Podcasts about Chinese art

If it’s been a while since you’ve been to Seattle Art Museum, you might not want to miss the latest exhibit. SAM has a major retrospective called “Ai, Rebel: The Art and Activism of Ai Weiwei.” SAM’s show is the largest exhibition of Ai Weiwei’s work ever shown in the U.S. We talk with Foong Ping, SAM's Foster Foundation Curator of Chinese Art. Give feedback here on new tolls coming to WA. Watch WA budget discussions here. We can only make Seattle Now because listeners support us. Tap here to make a gift and keep Seattle Now in your feed. Got questions about local news or story ideas to share? We want to hear from you! Email us at seattlenow@kuow.org, leave us a voicemail at (206) 616-6746 or leave us feedback online.See omnystudio.com/listener for privacy information.

In early nineteenth-century China, a remarkable transformation took place in the art world: artists among China's educated elites began to use touch to forge a more authentic relationship to the past, to challenge stagnant artistic canons, and to foster deeper human connections. Networks of Touch is an engaging exploration of this sensory turn. In Networks of Touch: A Tactile History of Chinese Art, 1790-1840 (Penn State UP, 2023), Michael J. Hatch examines the artistic network of Ruan Yuan (1764-1849), a scholar-official whose patronage supported a generation of artists and learned people who prioritized epigraphic research as a means of truing the warped contours of Confucian heritage. Their work instigated an "epigraphic aesthetic"--an appropriation of the stylistic, material, and tactile features of ancient inscribed objects and their reproductive technologies--in late eighteenth- and early nineteenth-century artwork. Rubbings, a reduplicative technology, challenged the dominance of brushwork as the bearer of artistic authority. While brushwork represented the artist's physical presence through ink and paper, rubbings were direct facsimiles of tactile experiences with objects. This shift empowered artists and scholars to transcend traditional conventions and explore new mediums, uniting previously separate image-making practices while engaging audiences through the senses. Centering on touch and presenting a fresh perspective on early nineteenth-century literati art in China, this volume sheds light on a period often dismissed as lacking innovation and calls into question optical realism's perceived supremacy in reshaping the sensory experience of the modern Chinese viewer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In early nineteenth-century China, a remarkable transformation took place in the art world: artists among China's educated elites began to use touch to forge a more authentic relationship to the past, to challenge stagnant artistic canons, and to foster deeper human connections. Networks of Touch is an engaging exploration of this sensory turn. In Networks of Touch: A Tactile History of Chinese Art, 1790-1840 (Penn State UP, 2023), Michael J. Hatch examines the artistic network of Ruan Yuan (1764-1849), a scholar-official whose patronage supported a generation of artists and learned people who prioritized epigraphic research as a means of truing the warped contours of Confucian heritage. Their work instigated an "epigraphic aesthetic"--an appropriation of the stylistic, material, and tactile features of ancient inscribed objects and their reproductive technologies--in late eighteenth- and early nineteenth-century artwork. Rubbings, a reduplicative technology, challenged the dominance of brushwork as the bearer of artistic authority. While brushwork represented the artist's physical presence through ink and paper, rubbings were direct facsimiles of tactile experiences with objects. This shift empowered artists and scholars to transcend traditional conventions and explore new mediums, uniting previously separate image-making practices while engaging audiences through the senses. Centering on touch and presenting a fresh perspective on early nineteenth-century literati art in China, this volume sheds light on a period often dismissed as lacking innovation and calls into question optical realism's perceived supremacy in reshaping the sensory experience of the modern Chinese viewer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In early nineteenth-century China, a remarkable transformation took place in the art world: artists among China's educated elites began to use touch to forge a more authentic relationship to the past, to challenge stagnant artistic canons, and to foster deeper human connections. Networks of Touch is an engaging exploration of this sensory turn. In Networks of Touch: A Tactile History of Chinese Art, 1790-1840 (Penn State UP, 2023), Michael J. Hatch examines the artistic network of Ruan Yuan (1764-1849), a scholar-official whose patronage supported a generation of artists and learned people who prioritized epigraphic research as a means of truing the warped contours of Confucian heritage. Their work instigated an "epigraphic aesthetic"--an appropriation of the stylistic, material, and tactile features of ancient inscribed objects and their reproductive technologies--in late eighteenth- and early nineteenth-century artwork. Rubbings, a reduplicative technology, challenged the dominance of brushwork as the bearer of artistic authority. While brushwork represented the artist's physical presence through ink and paper, rubbings were direct facsimiles of tactile experiences with objects. This shift empowered artists and scholars to transcend traditional conventions and explore new mediums, uniting previously separate image-making practices while engaging audiences through the senses. Centering on touch and presenting a fresh perspective on early nineteenth-century literati art in China, this volume sheds light on a period often dismissed as lacking innovation and calls into question optical realism's perceived supremacy in reshaping the sensory experience of the modern Chinese viewer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

In early nineteenth-century China, a remarkable transformation took place in the art world: artists among China's educated elites began to use touch to forge a more authentic relationship to the past, to challenge stagnant artistic canons, and to foster deeper human connections. Networks of Touch is an engaging exploration of this sensory turn. In Networks of Touch: A Tactile History of Chinese Art, 1790-1840 (Penn State UP, 2023), Michael J. Hatch examines the artistic network of Ruan Yuan (1764-1849), a scholar-official whose patronage supported a generation of artists and learned people who prioritized epigraphic research as a means of truing the warped contours of Confucian heritage. Their work instigated an "epigraphic aesthetic"--an appropriation of the stylistic, material, and tactile features of ancient inscribed objects and their reproductive technologies--in late eighteenth- and early nineteenth-century artwork. Rubbings, a reduplicative technology, challenged the dominance of brushwork as the bearer of artistic authority. While brushwork represented the artist's physical presence through ink and paper, rubbings were direct facsimiles of tactile experiences with objects. This shift empowered artists and scholars to transcend traditional conventions and explore new mediums, uniting previously separate image-making practices while engaging audiences through the senses. Centering on touch and presenting a fresh perspective on early nineteenth-century literati art in China, this volume sheds light on a period often dismissed as lacking innovation and calls into question optical realism's perceived supremacy in reshaping the sensory experience of the modern Chinese viewer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The market for Chinese art used to be very small and is now a billion dollar annual industry. What changed? And how is this all tied to a string of heists? Listen in to find out. See omnystudio.com/listener for privacy information.

