Podcasts about Chinese painting

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/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/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/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/art

Chinese art has evolved along its own unique path compared to Western art, yet intriguingly, they do share numerous similarities! In this episode of Takeaway Chinese, let's start the discussion by comparing two painting styles: traditional Chinese painting and watercolor painting.

①China expects 80 mln air passenger trips during upcoming Spring Festival travel season ②Ethereal dance epic vitalizes ancient Chinese painting, causing sensation in Hong Kong ③Chinese researchers develop e-skin with isothermal regulation ④Chinese carmaker delivers first NEV with sodium-ion battery ⑤PBOC to enhance global presence of RMB, manage risks ⑥New season of Village Super League enlightens people's football passion ⑦Beijing awarded "National Forest City" title

Dr. Peter Sturman, UCSB Professor in the History of Art and Architecture and East Asian Languages and Cultural Studies, talks about a special one-day lecture series at the Santa Barbara ... The post Flowers, Gardens, and Self-Reflection in Chinese Painting appeared first on Elizabeth Appraisals.

The Language of Chinese Painting, by François Cheng, 1994

Whisper asian art museum chinese painting --- Support this podcast: https://podcasters.spotify.com/pod/show/haiying-yang/support

Episode: 3213 How a Chinese immigrant helped make one of Disney's most beloved films.  Today, we save Bambi.

Juliane Noth's Transmedial Landscapes and Modern Chinese Paintings, coming very soon from the Harvard University Asia Center (2022), tracks a relatively short but transformative period in ink painting that coincides with the Nanjing Decade, 1927-1937. In the book, Noth considers how artists negotiated the continuing relevance and development of a form that came to be defined as guohua, or “national painting,” vis a vis the introduction of photography and new (print) technologies. She argues that their theoretical writings and painting practice, far from statically embracing “tradition,” brimmed with the tension between cosmopolitanism and cultural defense. The artists considered in the book reinterpreted Chinese art history in relation to Western developmental models and technologies while maintaining an active formal conversation with literati painting traditions. The emergence of what Noth theorizes as “transmedial” landscapes was also strongly intertwined with state rail and road infrastructure projects and the development of a modern travel industry. Join us in our discussion to hear more of the nuance and complexity with which Prof. Noth analyzes this transformative period in Chinese visual culture. 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

Juliane Noth's Transmedial Landscapes and Modern Chinese Paintings, coming very soon from the Harvard University Asia Center (2022), tracks a relatively short but transformative period in ink painting that coincides with the Nanjing Decade, 1927-1937. In the book, Noth considers how artists negotiated the continuing relevance and development of a form that came to be defined as guohua, or “national painting,” vis a vis the introduction of photography and new (print) technologies. She argues that their theoretical writings and painting practice, far from statically embracing “tradition,” brimmed with the tension between cosmopolitanism and cultural defense. The artists considered in the book reinterpreted Chinese art history in relation to Western developmental models and technologies while maintaining an active formal conversation with literati painting traditions. The emergence of what Noth theorizes as “transmedial” landscapes was also strongly intertwined with state rail and road infrastructure projects and the development of a modern travel industry. Join us in our discussion to hear more of the nuance and complexity with which Prof. Noth analyzes this transformative period in Chinese visual culture. 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

Juliane Noth's Transmedial Landscapes and Modern Chinese Paintings, coming very soon from the Harvard University Asia Center (2022), tracks a relatively short but transformative period in ink painting that coincides with the Nanjing Decade, 1927-1937. In the book, Noth considers how artists negotiated the continuing relevance and development of a form that came to be defined as guohua, or “national painting,” vis a vis the introduction of photography and new (print) technologies. She argues that their theoretical writings and painting practice, far from statically embracing “tradition,” brimmed with the tension between cosmopolitanism and cultural defense. The artists considered in the book reinterpreted Chinese art history in relation to Western developmental models and technologies while maintaining an active formal conversation with literati painting traditions. The emergence of what Noth theorizes as “transmedial” landscapes was also strongly intertwined with state rail and road infrastructure projects and the development of a modern travel industry. Join us in our discussion to hear more of the nuance and complexity with which Prof. Noth analyzes this transformative period in Chinese visual culture. 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

