whole painting points out that the girl is confident, clean, healthy and powerful though she has some concerns in her mind. “The Lost Fish” depicts the prejudice towards women, and describes the beauty of women. Moreover, it reveals a truth that women can prove that they are real powerful and meaningful to the world. They have inner wealth, talent and are capable to do anything that men do. It is the reason of why Hung Liu is so popular and well-known by women all around the world as she sways people’s misconception towards women.
Hung Liu is successful in creating a juxtaposing image that tells a story about the many aspects of her Chinese origins. According to the painting, not all life in China is surrounded by beauty and elegance, like many believe it to be based on the traditional historical customs. Liu makes her point using a brilliant yet subtle progression, moving from the ideal to reality. Making use of the various principles and elements of art in her work creates a careful visual composition that benefit and support the painting’s achievements as a whole. This oil painting, being approximately 13 years old now, will hold a special place in Chinese history for the rest of its existence. The ideas Hung Liu portrays in Interregnum may help reform a social movement in the country by making her viewers socially aware of the cruel conditions the Chinese are facing under Communist rule, and this is all made possible through the assimilation of the principles and
Power and Money do not Substitute Love and as it denotes, it is a deep feeling expressed by Feng Menglong who was in love with a public figure prostitute at his tender ages. Sadly, Feng Menglong was incapable to bear the expense of repossessing his lover. Eventually, a great merchant repossessed his lover, and that marked the end of their relationship. Feng Menglong was extremely affected through distress and desperation because of the separation and he ultimately, decided to express his desolation through poems. This incidence changed his perception and the way he represents women roles in his stories. In deed, Feng Menglong, is among a small number of writers who portrayed female as being strong and intelligent. We see a different picture build around women by many authors who profoundly tried to ignore the important role played by them in the society. Feng Menglong regards woman as being bright and brave and their value should never be weighed against
Bishop's initial description of the fish is meant to further develop this theme by presenting the reader with a fish that is "battered," "venerable," and "homely." Bishop compares the fish to "ancient wallpaper." Even without the word ancient preceding it, the general conception of wallpaper is something that fades into the background. One is not supposed to take much notice of it. To add to this impartial picture, the fish is brown, the signature color of dullness. "Shapes like full-blown roses stained and lost through age" (lines 14-15) further cement the image of something with little time left. Fully bloomed roses conjure the image of a flower whose petals are at t...
Yung, Judy. Chinese Women in America: A Pictorial History. Seattle and London: University of Washington Press, 1989.
Maya Lin is a driven and innovative artist of our time. Many of her works have been seen as controversial and received harsh criticism. She manages to trudge on. Her works express both an artistic and mathematical feel, somehow finding a beautiful marriage between. Her obsession with art and knowledge can be greatly attributed to her parents, as she was very successful at an early age. Her art career is one of many triumphs and breaking boundaries in the art world. Lin has a great love for nature, and many of her pieces help to express the significance of this, and she loves to enthrall the audience.
The last poem “The Fish” illustrates the sorrow of life itself. The skin, the blood, the entrails, everything of the fish depicts vividly and dramatically. The poet seems to share the same pain with the fish observing the scene and enjoys the detail just like enjoying an artwork. The poet lets the fish go because she is totally touched by the process between life and death; she loves life but meanwhile, is deeply hurt by the life. In the poem, the fish has no fear towards her; the desire to life is in the moving and tragic details when faces the
After Mao Zedong’s death and the collapse of the Cultural Revolution Weiwei enrolled in the Beijing Film Academy. Film did not hold him long and in 1978 Weiwei became a founding member of an avant-garde group of artist called ‘the stars’, and an obsession with democracy and a deep critique of the Chinese government began to manifest. In 1981 Weiwei moved to the United States to practice and study art. One of Weiwei’s most iconic early pieces, Dropping Han Dynasty Urn (1995) depicts Weiwei holding, dropping, and the subsequent smashing of a Han Dynasty Urn. The performative gesture of this work is entrenched in Weiwei’s personal history, the significance of smashing a valued Chinese artefact symbolises the ‘desecration of cultural heritage (Delaney, 2016 p.30)’ that occurred during the Cultural Revolution and Weiwei’s
Traditional Chinese art is deeply rooted in its philosophy, encompassing Daoist, Buddhist and Confucian schools of thought. The goal of many traditional Chinese landscape artists, as described by Professor To Cho Yee of Michigan-Ann Arbor, is to “reveal the highest harmony between man and nature” through a balance of likeness and unlikeness (Ho). This metaphysical philosophy borrowed art as a vehicle to search for the truth or the “dao”, which is the path to enlightenment. As early as the 5th century, scholar artists such as Su Shi (1037-1101) of the Song dynasty realized that to create likeness, one must understand the object beyond its superficial state and instead capture the spirit of nature; only then can a point of harmony with nature
again of a yearning desire to return home “Now, lost and abandoned, I think of my old home”. These quotes depict how Lady Wen-chi longed for her home, and how she felt broken by the ordeal. Eventually Lady Wen-chi settled into her forced situation and falling in love with her abductor. Her lengthy stint with the nomads came to an end when she was finally ransomed back to China. Lady Wen-chiwas then faced with the harrowing decision; to stay with the husband and kids she loved, and stay in the land and terrain she isn’t entirely accustomed to, or to return home to all of the amenities and prosperity of her native land. The paintings and poems are from a handscroll, obtained in 1973 by The Metropolitan Museum of Art. Lady Wen-chi was an innovator
In order to familiarise myself with the above topic, I have invested much time reading vast selection of the portraiture art themes with aim to get acquainted with the knowledge and the language used in this particular subject. It was very challenging and entertaining to read comprehensive range of various critiques and analysis of the world best paintings stretching from ancient classic to contemporary western image. Developing understanding of the diverse art expressions and social and political influences tha...
It will define that Zhang used traditional Chinese charcoal drawing aesthetic to show the subtext of his artworks in contemporary Chinese art. By tracing the traditional Chinese charcoal drawing aesthetic in Chinese Painter Zhang Xiaogang artistic development in the past two decades, his art as a whole can be interpreted in presenting his concerns of the foregone society and showing his own feelings towards the public history with a unique form of expression.
painting of a woman be so famous?” Well, probably one of the reasons this painting is
Prior to the 20th century, female artists were the minority members of the art world (Montfort). They lacked formal training and therefore were not taken seriously. If they did paint, it was generally assumed they had a relative who was a relatively well known male painter. Women usually worked with still lifes and miniatures which were the “lowest” in the hierarchy of genres, bible scenes, history, and mythological paintings being at the top (Montfort). To be able to paint the more respected genres, one had to have experience studying anatomy and drawing the male nude, both activities considered t...
Through time due to advancements in material and painting techniques combined with the ever-increasing talent of the artists, paintings representing people have become very lifelike and are extremely realistic. Some painted portraits have as much detail as modern photographs. However, there are also paintings of people that are representational in which the artist is trying to convey a message. This paper discusses the two types through the comparison of two paintings, Abaporu and Portrait of a Lady.
In China, most of the artists worked not for money but for themselves, so their paintings and art were forms of individual expression. They tried to express themselves with symbols and personal terms. The most common types of paintings were literati paintings which were characterized by unassuming brushwork, subtle colors, and the use of landscape as personal meaning. Literati painters painted for each other and used canvases like handscrolls, hanging scrolls and album leaves. Many of the paintings expressed the painters personality. One Chinese painter, Ni Zan, has a famous painting called The Rongxi Studio. It is done in ink and has mountains, rocks, trees and a building. The painting has little detail and is painted with the dry brush technique, like Zan’s personality, a noble spirit.