The Transition from Chinoiserie to Japonisme in Early World Expositions

The fine arts are an important element in any international exhibitions, especially in the early world expositions. China and Japan participated in international expositions in the 1870s. Early in the 16th century, the Portuguese, Spanish and Dutch had traded in Chinese porcelain and Japanese lacquer with Europe, and Chinoiserie and Japonisme became popular in European courts in the 18th century. However, most Far Eastern fine art constituted of court collections or was privately owned. It is the world expositions held in the late 19th century that provided the public in Europe with the chance to see contemporary fine arts from the Far East. However, as Westerners began to learn more about China and Japan, the public taste, led by the judgment of connoisseurs engrossed in Chinese art, was directed to the ornamental design of Japanese manufacture. Some European porcelain manufacture abandoned the Chinese style, and turned to Japanese designs to refine their goods to meet public demand. As a result, Chinese fine art, which was once highly praised by the European courts, failed in the publicity campaign of world expositions. This study aims to trace the changing public tastes in Far Eastern fine arts in the late 19th century by analyzing the public remarks on the exhibits in contemporary newspapers

Ouachita\u27s Adams Department of Art & Design to host Matter + Spirit through December 13, 2023

The Rosemary Gossett Adams Department of Art & Design at Ouachita Baptist University will host “Matter + Spirit: A Chinese/American Exhibition” through Wednesday, Dec. 13, in Adams Galleries 1 & 2 of Moses-Provine Hall and Hammons Gallery in Mabee Fine Arts Center. Admission is free

Hong Chun Zhang Interview

Artists Bio: Born and raised in China, Hong grew up in an academic environment. Both her parents are retired art professors and her two sisters are also painters. When she was 15, Hong and her twin-sister Bo won the national competition to attend the high school attached to the Central Academy of Fine Arts in Beijing. From there, she began her professional art training. In 1994, Hong received B.F.A. in Chinese Ink Painting from CAFA in Beijing, M.A. from CSU Sacramento in 2002 and M.F.A. from University of California, Davis in 2004. Hong currently lives and works in Lawrence, Kansas. In spring of 2015, she starts working with Haw Contemporary Gallery in Kansas City. For 10 years, Hong has studied under both Chinese and American fine arts educational systems, and she has discovered a balance between the two cultures and artistic styles. In China, she developed a solid foundation in painting, but the content was restricted. In 1996, Hong came to America to expand her education in fine arts. The graduate school in the US has provided Hong with the freedom to develop new concepts for her work. This unique experience has been recognized with a Skowhegan Artist Residency Full Scholarship (New York 2003) a Dedalus Foundation MFA Fellowship (New York 2004) Pollock Krasner Foundation grant (New York 2006) and Scuola Internazionale di Grafica artist residency in Venice, Italy funded by APT (Artist Pension Trust 2015) Hong has exhibited her work nationally and internationally at venues including the Smithsonian National Portrait Gallery (Washington DC) Asia Society Texas Center (Houston, TX) Japanese American National Museum (Los Angeles, CA) The White Rabbit Gallery (Sydney, Australia) The Museum of Contemporary Art Norway (Oslo, Norway) Central Museum (Utrecht, Holland) The 3rd Chengdu Biennale and The 9th Shanghai Biennale (China) Ink Studio (Beijing) Galerie Steph (Singapore) The Portland Museum of Art (ME) The Center for Contemporary Art Sacramento, San Francisco Chinese Culture Center, Lawrence Arts Center, Whitespace (Atlanta) BRIC Rotunda Gallery (Brooklyn) The Chinese Porcelain Company (NYC) Her work can be found in many public and private collections such as Sylvain Levy/ DSL Collection (Paris) The White Rabbit Collection of Contemporary Chinese Art (Sydney) The Ministry of Culture of China (Beijing) The Origo Family Collection of Chinese Ink Paintings (Zurich) Spencer Museum of Art (Lawrence, KS) and Ulrich Art Museum (Wichita, KS) - Bio from http://www.hongchunzhang.co