Juliane Noth's Transmedial Landscapes and Modern Chinese Paintings, coming very soon from the Harvard University Asia Center (2022), tracks a relatively short but transformative period in ink painting that coincides with the Nanjing Decade, 1927-1937. In the book, Noth considers how artists negotiated the continuing relevance and development of a form that came to be defined as guohua, or “national painting,” vis a vis the introduction of photography and new (print) technologies. She argues that their theoretical writings and painting practice, far from statically embracing “tradition,” brimmed with the tension between cosmopolitanism and cultural defense. The artists considered in the book reinterpreted Chinese art history in relation to Western developmental models and technologies while maintaining an active formal conversation with literati painting traditions. The emergence of what Noth theorizes as “transmedial” landscapes was also strongly intertwined with state rail and road infrastructure projects and the development of a modern travel industry. Join us in our discussion to hear more of the nuance and complexity with which Prof. Noth analyzes this transformative period in Chinese visual culture. 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

Juliane Noth's Transmedial Landscapes and Modern Chinese Paintings, coming very soon from the Harvard University Asia Center (2022), tracks a relatively short but transformative period in ink painting that coincides with the Nanjing Decade, 1927-1937. In the book, Noth considers how artists negotiated the continuing relevance and development of a form that came to be defined as guohua, or “national painting,” vis a vis the introduction of photography and new (print) technologies. She argues that their theoretical writings and painting practice, far from statically embracing “tradition,” brimmed with the tension between cosmopolitanism and cultural defense. The artists considered in the book reinterpreted Chinese art history in relation to Western developmental models and technologies while maintaining an active formal conversation with literati painting traditions. The emergence of what Noth theorizes as “transmedial” landscapes was also strongly intertwined with state rail and road infrastructure projects and the development of a modern travel industry. Join us in our discussion to hear more of the nuance and complexity with which Prof. Noth analyzes this transformative period in Chinese visual culture. 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/history

Show Notes (contains affiliate links): First Impressions of the Yaesu FT-710   On this week's episode of Ham Radio Crash Course, a podcast roughly based on amateur radio but mostly made up of responding to emails from listeners, hosted by Josh Nass - KI6NAZ and his reluctant wife, Leah - KN6NWZ, we talk about ham radio adjacency, preparedness purchases people regret and first impressions of the Yaesu FT-710.    Have a drink with us! Today, we're drinking…  Yuengling Hershey's Chocolate Porter from Russ! Thank you so much!    Josh has a short tip with the Ham Radio Minute: Ham Radio Adjacency Is Getting Wild   Join the conversation by leaving a review on Apple Podcast for Ham Radio Crash Course podcast at https://podcasts.apple.com/us/podcast/ham-radio-crash-course/id1400794852 and/or emailing Leah@hamtactical.com. Leaving a review wherever you listen to podcasts will help Ham Radio Crash Course reach more hams and future hams and we appreciate it!   Preparedness Corner: Preparedness purchases to think twice about. https://www.reddit.com/r/preppers/comments/xjl35q/what_is_a_purchase_you_regret_lets_help_others/ Email Correspondent's Tower: We answer emails with ham radio questions, comments on previous podcasts, T-shirt suggestions and everything in between.   Links mentioned in the ECT:    Ken's Chinese Painting suggested channel: https://youtube.com/user/blueheronarts   Don's link about LiDAR: https://www.youtube.com/watch?v=R9lGi4wMdQQ&t=960s   Logan proves that SD is the worst airport to fly into: https://www.youtube.com/watch?v=UtomXqoDgsI   Ham Solo's Will It Antenna Video: https://youtu.be/SkwNXXs1umA   Charlie suggest helping with Alaska post Typhoon Merbok aid: https://alaskacf.org/funds/western-ak-disaster-recovery-fund/   Nathan suggests the Big E! https://www.thebige.com/ http://www.arrl.org/news/amateur-radio-takes-center-stage-at-the-big-e Show Topic: First look at the FT-710.  Thank you all for listening to the podcast.  We have a lot of fun making it and the fact you listen and send us feedback means alot to us!   Want to send us something? Josh Nass  P.O. Box 5101 Cerritos, CA 90703-5101 Support the Ham Radio Crash Course Podcast: Patreon - https://www.patreon.com/hoshnasi Shop HamTactical: http://www.hamtactical.com Shop Our Affiliates: http://hamradiocrashcourse.com/affiliates/ Shop Our Amazon Store: https://www.amazon.com/shop/hamradiocrashcourse As an Amazon Associate I earn from qualifying purchases.   Connect with Us: Website...................► http://hamradiocrashcourse.com YouTube..................► https://www.youtube.com/c/HamRadioCrashCourse Podcast...................► https://hamradiocrashcourse.podbean.com/ Discord....................► https://discord.gg/xhJMxDT Facebook................► https://goo.gl/cv5rEQ Twitter......................► https://twitter.com/Hoshnasi Instagram.................► https://instagram.com/hoshnasi (Josh) Instagram.................►https://instagram.com/hamtactical (Leah)  

Ink talk - about chinese painting ink stick and ink stone --- Support this podcast: https://anchor.fm/haiying-yang/support

China has a long tradition of painting which differs in many ways from traditions in the West, in particular uses of perspective and how painting was intended to be viewed. In this episode of the podcast we talk in depth with artist Dapeng Liu (www.dapengliu.com) about these differences, which can help provide us with a new set of eyes with which to view Chinese painting.

