Art of the Orient最新文献_第10页

Culture and Globalisation in Wang Qingsong’s Photography 王青松摄影中的文化与全球化

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201510

Magdalena Furmanik-Kowalska

{"title":"Culture and Globalisation in Wang Qingsong’s Photography","authors":"Magdalena Furmanik-Kowalska","doi":"10.15804/aoto201510","DOIUrl":"https://doi.org/10.15804/aoto201510","url":null,"abstract":"n 2003 Wang Qingsong commented on one of his work in this way: “China Mansion summarizes my perception of Chinese social reality during the current stage of globalisation. China has been very enthusiastic about inviting foreign experts in economy, technology, architecture, and culture to give support and guidance to its modernisation programs. These foreign specialists help to create economic opportunities and introduce alternative systems of thought to China. However, the cultural clash creates social contradictions”.1) This paper concerns artworks by the aforementioned artist, who was born in 1966 in Daqing (Heilongjiang Province). As he said in the previously quoted sentence, his art depicts a reflection on the relation between culture and globalisation, as well as the impact of globalisation on culture, especially Chinese. Globalisation is the abolition of the spatial distance and the introduction of the world into a state of mobility, as described by Grzegorz Dziamski – Polish art critic and historian. Mobility is the ethnical, technological, financial, ideological and media including images providing different narratives.2) But how has the artist illustrated his attitude? What kind of artistic strategy has he used? At first, he adopted an aesthetic of “camp”, which was described by Susan Sontag in “Notes on Camp” (1964) as a kind of sensitivity, features of which are artificiality, theatricality, irony, distance, exaggeration, extravagance, and","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115568188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Romantic Encounter and Urban Space 浪漫邂逅与城市空间

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201502

Yi Wang

引用次数: 0

Representation and Significance of Animals and Birds in Temple Art: A Case Study of Paramara Temples 动物和鸟类在寺庙艺术中的表现及其意义——以帕拉马拉寺庙为例

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202206

N. Rathore

引用次数: 0

Problem wpływu – jak badać podobieństwa wizualne między sztuką Zachodu i Wschodu? .

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201201

Katarzyna Kleiber

{"title":"Problem wpływu – jak badać podobieństwa wizualne między sztuką Zachodu i Wschodu? .","authors":"Katarzyna Kleiber","doi":"10.15804/aoto201201","DOIUrl":"https://doi.org/10.15804/aoto201201","url":null,"abstract":"Each year the set of texts dealing with Western influences on Eastern art becomes bigger and bigger, owing to the contributions of both European and Asian scholars. Unfortunately, the considerable outgrowth of these writings is rarely accompanied by methodological considerations of how to research into the visual similarities between Western and non-Western artworks. In an attempt to fill this gap, this paper examines the main theoretical aspects and challenges of studying Asian art which seem to be based on European architecture, sculpture and painting. The first part of this paper examines how contemporary art historians determine the very existence of ‘influences’ between artworks. Later on, it is explained how intertextual and post-colonial studies have changed the way art history views the impact of one artwork on another. Having discussed these revisions to our discipline, I ask the question how to pinpoint references of Asian artworks to Western ones, if there is no data about their authors (their education, travels, personal contacts with foreign artists etc.) or the reproductions and replicas of European pictures. Additionally, I raise the issue of the artist’s intention (i.e. if quotations from, and allusions to Western artworks are always conscious and intended). Another issue, which recurs throughout the whole paper, is whether conceptual schemata from Western academia allow art historians to understand and explain Asian art better or whether they just lead to interpretive abuse. The final paragraphs offer some concluding remarks.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130723873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Japonsche rocken as an expression of fashion depicted in painting in the Golden Age of the Dutch East India Company 在荷兰东印度公司的黄金时代，日本摇滚是一种时尚的表现形式

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201304

D. Zasławska

引用次数: 0

Sihr ul Bayan: Awadh Poetry in Delhi Painting (An imperial later Mughal manuscript from the National Museum, New Delhi) Sihr ul Bayan:德里绘画中的阿瓦德诗歌(来自新德里国家博物馆的后来的莫卧儿帝国手稿)