Vicki Dello Joio brings a lifetime of experience as a world-class performer, sold out showstopper and transformational speaker who has brought audiences to their feet time and again. In addition, she brings over 50 years' experience as a Master Teacher of Qigong, ancient Chinese practices for energy management. She has found that when speakers harness their personal energy they communicate with passion, presence and power. Since 1975, her brand of brilliance has empowered wellness-motivated, spiritually-inclined seekers and speakers to infuse body-mind-spirit practices into their very cells so they can tap into their birthright of joy — use it as a fuel not a goal — for a lifetime. Popular host of monthly program Qi Talks and a Hall of Fame-recognized teacher of the Chinese Art of Qigong by the Association of Women Martial Arts Instructors, Vicki's “Spiritual Fitness” program and book, The Way of Joy, has transformed the lives of thousands of participants. With her diverse background, Vicki has developed unique teaching methods to work with people to focus their energy with increased awareness, transform obstacles into opportunities and enhance their creative potential so they can have the impact they know they were born to make, both in business and in life. Now she is applying her years of experience to support visionary speakers, entrepreneurs and business leaders to take inspired action, step into leadership, sustain their momentum over time and change the world right here, right now. Contact Vicki Dello Joio: Download my guide for speakers of all kinds (communicating 1:1 or 1 to many) Yourpowerpresence.com: “Let's Get Real About Charisma. Join my Facebook group: https://www.facebook.com/groups/energymattersmost Connect with me on LI: https://www.linkedin.com/in/vickidellojoio/ Visit my website to attend free interviews with qigong leaders, find out about upcoming events and classes, or book a call with me. https://www.vickidellojoio.com/ Dr. Kimberley Linert Speaker, Author, Broadcaster, Mentor, Trainer, Behavioral Optometrist Event Planners- I am available to speak at your event. Here is my media kit: https://brucemerrinscelebrityspeakers.com/portfolio/dr-kimberley-linert/ To book Dr. Linert on your podcast, television show, conference, corporate training or as an expert guest please email her at incrediblelifepodcast@gmail.com or Contact Bruce Merrin at Bruce Merrin's Celebrity Speakers at merrinpr@gmail.com 702.256.9199 Host of the Podcast Series: Incredible Life Creator Podcast Available on... Apple: https://podcasts.apple.com/us/podcast/incredible-life-creator-with-dr-kimberley-linert/id1472641267 Spotify: https://open.spotify.com/show/6DZE3EoHfhgcmSkxY1CvKf?si=ebe71549e7474663 and on 9 other podcast platforms Author of Book: "Visualizing Happiness in Every Area of Your Life" Get on Amazon: https://amzn.to/3srh6tZ Website: https://www.DrKimberleyLinert.com Please subscribe, share & LISTEN! Thanks. incrediblelifepodcast@gmail.com Social Media Links LinkedIn: https://www.linkedin.com/in/dr-kimberley-linert-incredible-life-creator/ Facebook: https://www.facebook.com/kimberley.linert/ The Great Discovery eLearning Platform: https://thegreatdiscovery.com/kimberley

Fukusa: Japanese Gift Covers from the Chris Hall Collection celebrates a major gift of Japanese art from the renowned collector Chris Hall.  With over 80 fukusa on display, the exhibition at the Asian Civilisations Museum explores trade and exchange between Japan, China, and beyond, and the art of gifting across cultures.  The exhibition also features interactive touchpoints, including a digital interactive where visitors can customise their own fukusa and an exploration zone for tactile experiences. On Culture Club, Hongbin Jeong and Roshan Gidwani speaks to Louise Lui, Assistant Curator, Chinese Art, Asian Civilisations Museum, to share more details about the exhibition.   Presented by: Hongbin Jeong and Roshan Gidwani Produced and Edited by: Alexandra Parada (alexparada@sph.com.sg) and Nadiah Koh Want to get featured on our show? Drop me an email today!See omnystudio.com/listener for privacy information.

The cicadas are back for some fun in the sun, and this time, they're louder than ever! For the first time since 1803, Broods XIII and XIX will be emerging at the same time, covering the American South and Midwest with trillions of cicadas. As Smithsonian entomologist Floyd Shockley readies his nets for the biggest bug invasion in centuries, we look back at the emergence of Brood X in 2021, and explore how cicadas have captivated our human ancestors for millennia. Guests: Floyd Shockley, entomologist at the Smithsonian's National Museum of Natural History Gao Hong, professional pipa player, composer, and educator Jim Deutsch, curator at the Smithsonian Center for Folklife and Cultural Heritage Jan Stuart, Melvin R. Seiden Curator of Chinese Art at the Smithsonian's National Museum of Asian Art

