奶油派和汽油彈：林羿綺的影像世界

Enduring Strength and Passion: The Chinese and Western Art of Ting Yin Yung, University of Hong Kong, 2024

2009

Journal of Chinese Calligraphy and Painting, 2023

This essay focuses on the painting 'Mountains in Spring' by Shang Qi, an eminent painter of the Yuan Dynasty. The research aims to reassess the landscape significance of the painting and construct Shang Qi's social network and activity trajectory. The study explores the use of 'Pingyuan' perspective and audience configuration in the artwork, highlighting similarities with other works from the period. It also examines Shang Qi's social role as a court painter and his interactions with other prominent figures, such as Zhao Mengfu. The research draws upon various methodologies, including space analysis and formal analysis, to shed light on Shang Qi's artistic contributions. The essay argues and expand that Shang Qi's painting style is rooted in the Li-Guo school but emphasizes the need for a more comprehensive understanding of his art and contextual significance. The lack of textual records poses a challenge, but by considering Shang Qi's social status and geographical context as a descendant of the Dongping literati group, a deeper understanding of his artworks can be achieved. Keywords：Shang Qi, Mountains in Spring, Zhao Mengfu, Dongpin, Social Network 本文探討元代商琦〈春山圖〉的山水畫意，並構建商琦的社會網絡和活動軌跡。本文探討〈春山圖〉使用的平遠圖式和觀眾設定，並強調它與當時其他作品的相似之處；另外考察商琦作為宮廷畫家的社會地位，以及他與其他重要畫家（如趙孟頫）的互動。本文利用不同的方法論，包括空間分析和風格分析，以揭示商琦的藝術貢獻。本文繼承學界對商琦繪畫風格扎根於李郭派的研究成果，但強調對他的藝術和文化背景意義的更全面理解的必要性。然而由於缺乏文本記錄，這也帶來了一定的挑戰。通過考慮商琦作為東平文人的後代在地理背景和社會地位上的重要性，可以更深入地理解他的藝術作品。 【關鍵詞】商琦、〈春山圖〉、平遠、趙孟頫、東平、社會網絡

Unlike the last several decades, during the 1970s international art never flowed through a single channel to which a label could be attached; art was "diversified, split, factionalized" as Rosalind Krauss notes.[2] This splintering in art historical terms became manifest in Taiwan in the 1980s. Taiwan's history blends influences from its various colonizers; however, in the 1980s Taiwan recaptured its native culture identity, in reaction to being expelled from the United Nations and the lifting of martial law in Taiwan. The current in international trends was superimposed on this sea change in Taiwan's circumstances in conformity with the conditions of the land and sea, thus forming a rich and complex culture. Summer Countryside, ink & color on rice paper, 2000 In this Artist-To-Watch chapter, we feature stunning watery rice fields by Taiwanese artist Yunming Chang. Upon returning from three months of solo travel in mainland China, he adapted the techniques he had learned to Taiwan's renaissance of self-identity. With this innovation he made evident the connection to his rural roots, both in representational and later in abstract works. Chang dares place bright colors, particularly his characteristic vivid green, in brush ink to carry moisture on to rice paper, and takes as subject the surrounding environment. He demonstrates in a distinctive way a peaceful and pleasing farming life, orderly in a

Orientations, 2018

The Journal of Asian Studies, 2022

some of the most remarkable and compelling interpretations the author offered concern women or the politics of gender, which is not an afterthought, or a few sections but a critical thread underlying Wu's inquiries. In contrast with the studies on the relationship between photography and literature in other parts of the world, many of which explore how photography brought new ways of seeing and impacted literary imagination, Photo Poetics emphasizes lyricism-which Wu approaches as "one kind of transmediality" (p. 27)-and argues for a lyrical mode of seeing. Photo Poetics resonates with many previous studies on early photography in China, which conclude that Chinese photographers, sitters, and viewers engage with photography through preexisting ideas, social modes, and aesthetic preferences. But this volume is unequivocal in attributing the cultural specificity in Chinese photography to literary lyricism. This disciplinary devotion to texts-their history, inner logic, and generative power-in this volume at times marginalizes other important questions. The lyrical tradition and sensitivity, if there is one, was often actively used to gain social capital and claim new authority. For instance, the author offers an erudite reading of the term xieyi (sketching ideas), a concept adopted and championed by amateur photographers, without attention to elite amateurs' painstaking efforts to exclude commercial studios from using the term so that their lofty pursuit would not be tainted by studio photography. Without addressing the often very unpoetic motives of the continual adoption of poetic lyricism, this book misses the opportunity to use the photographic medium to critically reflect on whether specific aesthetic and emotional sensitivity is essentially based on a cultural tradition. After all, the many fascinating phenomena pointed out by the author-popularity among sitters to create multiplied self, reflection on morality and mortality triggered by portraits, superstitions that the camera could take away vital forces from sitters or could capture ghosts, desires to transform a reproducible photograph into a singular object through personal touches-all could find ample counterparts, not only in the more explored British and American contexts, but also in photography in Japan, Mexico, Egypt, and the list could go on. As Wu asks in the final chapter, "Does every tradition become secondhand through cultural memory and recycling? Is there any authenticity that can be reclaimed in the tradition? Or is the question itself subject to question?" (p. 270).

Peking University, 2021

Special Topics in Dunhuang Studies and Art, Graduate Seminar, Peking University, Department of South Asian Studies, Fall/Spring, 2021-2022 (dates TBD) Instructor: Michael Cavayero, Ph.D. OVERVIEW: This course will introduce Dunhuang studies’ historical development and essential research materials, paying attention to Dunhuang’s discovery, early excavation, and primary religious and artistic sources. We will discuss and examine authentic historical texts, influential figures, and famous works that define this unique area of study and consider its significance within the greater context of Silk Roads culture. The course will also place Dunhuang studies’ discipline and research areas into the more significant historical contexts of art and religion and Sino-Indic cultural exchange. We will begin with an introduction to the definitions and materials of Dunhuang studies, focusing on its diverse cultural legacy and breaking down its research areas into different units, including grotto-culture, manuscript-culture, political history, critical scholarship, and current conservation projects. We will integrate student presentations, close readings of original texts ad rem, and analyze works from critical periods leading up to the 21st century. 本課程《敦煌學概論》是面向全校本科生及碩博生開放的公選課，亦面向南亞學系，南亞 文化和佛教研究方向(相關專業)的本科及碩博學生，旨在使學生獲得敦煌這一重要世界 宗教與藝術寶庫和相關大類的內容。課程擬從“敦煌學”研究的角度出發，向學生介紹沿 線絲綢之路的中印文化交流史、宗教和藝術史等問題，課程將重點聚焦於佛教文化的傳播 及對於其相關物質文化與歷史文獻的考察。在爲學生們講解其相關內容的歷史沿革、發展 演變的同時，以有代表性歷史人物、寫本文獻、石窟文化、藝術作品、學術成果爲例，點 面結合、深入淺出，激發學生對於“敦煌學”與“敦煌藝術”的進一步思考與研究興趣。