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202204

S. Kumari

引用次数: 0

Historical subjects represented in the Feliks Jasieński collection of Japanese woodblock-prints 费利克斯Jasieński日本木版版画收藏中的历史题材

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201305

A. Görlich

引用次数: 0

The cooperation of well-known architects, architecture students and local communities in the process of architectural creation in different cultural environments. Examples from Asia 知名建筑师、建筑系学生和当地社区在不同文化环境下的建筑创作过程中的合作。来自亚洲的例子

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201410

Anna Rynkowska-Sachse

引用次数: 0

Baśnie i bajki w japońskich komiksach

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201206

Joanna Zaremba-Penk

{"title":"Baśnie i bajki w japońskich komiksach","authors":"Joanna Zaremba-Penk","doi":"10.15804/aoto201206","DOIUrl":"https://doi.org/10.15804/aoto201206","url":null,"abstract":"Manga is a fascinating product of contemporary Japanese culture. Strongly rooted in tradition, inferred from art, associated with literature, it has become an inexhaustible source for researchers who wants to explore the achievement of sequential art. Everything is interesting about manga, starting from the artists themselves, ending with the transition from idea to effect. Japanese artists creating comics draw a lot of inspiration from literature and world art. Much comes from myths, legends, fables and fairy tales, both domestic and from around the world. They can be found in the text layer, but mainly in the iconic layer. Among them three main groups can be distinguished: one dealing with the scenario, the second and third will focus on the image, while the third will provide a single borrowed illustration from a particular theme or in a convention. The aim of this paper is to outline the issues relating to Japanese comic books on selected examples, including: trying to determine the potential audience of manga, which were based or only used themes from fairytales, trying to define the role of the artist as a modern-day equivalent fabulist, and pointing out an indication of the most popular topics and methods of presentation.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129256937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Księga Papugi Nechszebiego ze zbiorów Biblioteki Uniwersytetu Wrocławskiego

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201209

Magdalena Ginter-Frołow

{"title":"Księga Papugi Nechszebiego ze zbiorów Biblioteki Uniwersytetu Wrocławskiego","authors":"Magdalena Ginter-Frołow","doi":"10.15804/aoto201209","DOIUrl":"https://doi.org/10.15804/aoto201209","url":null,"abstract":"Tuti-Nameh (Tales of a Parrot) by Nahsabi (Ms. or I 56) from University Library in Wrocław is one of fourteen Persian manuscripts with miniatures, existing in Polish collections. This poem is modelled on The Thousand and One Nights. In this popular work the parrot tells tales to his mistress in order to prevent her from being unfaithful to her absent husband. Tales are recited by the parrot over 52 nights. This copy includes 97 miniatures illustrating these stories. This copy of “Tales of a Parrot” comes from the library of Count Oppersdorf from Oberglogau (now Głogówek). The history of this library reaches back to the 16th century and the times of Hans Oppersdorff. Successive owners continued to purchase new books and thus at the end of 19th century the collection consisted of dozens of thousands of examples. One of the most important trustees was Count Hans Georg von Oppersdorff, who inherited the library in 1889. He was well-educated and interested in oriental languages. He knew Hebrew, and supposedly spoke seven other languages fluently. The fulfilment of his scholarly interests was possible thanks to growing up amidst one of the largest libraries in Upper Silesia. In 1927 Hans Georg donated TutiNameh, and a few other oriental manuscripts, to the University Library in Wrocław (Staats – und Universitätsbibliothek in Breslau). The miniatures in this manuscript bear a close resemblance to miniatures from Divan of Mirza Khan Kabuli from The State Hermitage in Saint Petersburg. This copy of Divan was made in 1813, probably in Kashmir. The invention, composition, colour scheme, subject matter and details are practically identical in both these books. This proves that Tutiname from Wrocław was also made in Kashmir in the end of the 18th, or beginning of 19th century. Although nowadays many miniatures from Kashmir are in European collections, this school of painting is still almost unrecognised. Tuti-Nameh from University Library in Wrocław can play an important role in research of this field.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126225339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0