The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China?  In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting (Bloomsbury, 2023) draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield. Prof. Chia-Ling Yang is the Personal Chair of Chinese Art and Programme Director of PhD and MScR in History of Art at The University of Edinburgh.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China?  In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting (Bloomsbury, 2023) draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield. Prof. Chia-Ling Yang is the Personal Chair of Chinese Art and Programme Director of PhD and MScR in History of Art at The University of Edinburgh.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China?  In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting (Bloomsbury, 2023) draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield. Prof. Chia-Ling Yang is the Personal Chair of Chinese Art and Programme Director of PhD and MScR in History of Art at The University of Edinburgh.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China?  In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting (Bloomsbury, 2023) draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield. Prof. Chia-Ling Yang is the Personal Chair of Chinese Art and Programme Director of PhD and MScR in History of Art at The University of Edinburgh.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China?  In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting (Bloomsbury, 2023) draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield. Prof. Chia-Ling Yang is the Personal Chair of Chinese Art and Programme Director of PhD and MScR in History of Art at The University of Edinburgh.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In Platemark s3e29, host Ann Shafer speaks with April Vollmer, an artist working in mokuhanga (Japanese color woodblock printing), who also wrote the indispensable guide to that form: Japanese Woodblock Print Workshop (Berkeley: Watson-Guptill Publications, 2015).   What's mokuhanga, you ask? It's a method developed in Japan that was used to print images that are probably familiar to you, like Hokusai's Great Wave. It allows artists to work with water-based inks (more environmentally friendly) on multiple blocks to build up images, which are printed by hand using a flat paddle called a baren. Each color is carried on a separately carved block and is layered during printing. It means a lot of carving, but it also means one doesn't need a press, chemicals, or a ton of equipment. In other words, it can be done at home in your kitchen.   The range of work made possible in mokuhanga is impressive. Once used for ukiyo-e prints (pictures of the floating world) in the Edo period, now contemporary artists from the world over are experimenting with its possibilities. Including April Vollmer. Episode image: Portia Shao Shiko Munakata (Japanese, 1903–1975). Night Birds (the fence of…), c. 1967. Sumizuri-e. 19.1 x 29.3 cm. Scholten Japanese Art, New York. April Vollmer in her studio. April Vollmer's studio. Yasu Shibata (Japanese, born 1968). 6 White Squares, 2014. Set of six mokuhanga prints. Sheet (each): 11 x 11 in. Aspinwall Editions, Hudson. Tetsuya Noda (Japanese, born 1940). Diary: April 24th '97, 1997. Woodblock and screenprint. Sheet: 74.1 x 52.8 cm. British Museum, London. Keiko Hara (Japanese, born 1942). Published by Lily Press. Verse Space—Light of Black Hole, Monotype with collaged mokuhanga woodblock print. Sheet: 30 x 26 in. Rebecca Salter (British, born 1955). Into the Light II, 2011. Woodblock on Japanese paper. 60 x 90 cm. (23 ½ x 35 ½ in.). Utagawa Kuniyoshi (Japanese, 1797–1861). Earth Spider Attacking Raiko, c. 1820. Color woodblock print. 14 5/8 x 29 5/8 in. Fuji Arts, Ann Arbor. April Vollmer (American, born 1951). Generation, 2002. Mokuhanga on washi. Sheet: 26 x 26 in. Beyshehir Seljuk rug, 13th century Turkey. Found in the Eshrefoglu Mosque in Beyshehir in 1929 by R.M. Riefshahl. Now in the Konya Museum of Ethnography, Konya, Turkey. April Vollmer (American, born 1951). Blackout, 2013. Mokuhanga on Gozen washi. Sheet: 38 x 26 in. April Vollmer (American, born 1951). Eye Cup (Counterfeit), 2008. Mokuhanga and rubber stamp on washi. Sheet: 26 x 11 in. April Vollmer (American, born 1951). Secret Flower, 2006. Mokuhanga. Sheet: 15 ½ x 15 ½ in. April Vollmer (American, born 1951). Migrating Gyre, 2008. Mokuhanga. Sheet: 26 x 26 in. April Vollmer (American, born 1951), printed by Art Print Residence and published by California Society of Printmakers. Great Egret Hunting, from the portfolio Birds on the Edge, 2021. Photo-etching. Sheet: 19 ½ x 15 in.   USEFUL LINKS April's website: https://www.aprilvollmer.com/ Mokuhanga resources: https://www.aprilvollmer.com/category/mokuhanga-resources/ April's Facebook: https://www.facebook.com/april.vollmer April's Instagram: https://www.instagram.com/aprilvollmer_artist/ April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015. https://www.penguinrandomhouse.com/books/231579/japanese-woodblock-print-workshop-by-april-vollmer/ April Vollmer. “Birds on the Edge: Collaboration and Change.” The California Printmaker: The Journal of the California Society of Printmakers. (2023 Changing Gears Edition) April 2023. https://www.aprilvollmer.com/wp-content/uploads/2023/04/CSP-Birds-on-the-Edge-Vollmer.pdf Nature in the Floating World: Images of Nature in Japanese and Chinese Art. Ulrich Museum of Art, Wichita State University. January 26–May 10, 2023. https://ulrich.wichita.edu/ulrich_exhibition/nature-in-the-floating-world-images-of-nature-in-japanese-and-chinese-art-from-the-ulrich-collection/ International Mokuhanga Conference website https://2021.mokuhanga.org/ International Mokuhanga Conference YouTube channel https://www.youtube.com/channel/UCthTUa5XbGaZsaFf_vDeosg Tuula Moilanen, Kari Laitinen, and Antti Tantuu. The Art and Craft of Woodblock Printmaking. Helsinki: Aalto ARTS Books, 2013. https://www.amazon.com/Art-Craft-Woodblock-Printmaking-Watercolour/dp/B01FIWQXL4 Frogman's Workshop http://frogmans.net/#workshops Anderson Ranch https://www.andersonranch.org/ Kentler International Drawing Space, Red Hook https://kentlergallery.org/ 11 Women of Spirit Part 7. Salon Zürcher, New York. May 15–21, 2023. https://www.galeriezurcher.com/salon-zrcher-28th-edition-11-women-of-spirit-part-7-may-15-21      

Russell Kelty, Curator Asian Art, and Yuexiu Shen, Assistant Curator, Contemporary Art, discuss the influence of Chinese art and culture in Indonesia on display in Interwoven journeys: The Michael Abbott Collection of Asian art Image caption: Indonesia, West Java, Altar valance (tokwi), with dragon guarding wish-fulfilling pearl, 1900 - 1950, Cirebon, west Java, cotton with dye, tulis hand-drawn batik, 106.0 x 101.0 cm; Gift of Michael Abbott AO QC through the Art Gallery of South Australia Foundation 2012. Donated through the Australian Government's Cultural Gifts Program, Art Gallery of South Australia, Adelaide.

NFTS are legal to be bought in China, but reselling them is an all other matters. Yet a local scene of buyers and artists keeps growing, while some lost a great amount of money as they were hoping for a quick return on investment. How does the scene keep growing while local regulations are put into place?Featuring - Ellwood Chen : Digital Artist & Pills Labs Founder - Rory Mencin : Curator & Art Critic- Reva : Crypto artistTo go further with Chinese art collectors - Middle Earth episode #80 Contemporary art in Greater China- Middle Earth episode #77 Antiques: China first cultural industryMiddle Earth is made by China Compass Productions and hosted by Aladin Farré. If you have a China-themed cultural project like shooting your next documentary or look for a specific talent, please get in touch! With thanks to Wen Jiayin for production assistance, and Sean Calvo for music support.  The World of Chinese Magazine A magazine about Chinese society, culture, history, arts, language, and more.