Drawing: interpretation/translation

An exhibition which focuses upon the use of drawing in the work of 10 contemporary fine artists. This exhibition explores the role of drawing within the practice of a number of artists involved in teaching and research at CCW (Camberwell, Chelsea & Wimbledon Colleges of Art) part of The University of the Arts London and is the result of staff exchanges between The Chinese University Hong Kong and the University of the arts London. The aim of the exhibition is to explore the wide range of approaches to drawing within current practice, ranging from the conceptual through to observation drawing

The Value of Taste: Consumption Strategies for Social Upward Mobility among Urban Chinese Youth

This thesis explores a group of young Western-oriented Chinese consumers called xiaozi in Shanghai, comprised mainly by young individuals from an urban lower middle-class background who attempt at adopting a lifestyle and identity marked by a taste for fine arts and foreign culture. The study shows that by means of social distinction through taste and foreign cultural practices the xiaozi youth can attempt at acquiring cultural capital for upward social mobility, to compensate for their lack of economic capital or social connections in Shanghai's society. As such, the xiaozi lifestyle can function as a vehicle for social upward mobility, but most often functions as a coping strategy to assert themselves as high quality individuals despite their lower societal status. By rearranging the quality discourse to adhere to a transnational scale of stratification along an imaginary linear path towards modernization, the xiaozi can consider themselves to be at the forefront of Chinese society and justify their higher social worth. Their questioning of traditional definitions of high quality and parental expectations and their will to create a life that takes departure in their own individual happiness is analyzed as an example of the macro-process of individualization of Chinese social relations and new class-struggles in the stratification of China's emerging market-society. The thesis is based on data collected from participatory observation and interviews with 10 young Chinese individuals in Shanghai during the spring 2015.This thesis explores a group of young Western-oriented Chinese consumers called xiaozi in Shanghai, comprised mainly by young individuals from an urban lower middle-class background who attempt at adopting a lifestyle and identity marked by a taste for fine arts and foreign culture. The xiaozi lifestyle can function as a vehicle for social upward mobility in urban Chinese society, but most often functions as a coping strategy to assert themselves as high quality individuals despite their lower societal status. The emergence of xiaozi as a social label and group in urban Chinese society is analyzed as an example of the macro-process of individualization of Chinese social relations and new class-struggles in the stratification of China's emerging market-society. The thesis is based on data collected from participatory observation and interviews with 10 young Chinese individuals in Shanghai during the spring 2015

Chinese Dreams

This is a collection of short stories about four Chinese young artists. The stories are collected from two rounds of interviews conducted in the winter of 2016 and the summer of 2017 and rewritten in 2017. Keywords: Chinese history after 1980s, fine arts, young artists, education, art educatio

Research on Discussion Teaching Model in Artistic Designing Education of Germany

The paper has compared Chinese and Germany Artistic Designing Education in Colleges and Universities, on the basis of Professor Matthias establishing graphic design studio and selecting students to conduct project teaching through cooperated with College of Fine Arts of Sichuan Normal University between 2006 and 2012, as well as explored and analyzed the differences and causes, so as to exploring theoretical foundation and practical methods for imitating its discussion model of instruction, aiming at providing certain instructions for the artistic designing education innovations and development of our universities and colleges

Methods of Nature: Landscapes from the Gettysburg College Collection

Methods of Nature: Landscapes from the Gettysburg College Collection is the third annual exhibition curated by students enrolled in the Art History Methods course. The exhibition is an exciting academic endeavor and incredible opportunity for engaged learning, research, and curatorial experience. The five student curators are Molly Chason ’17, Leah Falk ’18, Shannon Gross ’17, Bailey Harper ’19 and Laura Waters ’19. The selection of artworks in this exhibition includes the depiction of landscape in the nineteenth- and twentieth-century French, American and East Asian cultural traditions in various art forms from traditional media of paintings and prints to utilitarian artifacts of porcelain and a paper folding fan. Landscape paintings in this exhibition are inspired by nature, specific locales and literature. Each object carries a distinctive characteristic, a mood, and an ambience. Collectively, they present a multifaceted view of the landscape in the heart and mind of the artists and intended viewers. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1020/thumbnail.jp