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Chinese folk arts originate in the rural areas of China's vast territory. As forms of communal art, folk arts are evident in everyday food, clothing and shelter, in traditional festivals, ceremonies and rituals, and in beliefs and taboos. As a living example of cultural heritage, folk art demonstrates the continuity of Chinese culture from ancient to modern times, a culture with distinctive national and regional characteristics and a history of some 8,000 years. Chinese Folk Arts provides an illustrated introduction to the history and development of this colourful part of China's unique artistic culture.
This comprehensive study of the traditional Chinese craft of paper sculpture documents the ancient craft as it exists today in Taiwan.
China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteristics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced several new stages of development, prompting the question as to where animation in China is heading in the future. This book describes the history, present and future of China’s animation industry. The author divides the business’s 95-year history into six periods and analyses each of these from an historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation. Scholars and students who are interested in the history of Chinese animation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies.
In The Columbia Anthology of Chinese Folk and Popular Literature, two of the world's leading sinologists, Victor H. Mair and Mark Bender, capture the breadth of China's oral-based literary heritage. This collection presents works drawn from the large body of oral literature of many of China's recognized ethnic groups--including the Han, Yi, Miao, Tu, Daur, Tibetan, Uyghur, and Kazak--and the selections include a variety of genres. Chapters cover folk stories, songs, rituals, and drama, as well as epic traditions and professional storytelling, and feature both familiar and little-known texts, from the story of the woman warrior Hua Mulan to the love stories of urban storytellers in the Yangtze delta, the shaman rituals of the Manchu, and a trickster tale of the Daur people from the forests of the northeast. The Cannibal Grandmother of the Yi and other strange creatures and characters unsettle accepted notions of Chinese fable and literary form. Readers are introduced to antiphonal songs of the Zhuang and the Dong, who live among the fantastic limestone hills of the Guangxi Zhuang Autonomous Region; work and matchmaking songs of the mountain-dwelling She of Fujian province; and saltwater songs of the Cantonese-speaking boat people of Hong Kong. The editors feature the Mongolian epic poems of Geser Khan and Jangar; the sad tale of the Qeo family girl, from the Tu people of Gansu and Qinghai provinces; and local plays known as "rice sprouts" from Hebei province. These fascinating juxtapositions invite comparisons among cultures, styles, and genres, and expert translations preserve the individual character of each thrillingly imaginative work.
Prodigy Books is committed to providing publisher-quality, low-cost, outstanding educational content to teachers, students, and parents around the world. This book is the first of four volumes in Chinese 2, containing lessons 1 - 45. Volume I: Lessons 1 - 45 Volume II: Lessons 46 - 90 Volume III: Lessons 91 - 135 Volume IV: Lessons 136 - 180 This title is part of the Prodigy Books Textbook Series.
This album is the result of 10 years in the Chinese countryside researching and collecting folk art by a father-daughter team. With 424 photos of various arts, including dough figurines, papercuts, batik embroidery, puppets, folk paintings, cloth handicrafts, woodcuts and more. An invaluable record of fine artistry.
Annotation Experts in the fields of Chinese art, religion, literature, and history introduce and illuminate many of the issues surrounding child imagery in China, including the frequent use of pictures of children to reinforce social values. Topics include a historical overview; images of children in song, painting, poetry, at play, as icons of good fortune, and in stories; the childhood of gods and sages; folk deities; and family pictures. The text is accompanied by 100-plus color and b&w illustrations. A glossary of Chinese characters is included. Edited by Wicks (art history, Miami U). Annotation c. Book News, Inc., Portland, OR (booknews.com).
This is an open access book. As a leading role in the global megatrend of scientific innovation, China has been creating a more and more open environment for scientific innovation, increasing the depth and breadth of academic cooperation, and building a community of innovation that benefits all. Such endeavors are making new contributions to the globalization and creating a community of shared future. To adapt to this changing world and China's fast development in the new era, 2023 2nd International Conference on Educational Innovation and Multimedia Technology to be held in March 2023. This conference takes "bringing together global wisdom in scientific innovation to promote high-quality development" as the theme and focuses on cutting-edge research fields including Educational Innovation and Multimedia Technology. EIMT 2023 encourages the exchange of information at the forefront of research in different fields, connects the most advanced academic resources in China and the world, transforms research results into industrial solutions, and brings together talent, technology and capital to drive development. The conference sincerely invites experts, scholars, business people and other relevant personnel from universities, scientific research institutions at home and abroad to attend and exchange!
Folk art still influences everyday art in some surprising ways. Folk Art Fusion shows you how to blend classic subjects with new techniques to create a lovely work of art that is completely unique. Folk Art Fusion explores the colorful combination of art styles and presents them in modern folk art paintings. This is your chance to learn how traditional folk art continues to influence today's painters, and to discover how to create contemporary folk-art paintings yourself! Even if you're new to creating art, Folk Art Fusion makes creating your own works approachable with step-by-step projects. The projects are as varied as they are colorful. You will enjoy painting classic subjects painted with creative techniques and in popular styles, including flower fields, Frida Kahlo, the Tree of Life, a cat, a quaint English cottage, and much more. Colorful, contemporary, and inspirational, Folk Art Fusion allows artists of all skill levels to quickly discover the joy of creating modern, global-inspiredart in this time-treasured genre.
Folk art is now widely recognized as an integral part of the modern Chinese cultural heritage, but in the early twentieth century, awareness of folk art as a distinct category in the visual arts was new. Internationally, intellectuals in different countries used folk arts to affirm national identity and cultural continuity in the midst of the changes of the modern era. In China, artists, critics and educators likewise saw folk art as a potentially valuable resource: perhaps it could be a fresh source of cultural inspiration and energy, representing the authentic voice of the people in contrast to what could be seen as the limited and elitist classical tradition. At the same time, many Chinese intellectuals also saw folk art as a problem: they believed that folk art, as it was, promoted superstitious and backward ideas that were incompatible with modernization and progress. In either case, folk art was too important to be left in the hands of the folk: educated artists and researchers felt a responsibility intervene, to reform folk art and create new popular art forms that would better serve the needs of the modern nation. In the early 1930s, folk art began to figure in the debates on social role of art and artists that were waged in the pages of the Chinese press, the first major exhibition of folk art was held in Hangzhou, and the new print movement claimed the print as a popular artistic medium while, for the most part, declaring its distance from contemporary folk printmaking practices. During the war against Japan, from 1937 to 1945, educated artists deployed imagery and styles drawn from folk art in morale-boosting propaganda images, but worried that this work fell short of true artistic accomplishment and pandering to outmoded tastes. The questions raised in interaction with folk art during this pivotal period, questions about heritage, about the social position of art, and the exercise of cultural authority continue to resonate into the present day.