Have you ever heard of Qigong? To put it simply, Qigong is a broad term that encompasses various styles and lineages of breath, visualization, and movement practices. One of the key benefits of practicing Qigong is its ability to improve physical health and well-being. Research has shown that Qigong can help reduce stress, lower blood pressure, improve balance and coordination, and even boost the immune system. Today, I am bringing on my dear friend Vicki Dello Joio to talk more about Qigong and her work in energy and trauma and how it affects the body. I met Vicki many years ago when I took her class as part of my Holistic Health Education masters program. Her class was a turning point for me, as it solidified my interest in energy work and its connection to overall health and wellness. I knew then that I wanted to pursue this field further. In the episode, we cover: ✨The basics of Qigong and how Vicki got into this practice. ✨The power of connecting to your body and mind. ✨How the feminine can rise within her power. ✨The importance of self-defense for women. ✨And much more on energy work and movement! Vicki's work in energy and trauma is incredibly important and often overlooked when it comes to hormones and health, I am so excited to have her here today to share her knowledge with all of you. Vicki Dello Joio is a life-changing workshop leader, Qi (energy) master teacher and inspirational speaker. Since 1975, her brand of brilliance has empowered wellness-motivated and spiritually-inclined seekers to infuse body-mind-spirit practices into their very cells so they can tap into their birthright of joy — use it as a fuel not a goal — for a lifetime. In addition, Vicki has drawn from decades of theater performance, directing experience along with her life-long study of martial arts to fire up visionary speakers to amplify their charisma and deliver their message with passion, presence, and power. Her methods for both crafting stories AND her focus on the energy behind how they are told have touched and transformed hundreds of speakers to stand and deliver with joy, confidence, and ease. Popular host of monthly program Qi Talks and a Hall of Fame-recognized teacher of the Chinese Art of Qigong by the Association of Women Martial Arts Instructors, Vicki's “Spiritual Fitness” program and book, The Way of Joy, has transformed the lives of thousands of participants since 1975. Learn more about Vicki at her website. --- Support this podcast: https://podcasters.spotify.com/pod/show/christine-garvin/support

Talk It Out Radio host Nancy Kahn interviews Stephan Berwick on: Why and How Does the Chinese Art of Tai Chi Heal and Build Wellness? Nancy Kahn interviews the famed Chinese style marital arts teacher and researcher, Stephan Berwick about how Tai Chi healed and transformed the late rock music icon, Lou Reed in an exclusive discussion about his work bringing Reed's dream book on Tai Chi, “The Art of The Straight Line. My Tai Chi” to fruition (and just published by Harper Collings), with Reed's wife, artist Laurie Anderson”. Lou Reed was a musician, singer, songwriter, poet, and founding member of the legendary rock band the Velvet Underground. He collaborated with many artists, from Andy Warhol and John Cale to Robert Wilson and Metallica. Reed had a groundbreaking solo career that spanned five decades until his death in 2013. Reed was also an accomplished martial artist whose practice began in the 1980s. He studied with Chen Tai Chi pioneer Master Ren GuangYi. This book is a comprehensive collection of Reed's writings on Tai Chi. It includes conversations with Reed's fellow musicians, artists, friends, and Tai Chi practitioners, including Julian Schnabel, A. M. Homes, Hal Willner, Mingyur Rinpoche, Eddie Stern, Tony Visconti, and Iggy Pop. “The Art of the Straight Line. My Tai Chi” features Reed's unpublished writings on the technique, practice, and purpose of martial arts, as well as essays, observations, and riffs on meditation and life. Stephan Berwick is a martial arts instructor, performer, and researcher, specializing in Chen Tai Chi and Chinese swordsmanship. As an original student of Master Ren, Berwick conducted primary research at Tai Chi's birthplace in Henan, China over two decades ago. From that research, Berwick published the first English language profiles of the emerging Chen village masters, and other works on traditional martial arts. Before devoting himself to Chen Tai Chi, Stephan was one of the two first Americans – with Asia's top action star, Donnie Yen – to train in Xian, China under its national martial arts champion, Zhao Changjun and his coach, Bai Wenxiang. With Yen, Berwick went on to perform in Hong Kong action films under the tutelage of the director, Yuen Woping, as one of the few Western martial artists to star in Chinese action films. Years later, he met and befriended Lou Reed in 2003 at a national martial arts event with Master Ren. The post Why and How Does the Chinese Art of Tai Chi Heal and Build Wellness? appeared first on KPFA.

March 8, 2023 HIGHLIGHT REELS - Knowledge is POWER.Suppose you boil down what Sun Tzu teaches in the Art of War (顺子兵法 Shùnzi bīngfǎ). It comes down to understanding how your competitors think, how they are likely to behave, and exercising tactics based on the increasing likelihood of influencing them to your advantage.Success in the Chinese arena begins with AWARENESS (意识 yìshí) and then developing tactics and counter-tactics (方法 | 技巧 fāngfǎ | jìqiǎo) for their conscious and subconscious tendencies during negotiations.Most of the role playing and interactive portions have been removed to highlight the concepts covered during the first portion of this experience.AGENDACuriosity Exercise Chinese Phrases Warm-Up Guanxi Engine Introduction Cultural Dichotomy Business Primer Art of War Negotiation Tactics  For more information about Mandarin Savvy Chinese Language and Cultural Immersion Meetups:W: https://www.genejhsu.com/E: info@emechina.us#chinabusiness #chineseculture #speakchinese #mandarin #chineselanguage #expatchinese #guanxi #workshop #meetups

Dr Geoff Raby AO was Australia's Ambassador to China between 2007 and 2011, and has donated 174 contemporary Chinese art works to La Trobe University. Raby arrived in Beijing in the 1980s where he first encountered the emerging contemporary art scene and soon became an avid collector. Dr Damian Smith, art historian, curator, and art critic, speaks about a new book he edited, The Geoff Raby Collection of Contemporary Chinese Art (La Trobe University Press). Damian talks about the artists, art works, and artistic themes featured in the collection including eroticism and sexuality, surrealism, politics, and more. The collection shows the diversity of contemporary art practice in China and how it reveals cultural insights into 21st century China. Broadcast on 28 February 2023.

Dr Richard Denniss, Executive Director of The Australia Institute, returns to discuss his latest piece in The Monthly on the failures of federal and state COVID-19 policy and Richard tells us what the real causes of inflation and rising interest rates are. There's no risk to the economy of a wage-price spiral, rather a profit-price spiral.Dr Damian Smith, art historian, curator, and art critic, speaks about a new book he edited, The Geoff Raby Collection of Contemporary Chinese Art (La Trobe University Press). Dr Geoff Raby AO was Australia's Ambassador to China between 2007 and 2011, and donated 174 contemporary Chinese art works to La Trobe University. Raby arrived in Beijing in the 1980s where he first encountered the emerging contemporary art scene and soon became an avid collector. Damian talks about the artists, art works, and artistic themes featured in the collection, as he shows the diversity of contemporary art practice in China and how it reveals cultural insights into 21st century China.Tania Wolff, President of the Law Institute of Victoria and Lizzie O'Shea, Chair of Digital Rights Watch sit down with Amy to delve into the Victorian government's proposed digital health record with no opt-out provision – the Health Legislation Amendment (Information Sharing) Bill 2023, which passed the lower house last week. Additional concerns around cybersecurity, privacy, data misuse, and that it will not be subject to Freedom of Information laws are yet to be addressed. We last spoke about this issue with Juanita Fernando and Fiona Patten in 2022.