In this extended podcast episode multi-media British artist  Kate Daudy talks about the artists who have inspired her from East to West and spanning thousands of years between them. Kate talks us through why words and language are such a huge part of her work, why she became an artist and how she uses objects to better understand the world around her. We discuss her use of felt as a medium and the time she spent in refugee camps working on a project about home and identity.   Guest Information: Kate Daudy https://katedaudy.com Instagram: @katedaudystudio   Further Research: To find out more about the artists mentioned today please visit: https://www.metmuseum.org/toah/works-of-art/1977.78/ -  Han Gan Night Shining White. Chinese Painting c750 https://en.wikipedia.org/wiki/Trolley_Books  - Trolleyology. The first ten years of Trolley books, 2013 https://www.youtube.com/watch?v=QaYszP4QZ3E - Ragnar Kjartansson/ A lot of Sorrow, 2013 http://www.brittanytourism.com/discover-our-destinations/southern-brittany-morbihan-gulf/unmissable-sites/carnac - Carnac Stones. Brittany dating from 4000BC – 1944) https://www.theartstory.org/artist-af-klint-hilma.htm  - Hilma AF Klint (1862- 1944)

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon... Learn more about your ad choices. Visit megaphone.fm/adchoices

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon...

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Neil Gaiman on his enduring attraction to the world of giants, gods and rainbow bridges of Norse myths and why he's produced his own version; plus research into the ugly side of Valentines from classical times to the 19th century with Annebella Pollen and Edmund Richardson, and, as the RSC prepares to bring Snow in Midsummer to the stage, the first of a planned series of Chinese classics, Frances Ya-Chu Cowhig explains her play's 13th century origins and along with Craig Clunas, author of Chinese Painting and Its Audiences, talks to Rana Mitter about bringing Chinese culture to new global audiences. Frances Ya-Chu Cowhig play Snow in Midsummer based on a Chinese classic is on at The Royal Shakespeare Company's Swan Theatre Feb 23rd-March 25th 2017 Craig Clunas' new book is Chinese Painting and Its Audiences Neil Gaiman's new book is called Norse Mythology. Annebella Pollen is Principal Lecturer in the History of Art and Design at the University of Brighton and has published her research on Valentines in Early Popular Visual Culture, 2014. Edmund Richardson Director of the Durham Centre for Classical Reception, University of DurhamProducer: Jacqueline Smith

Today is Saturday again, I did not need to get up as early as last Saturday because the class was in the afternoon this weekend. Oh, maybe I should mention it again, I got a part time job as a calligraphy teacher in the ChunXiao Academy.I went out at 10:30am,and arrived at my destination at about 12:00am. The whole distance took me about one and half an hour.When I got there, none of my students were there, because the class was due to start at 1:00pm, maybe I came a little early. I also did not see the teacher who teaches traditional Chinese Painting, she took a leave this weekend. The students trickled in when I was waiting, finally all my students were there, and the class began. I only taught them 6 Chinese characters, but it took me 2 hours, teaching very young students is really not an easy job.After the class, I went home, the traffic is always so bad in the weekend afternoon, and it always takes me more time to return home.I did not go home directly but to the new supermarket which was opened near the place I live to buy some snacks. I was so tired today, I needed to treat myself.生词：Calligraphy:书法TraditionalChinese Painting:国画Trickle in:陆陆续续进来Treat myself:犒劳自己

Peter Sturman, UC Santa Barbara

Peter Sturman, UC Santa Barbara

This episode gives a unique insight into the new V&A exhibition Masterpieces of Chinese Painting 700 – 1900. Exhibition Curator Hongxing Zhang discusses Chinese paintings with Craig Clunas, a specialist in Chinese art history from The University of Oxford. The exhibition displays Chinese paintings in new ways, sometimes using digital remastering techniques and for the first time, a fourteen metre length scroll shown will be shown in full length. It is the first time that these paintings have been displayed together in a retrospective exhibition, demonstrating the broad range and diversity of materials, techniques and styles in this tradition.

Chinese Painting, Handscrolls