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"Aesthetics, Chinese 20th century."
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Tapestry of Light
In Tapestry of Light Huang offers an account of the psychic, intellectual, and cultural aftermath of the Cultural Revolution found in the works of prominent Chinese intellectuals, writers, artists and filmmakers.
eBook
Transmedial landscapes and modern Chinese painting
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
eBook
Zhu Guangqian and Benedetto Croce on aesthetic thought : with a translation of the Wenyi xinlixue (The psychology of art and literature)
\"In Zhu Guangqian and Benedetto Croce on Aesthetic Thought, Mario Sabattini analyses Croce's influence on the aesthetic thought of Zhu Guangqian. Zhu Guangqian is one of the most representative figures of contemporary Chinese aesthetics. Since the '30s, he had an active role in China both on the literary and philosophical scenes, and, through his writings, he exerted an important influence in the moulding of numerous generations of intellectuals. Some of his works have been widely read, and they still provoke considerable interest in China, on the mainland as well as in Taiwan and Hong Kong. The volume also presents a revised translation of Zhu Guangqian's Wenyi xinlixue (Psychology of Art and Literature)\"-- Provided by publisher.
Book
Environmental Crisis, Culture Loss, and a New Musical Aesthetic: China’s “Original Ecology Folksongs” In Theory and Practice
Since the early twenty- first century, a craze for “original ecology folksongs” has overtaken China. Performed by village- born singers in local dialect and obviously traditional style, these songs and the related discourse stress ties to place, cultural authenticity, and the interrelationship of physical environment with human culture. Their aesthetic stands in stark contrast to the twentieth- century preference for European- inspired modernization and standardization of Chinese traditional music. Reflecting widespread Chinese angst over rapid culture loss and major environmental degradation, this song phenomenon and the discussion it provokes resonate productively with Western scholarship in musical sustainability, intangible cultural heritage protection, and ecomusicology.
Journal Article
Tapestry of light : aesthetic afterlives of the Cultural Revolution
\"Tapestry of Light offers an account of the psychic, intellectual, and cultural aftermath of the Chinese Cultural Revolution. Drawing on a wide range of works including essay, fiction, memoir, painting and film, the book explores links between history, trauma and haunting. Challenging the leftist currents in Cultural Revolution scholarship, the tone pervading the book is a rhythm of melancholia, indeterminacy but also hope. Huang demonstrates that aesthetic afterlives resist both the conservative nostalgia for China's revolutionary past as well as China's elated, false confidence in the market-driven future. Huang engages with prominent Chinese intellectuals, writers, artists and filmmakers, including Ba Jin, Han Shaogong, Hong Ying, Zhang Xiaogang, Jiang Wen and Ann Hui\"--Provided by publisher.
Book
From Self-Promotion to Demystification: Self-Reflexivity and Realism in Chinese Cinema
Instances of self-reflexivity, a device that reveals the constructed nature of art's representations of reality, have appeared in a series of films from different eras. 1 Self-reflexivity relies on a variety of means, such as exposing the filmmaking apparatus, interrupting the narrative flow, drawing attention to film techniques, having characters address the audience, and mixing documentary and fictional modes. Even two seemingly identical forms of self-reflexivity can shatter audience illusion in one case but maintain it in another. [...]it is useful to see the coexistence and dialogical relationship of self-reflexivity and realism in a film as a “coefficient” of self-reflexivity or mimesis and recognize there is no fixed proportion (Stam et al. 206). In aesthetic and critical discourse, the term realism is often used with varying qualifications, such as “social realism,” “critical realism,” and “socialist realism.” [...]many productions in Chinese cinema from the 1920s to the early 1980s can be seen as “melodramatic realism” (Berry and Farquhar 76). In addition to the typical slapstick routines of Chaplin-style adventures in Shanghai, The King of Comedy contains a significant dose of promotional self-reflexivity, drawing attention to the newly formed film company.
Journal Article
Tibet as Method: Reimagining Marginalized Narratives and Religious Representations in Ma Yuan’s Fiction
Tibet occupies a central place in the avant-garde narratives of Ma Yuan (b. 1953), whose works significantly advanced the thought liberation movements of the 1980s in the People’s Republic of China. As global interest in the intersection of religion, literature, and cultural identity grows, Ma Yuan’s experimental writings offer a unique lens into the reconfiguration of religious and marginalized narratives in modern Chinese literature. While previous research has focused on his formal and stylistic innovations, this study uncovers how Ma Yuan transforms Buddhist rituals, myths, and customs within Tibetan culture to reexamine the spiritual dimensions of trauma and identity among marginalized groups. By engaging with Tibet as both a cultural reality and a mythological allegory, his narratives explore the interplay between body and soul, sacred and secular, and center and periphery within the late twentieth-century Chinese artistic landscape. This interdisciplinary study highlights how modernist literature reinterprets sacred practices and bridges Tibetan cultural heritage with China’s socio-historical modernization, contributing to broader understandings of cultural and intellectual transformations in the study of religion.
Journal Article
‘Purification’ and ‘Hybridization’: (Re)construction and Reception of Theatrical Nationality in Western Tours of the Mei Lanfang and Tsutsui Troupes in 1930
The Western tours of the Mei Lanfang and Tsutsui troupes in 1930 illustrated how to (re)construct the theatrical nationality of China and Japan through the manifestation and manipulation of the performance of Peking opera and kabuki. Through the ‘purification’ of Peking opera's stage presentation system, the Mei Lanfang troupe forged a ‘pure’ theatrical Chineseness that boosted the Americans’ fascination with the ‘(a)historicality’ of Chinese theatrical tradition. By presenting Westerners with a ‘hybridized’ kabuki, which embodied a ‘historically authentic’ theatrical Japaneseness, the Tsutsui troupe deconstructed Westerners’ psychological expectations of a culturally imagined ‘pure’ and ‘classical’ Japanese theatre. As two sides of the same coin, the two troupes’ (re)construction of theatrical Chineseness and Japaneseness together challenged the West's essentialist views of cultural ‘Others’, which forcibly endowed Eastern theatre with a pure and unchanged ‘otherness’.
Journal Article