Dr Damian Smith, art historian, curator, and art critic, speaks about a new book he edited, The Geoff Raby Collection of Contemporary Chinese Art (La Trobe University Press). Dr Geoff Raby AO was Australia's Ambassador to China between 2007 and 2011, and donated 174 contemporary Chinese art works to La Trobe University. Raby arrived in Beijing in the 1980s where he first encountered the emerging contemporary art scene and soon became an avid collector. Damian talks about the artists, art works, and artistic themes featured in the collection, as he shows the diversity of contemporary art practice in China and how it reveals cultural insights into 21st century China.

In this week's episode of the ArtTactic Podcast, we chat with Enid Tsui, arts editor at the South China Morning Post. First, they detail the impact of Covid travel restrictions on the art market in Hong Kong and China. Then, they discuss how Chinese collectors have been missed at art events such as fairs and auctions, and how galleries outside of China have not had as much of a presence there. Also, Enid speculates if the recent expansion in the art world in areas within Asia outside of China, such as Singapore and Seoul, is partly due to the government of China as well as Covid travel restrictions. She then gives an update on the art market in Hong Kong and mainland China and whether there is any talk of a potential softening. After, Enid explains the role of private museums in China in terms of serving the broader public within the art ecosystem in China. Lastly, Enid explains why there is high hopes for this year's edition of Art Basel Hong Kong.

Fr Ignatius Yeo speaks about inter-culturality, in particular of Chinese art and the Catholic faith. He makes references to certain art pieces currently exhibited at the Asian Civilisations Museum (ACM) in Singapore. Drawn from the Anima Mundi (meaning “Soul of the World”) in the Vatican, these are little-known treasures of Christian art made in Asia.

Philosophers and scientists have tried for millennia to crack the code of alchemy: the art of turning lead into gold. But alchemy goes much deeper than that—it gives us a framework for turning metal into story. In the first of a two-part episode on the metals of alchemy, we explore iron, bronze, lead, and copper. Our stories go deep into the basement of The Met, and back in time to a waterlogged ancient tomb. You'll hear about books that dazzle, puppets that weep, and the long lost sound of a 2000-year-old bell. Guests: Edward Hunter, armorer and conservator, Arms and Armor, The Metropolitan Museum of Art Marco Leona, David H. Koch Scientist in Charge, Scientific Research, The Metropolitan Museum of Art Ali Olomi, professor of Middle East, Islamic, and Global Southern history, Penn State Abington Kannia Rifatulzia, translator, In-depth Creative Defri Simatupang, archaeologist, North Sumatera Archaeology Center, Indonesia Zhixin Jason Sun, Brooke Russell Astor Curator of Chinese Art, Asian Art, The Metropolitan Museum of Art Yana Van Dyke, conservator, Paper Conservation, The Metropolitan Museum of Art Objects featured in this episode: European armor (various) Zhong bells (various) Puppet Head (Si Gale-gale), late 19th–early 20th century. Indonesia, Sumatra. Toba Batak people. Wood, copper alloy, lead alloy, water buffalo horn, paint, H. (without pull rope) 13 1/4 in. x W. 6 in. x D. 6 1/2 in. (33.7 x 15.2 x 16.5 cm). The Metropolitan Museum of Art, New York, Gift of Fred and Rita Richman, 1987 (1987.453.6) Shahnama (Book of Kings) of Shah Tahmasp, ca. 1525–30. Opaque watercolor, ink, silver, and gold on paper. The Metropolitan Museum of Art, New York, Gift of Arthur A. Houghton Jr., 1970 (1970.301.1–78) For a transcript of this episode and more information, visit metmuseum.org/immaterial #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camile Dungy. This episode was produced by Adwoa Gyimah-Brempong. Special thanks to Sheila Blair, Lauren Johnson, and G. Willow Wilson.

Episode 3 of Cold Cuts Quirked up white boys stay winning. Talking about the cultural impact of the proto quirky white boy, Larry Bird, as well as comics left on the cutting room floor, Chinese artist Ai WeiWei, and MackleMORE.

This episode is also available as a blog post: https://thecitylife.org/2022/07/15/smithsonians-national-museum-of-asian-art-announces-a-gift-from-nancy-chang-lee-to-endow-a-curatorship-in-chinese-art/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Audery Yuan is a Moncton-based artist.

About the guestMy work's abstractions arise from the subjects I portray: ecological and geological cycles, processes of chemical corrosion and natural efflorescence. With roots in traditions of Chinese landscape painting, my monumentally sized paintings and installations evolve a fantastic, abstract vision of the natural world. My latest work confronts the challenge: the resuscitation of landscape painting in a world where "landscape" is represented and defined through an ever-widening field of digital, graphic, and visual forms. How can a painting capture flux, abundance, waste, fertility, and the collision and collusion of diverse forms? How can it respond to the pressure we place on our era's fragile ecosystem? My paintings explore both questions by sustaining tension between what is artificial and what is natural, between what is chemical and what is biological, between organic and inorganic. The paper on which I paint is not only a recognition of a tradition of Chinese painting; it is also a medium of vulnerability and expansiveness, susceptible to crease and tear as well as to collage and collation. My own role in the creation of the paintings strikes a balance between the purposive and the protective. I trust to process, chance, and change, but I encourage, direct, and facilitate all of these. In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term that sustains us. - KATHERINE TZU-LAN MANN Celebrating 12 years of placing exceptional contemporary art in global private and public collections.Founded in 2010 in Washington, DC by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA's mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora. Morton Fine Art founded the trademark *a pop-up project in 2010. *a pop-up project is MFA's mobile gallery component which hosts temporary curated exhibitions nationally.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture.Mentioned in this episodeKatherine Tzu-Lan Mann's WebsiteMorton Fine ArtTo find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory.Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode★ Support this podcast ★

Timestamps:00:10: Introductions00:30: Classical art, anime, and expression01:15: The power of imagination in anime. Exaggeration of the real world. 02:30: Bleach, powers, discipline and going beyond the possibilities of the real world03:35: Does enchantment inform the look and aesthetic of anime, or is it just the stories?05:00: Anime as reality on steroids vs Western cartoons as impoverished versions05:35: The importance of lessons in anime. Consequences, responsibilities and more sophisticated narratives from the real world. 08:00: Heroes, inspiration and cost. Support the show (https://www.patreon.com/talkpopc)

In this week's episode of the ArtTactic Podcast, Lisa Movius, the China Bureau Chief and Asia Correspondent for The Art Newspaper, joins us to update us on the Chinese art market. First, Lisa tells us how things are in China at the moment with COVID. Then, she shares the mood in China at the moment within the art world. Also, Lisa explains how Chinese galleries have been able to thrive during the pandemic due to being agile.

In this episode, I had the pleasure of speaking to Peggy Wang about her new book, The Future History of Contemporary Chinese Art (Minnesota University Press, 2021). In the book, Wang asks readers to reconsider the term “global” and “world” in relation to the (often simplistically interpreted) artistic projects of some of the most famous Chinese artists of the postsocialist period. A meticulously researched chapter is devoted to: Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao. In each case, Wang argues that their oeuvres are critical projects that are shaped by and comment upon artists' and art critics' self-understanding as Chinese actors in ambivalent relation to the newly accessible “Western art world.” The book's theoretical claims will of course speak to scholars of art history as well as Chinese literature and culture. I would be remiss not to mention, however, how excited I am by the teaching potential of this text, both as a foundation from which to understand the complexity of contemporary Chinese art and a wonderful model for students just learning research methodologies. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode, I had the pleasure of speaking to Peggy Wang about her new book, The Future History of Contemporary Chinese Art (Minnesota University Press, 2021). In the book, Wang asks readers to reconsider the term “global” and “world” in relation to the (often simplistically interpreted) artistic projects of some of the most famous Chinese artists of the postsocialist period. A meticulously researched chapter is devoted to: Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao. In each case, Wang argues that their oeuvres are critical projects that are shaped by and comment upon artists' and art critics' self-understanding as Chinese actors in ambivalent relation to the newly accessible “Western art world.” The book's theoretical claims will of course speak to scholars of art history as well as Chinese literature and culture. I would be remiss not to mention, however, how excited I am by the teaching potential of this text, both as a foundation from which to understand the complexity of contemporary Chinese art and a wonderful model for students just learning research methodologies. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

In this episode, I had the pleasure of speaking to Peggy Wang about her new book, The Future History of Contemporary Chinese Art (Minnesota University Press, 2021). In the book, Wang asks readers to reconsider the term “global” and “world” in relation to the (often simplistically interpreted) artistic projects of some of the most famous Chinese artists of the postsocialist period. A meticulously researched chapter is devoted to: Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao. In each case, Wang argues that their oeuvres are critical projects that are shaped by and comment upon artists' and art critics' self-understanding as Chinese actors in ambivalent relation to the newly accessible “Western art world.” The book's theoretical claims will of course speak to scholars of art history as well as Chinese literature and culture. I would be remiss not to mention, however, how excited I am by the teaching potential of this text, both as a foundation from which to understand the complexity of contemporary Chinese art and a wonderful model for students just learning research methodologies. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In this episode, I had the pleasure of speaking to Peggy Wang about her new book, The Future History of Contemporary Chinese Art (Minnesota University Press, 2021). In the book, Wang asks readers to reconsider the term “global” and “world” in relation to the (often simplistically interpreted) artistic projects of some of the most famous Chinese artists of the postsocialist period. A meticulously researched chapter is devoted to: Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao. In each case, Wang argues that their oeuvres are critical projects that are shaped by and comment upon artists' and art critics' self-understanding as Chinese actors in ambivalent relation to the newly accessible “Western art world.” The book's theoretical claims will of course speak to scholars of art history as well as Chinese literature and culture. I would be remiss not to mention, however, how excited I am by the teaching potential of this text, both as a foundation from which to understand the complexity of contemporary Chinese art and a wonderful model for students just learning research methodologies. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I had the pleasure of speaking to Peggy Wang about her new book, The Future History of Contemporary Chinese Art (Minnesota University Press, 2021). In the book, Wang asks readers to reconsider the term “global” and “world” in relation to the (often simplistically interpreted) artistic projects of some of the most famous Chinese artists of the postsocialist period. A meticulously researched chapter is devoted to: Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao. In each case, Wang argues that their oeuvres are critical projects that are shaped by and comment upon artists' and art critics' self-understanding as Chinese actors in ambivalent relation to the newly accessible “Western art world.” The book's theoretical claims will of course speak to scholars of art history as well as Chinese literature and culture. I would be remiss not to mention, however, how excited I am by the teaching potential of this text, both as a foundation from which to understand the complexity of contemporary Chinese art and a wonderful model for students just learning research methodologies. Julia Keblinska is a Post-Doctoral Researcher at the Center for Historical Research at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this week's episode of the ArtTactic Podcast, we're joined by Jamie Yu, head of modern and contemporary art at Poly Auction, the leading auction house in China, to chat about the Chinese art market. First, Jamie tells us a little bit about Poly Auction and how it fits within the Chinese art market. Then, she identifies some of the most significant ways the Chinese art market has evolved over the past decade. Also, Jamie touches on Chinese art collectors pursuing emerging artists, especially at auction. Further, Jamie touches on social media, private museums and foundations, and some of the misconceptions about the Chinese art market.

How many middle-aged Asians do you know that suffer from a stroke, anxiety, or early death? Not many, why is that? Shifu Shirley Chock shares how she uses Tai Chi to balance the stress and interruptions that happen in everyday life. Shirley wants to spread the message of this ancient Chinese Art of Healing with others. Join us and hear the ancient art of healing. 

"For almost three hundred years the noble T'ang Dynasty fostered a period of artistic and intellectual endeavor which has never been equaled in the history of China. Sculpture, ceramics, glass, and textiles were some of the major artifacts that emerged from this glorious renaissance of Chinese taste and skill. This book is the story of the T'ang told through objects in the author's collection, one of the most representative in private hands. It includes a marvelous array of gold and silver mirrors, jade, jewelry and gilt bronzes. The 124 illustrations, 24 in full color are accompanied by a history of the T'ang era, and a chapter on each of the categories in the collection gives a comprehensive background to the illustrations. The knowledgeable comments of a well-known collector are authoritative, and will be invaluable to other collectors, was well as to all connosseurs of Chinese art." (For Educational and inspirational materials. The Creators own their content and music/songs).

Mozina's Knotting the Banner: Ritual and Relationship in Daoist Practice (U Hawaii Press, 2021) weaves together ethnography, textual analysis, photography, and film, inviting readers into the religious world of Daoist practice in today's south China by exploring one particular ritual called the Banner Rite to Summon Sire Yin, as practiced in central Hunan province. Performed as the first public ritual by a Daoist apprentice at his own ordination, the Banner Rite seeks to summon Celestial Lord Yin Jiao, the ferocious martial deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. A lot is at stake. If the apprentice cannot successfully summon the deity in front of his village community and the pantheon of gods in attendance, he would not be able to be ordained that day and would risk losing the confidence of villagers who might hire him in the future. Through a close reading of the ritual in its social and historical contexts, Mozina shows that the efficacy of rituals like the Banner Rite is driven by the ability of a master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960–1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Knotting the Banner will be of interest to students and scholars of Daoism and Chinese religion and will also appeal to historians of religion and anthropologists, especially those working on ritual. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Her research focuses on Chinese art, particularly the history of collecting and exhibiting premodern works in American museums after World War II and the visual culture of Daoism in late imperial China. Her teaching and curatorial experience extend broadly both temporally—from Neolithic to contemporary—and cross-culturally to China, Korea, and Japan, as well as to South and Southeast Asia. Her book Separating Sheep from Goats: Sherman E. Lee's Collecting of Chinese Art in Postwar America (University of California Press, 2018) uses American curator and museum director Sherman E. Lee (1918–2008) as a lens through which to investigate the history of collecting and exhibiting Chinese art. Email her at ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mozina's Knotting the Banner: Ritual and Relationship in Daoist Practice (U Hawaii Press, 2021) weaves together ethnography, textual analysis, photography, and film, inviting readers into the religious world of Daoist practice in today's south China by exploring one particular ritual called the Banner Rite to Summon Sire Yin, as practiced in central Hunan province. Performed as the first public ritual by a Daoist apprentice at his own ordination, the Banner Rite seeks to summon Celestial Lord Yin Jiao, the ferocious martial deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. A lot is at stake. If the apprentice cannot successfully summon the deity in front of his village community and the pantheon of gods in attendance, he would not be able to be ordained that day and would risk losing the confidence of villagers who might hire him in the future. Through a close reading of the ritual in its social and historical contexts, Mozina shows that the efficacy of rituals like the Banner Rite is driven by the ability of a master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960–1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Knotting the Banner will be of interest to students and scholars of Daoism and Chinese religion and will also appeal to historians of religion and anthropologists, especially those working on ritual. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Her research focuses on Chinese art, particularly the history of collecting and exhibiting premodern works in American museums after World War II and the visual culture of Daoism in late imperial China. Her teaching and curatorial experience extend broadly both temporally—from Neolithic to contemporary—and cross-culturally to China, Korea, and Japan, as well as to South and Southeast Asia. Her book Separating Sheep from Goats: Sherman E. Lee's Collecting of Chinese Art in Postwar America (University of California Press, 2018) uses American curator and museum director Sherman E. Lee (1918–2008) as a lens through which to investigate the history of collecting and exhibiting Chinese art. Email her at ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Mozina's Knotting the Banner: Ritual and Relationship in Daoist Practice (U Hawaii Press, 2021) weaves together ethnography, textual analysis, photography, and film, inviting readers into the religious world of Daoist practice in today's south China by exploring one particular ritual called the Banner Rite to Summon Sire Yin, as practiced in central Hunan province. Performed as the first public ritual by a Daoist apprentice at his own ordination, the Banner Rite seeks to summon Celestial Lord Yin Jiao, the ferocious martial deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. A lot is at stake. If the apprentice cannot successfully summon the deity in front of his village community and the pantheon of gods in attendance, he would not be able to be ordained that day and would risk losing the confidence of villagers who might hire him in the future. Through a close reading of the ritual in its social and historical contexts, Mozina shows that the efficacy of rituals like the Banner Rite is driven by the ability of a master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960–1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Knotting the Banner will be of interest to students and scholars of Daoism and Chinese religion and will also appeal to historians of religion and anthropologists, especially those working on ritual. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Her research focuses on Chinese art, particularly the history of collecting and exhibiting premodern works in American museums after World War II and the visual culture of Daoism in late imperial China. Her teaching and curatorial experience extend broadly both temporally—from Neolithic to contemporary—and cross-culturally to China, Korea, and Japan, as well as to South and Southeast Asia. Her book Separating Sheep from Goats: Sherman E. Lee's Collecting of Chinese Art in Postwar America (University of California Press, 2018) uses American curator and museum director Sherman E. Lee (1918–2008) as a lens through which to investigate the history of collecting and exhibiting Chinese art. Email her at ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Mozina's Knotting the Banner: Ritual and Relationship in Daoist Practice (U Hawaii Press, 2021) weaves together ethnography, textual analysis, photography, and film, inviting readers into the religious world of Daoist practice in today's south China by exploring one particular ritual called the Banner Rite to Summon Sire Yin, as practiced in central Hunan province. Performed as the first public ritual by a Daoist apprentice at his own ordination, the Banner Rite seeks to summon Celestial Lord Yin Jiao, the ferocious martial deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. A lot is at stake. If the apprentice cannot successfully summon the deity in front of his village community and the pantheon of gods in attendance, he would not be able to be ordained that day and would risk losing the confidence of villagers who might hire him in the future. Through a close reading of the ritual in its social and historical contexts, Mozina shows that the efficacy of rituals like the Banner Rite is driven by the ability of a master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960–1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Knotting the Banner will be of interest to students and scholars of Daoism and Chinese religion and will also appeal to historians of religion and anthropologists, especially those working on ritual. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Her research focuses on Chinese art, particularly the history of collecting and exhibiting premodern works in American museums after World War II and the visual culture of Daoism in late imperial China. Her teaching and curatorial experience extend broadly both temporally—from Neolithic to contemporary—and cross-culturally to China, Korea, and Japan, as well as to South and Southeast Asia. Her book Separating Sheep from Goats: Sherman E. Lee's Collecting of Chinese Art in Postwar America (University of California Press, 2018) uses American curator and museum director Sherman E. Lee (1918–2008) as a lens through which to investigate the history of collecting and exhibiting Chinese art. Email her at ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Mozina's Knotting the Banner: Ritual and Relationship in Daoist Practice (U Hawaii Press, 2021) weaves together ethnography, textual analysis, photography, and film, inviting readers into the religious world of Daoist practice in today's south China by exploring one particular ritual called the Banner Rite to Summon Sire Yin, as practiced in central Hunan province. Performed as the first public ritual by a Daoist apprentice at his own ordination, the Banner Rite seeks to summon Celestial Lord Yin Jiao, the ferocious martial deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. A lot is at stake. If the apprentice cannot successfully summon the deity in front of his village community and the pantheon of gods in attendance, he would not be able to be ordained that day and would risk losing the confidence of villagers who might hire him in the future. Through a close reading of the ritual in its social and historical contexts, Mozina shows that the efficacy of rituals like the Banner Rite is driven by the ability of a master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960–1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Knotting the Banner will be of interest to students and scholars of Daoism and Chinese religion and will also appeal to historians of religion and anthropologists, especially those working on ritual. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Her research focuses on Chinese art, particularly the history of collecting and exhibiting premodern works in American museums after World War II and the visual culture of Daoism in late imperial China. Her teaching and curatorial experience extend broadly both temporally—from Neolithic to contemporary—and cross-culturally to China, Korea, and Japan, as well as to South and Southeast Asia. Her book Separating Sheep from Goats: Sherman E. Lee's Collecting of Chinese Art in Postwar America (University of California Press, 2018) uses American curator and museum director Sherman E. Lee (1918–2008) as a lens through which to investigate the history of collecting and exhibiting Chinese art. Email her at ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Mozina's Knotting the Banner: Ritual and Relationship in Daoist Practice (U Hawaii Press, 2021) weaves together ethnography, textual analysis, photography, and film, inviting readers into the religious world of Daoist practice in today's south China by exploring one particular ritual called the Banner Rite to Summon Sire Yin, as practiced in central Hunan province. Performed as the first public ritual by a Daoist apprentice at his own ordination, the Banner Rite seeks to summon Celestial Lord Yin Jiao, the ferocious martial deity who supplies the exorcistic power to protect and heal bodies and spaces from illness and misfortune. A lot is at stake. If the apprentice cannot successfully summon the deity in front of his village community and the pantheon of gods in attendance, he would not be able to be ordained that day and would risk losing the confidence of villagers who might hire him in the future. Through a close reading of the ritual in its social and historical contexts, Mozina shows that the efficacy of rituals like the Banner Rite is driven by the ability of a master to form an intimate relationship with exorcistic deities like Yin Jiao, which is far from guaranteed. Mozina reveals the ways in which such ritual claims are rooted in the great liturgical movements of the Song and Yuan dynasties (960–1368) and how they are performed these days amid the social and economic pressures of rural life in the post-Mao era. Knotting the Banner will be of interest to students and scholars of Daoism and Chinese religion and will also appeal to historians of religion and anthropologists, especially those working on ritual. Noelle Giuffrida is a professor and curator of Asian art at the School of Art and the David Owsley Museum of Art at Ball State University. Her research focuses on Chinese art, particularly the history of collecting and exhibiting premodern works in American museums after World War II and the visual culture of Daoism in late imperial China. Her teaching and curatorial experience extend broadly both temporally—from Neolithic to contemporary—and cross-culturally to China, Korea, and Japan, as well as to South and Southeast Asia. Her book Separating Sheep from Goats: Sherman E. Lee's Collecting of Chinese Art in Postwar America (University of California Press, 2018) uses American curator and museum director Sherman E. Lee (1918–2008) as a lens through which to investigate the history of collecting and exhibiting Chinese art. Email her at ngiuffrida@bsu.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Plan B - the singer, director and actor, aka Ben Drew - releases his fourth studio album this week. Plan B discusses Heaven Before All Hell Breaks Loose, featuring songs that reflect how his life has changed since his last album six years ago. From Picasso to Grayson Perry, design critic Corinne Julius and the Royal Academy of Art's commercial director Jo Prosser discuss the history and trends in artists' work reproduced on homewares.We hear about a new exhibition of Chinese art exploring the portrayal of women - as wives, mothers, workers, and students - over the past 100 years, which opens tomorrow at Oxford's Ashmolean Museum.Presenter: John Wilson Producer: Julian May.

Half a century after Kenneth Clark's ground-breaking television series on the history of art, Civilisation, the BBC has returned to the same subject - a history of visual culture - but pluralised the name and the number of presenters in the new series. Former television critic of the Financial Times Chris Dunkley and writer and classicist Natalie Haynes review.Wendy Cope is one of the country's best-known and best-loved poets, thanks partly to the fact that her poems are easy to understand and often funny. But they're much more than that: the former poet laureate Andrew Motion said of her that "there is a skip in her step, but these are perfectly serious poems". Her latest collection is Anecdotal Evidence and it reflects on marriage, place, contentment and loss.The works of twenty-three female contemporary artists working in China today are the focus of NOW, a new series of exhibitions across the UK. Curator Tiffany Leung and British-based artist Aowen Jin consider the status of Chinese female artists inside and outside China and to what extent they feel they have artistic freedom in the current political climate .Presenter : Kirsty Lang Producer: Harry Parker.

In this episode of the Monstrous Ecologist we tackle one of the oldest and one of the largest monsters in D&D, the Dragon Turtle! Your Host: Jeremiah McCoy http://jeremiahmccoy.com Questions should be emailed to TheTomeShow@gmail.com Thank you to our sponsors: Noble Knight Games SOURCES Chinese Mythology, A to Z by Jeremy Roberts Wu Za Zu, Xie Zhaozhe (note: I could only find excerpts of English translations. The full book is hard to acquire.) Chinese Art, Stephen W. Bushell Dragon Turtles first appearance:  Dungeons and Dragons Original Edition; Book 2 held the first image and Book 3 had the first description of the monster. Advanced Dungeons and Dragons Monster Manual 2nd Edition Monster Manual 3rd Edition Monster Manual 3.5 Monster Manual (note: there are no 4th edition Dragon Turtle official write ups) 5th Edition Monster Manual Links: Thetomeshow.com Patreon.com/thetomeshow        

In this podcast, art historian Professor Craig Clunas looks at the cultural role of materials in the art of Ai Weiwei.