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Drawn from the Chu-tsing Li collection of modern and contemporary Chinese paintings--the finest and most comprehensive of its kind in the West--A Tradition Redefined is the first in-depth exploration of the development of Chinese ink painting during the last half century. These extraordinary paintings demonstrate the reinvigoration of classical techniques and materials by artists throughout Mainland China, Taiwan, Hong Kong, and abroad working with distinctly contemporary perspectives. Illuminating essays situate these new works within the rich history of ink painting in China, revealing how avant-garde artists, schools, and trends evoke traditional and early modern Chinese art while engaging with developments in the international art world. With artist biographies and handsome reproductions of many previously unpublished paintings, this book is essential for scholars and collectors of Asian art as well as for participants in the increasingly globalized contemporary art scene. Distributed for the Harvard Art Museum Exhibition Schedule: Arthur M. Sackler Museum, Harvard University Art Museums (November 3, 2007 - January 27, 2008) Phoenix Art Museum, Arizona (June 28 - September 14, 2008) Norton Museum of Art, West Palm Beach, Florida (October 11, 2008 - January 4, 2009) Spencer Museum of Art, University of Kansas, Lawrence (February 11 - May 24, 2009)
Richly illustrated with 200 black-and-white and 32 color plates, this stimulating collection surveys the full range of 20th-century Chinese painting, covering all the schools and major artists, both within the People's Republic and elsewhere. Chinese artists now draw their inspirations from an amazing variety of subjects--airplanes and automobiles, Vietnamese refugees and Beijing opera, ancient cave murals and historical figures--and they have developed new techniques and formats that have greatly expanded the range of Chinese paintings. Their work reveals how traditional techniques, when reintroduced into unexpected contexts, can bring about strikingly new results. In light of the tremendous variety of artistic impulses and stylistic approaches that exist in 20th-century Chinese painting, and the rapidity with which these changes have occurred, it is quite remarkable that China's artistic tradition has not only been able to sustain itself, but continues to evolve in new and exciting directions. This beautiful volume captures the vibrancy of a national art that is stunning in its complexity and diversity.
This visually stunning book focuses on the rebirth of Chinese art in the twentieth century under the influence of Western art and culture. Michael Sullivan, recognized throughout the world as a leading scholar of Chinese art, vividly documents the conflicting pulls of traditional and Western values on Chinese art and provides 364 illustrations, in color and black-and-white, to show the great range of artistic expression and the historical processes that occurred within various movements. A substantial biographical index of twentieth-century Chinese artists is a valuable addition to the text. Sullivan discusses artists and their work against China's background of oppression and relaxation, despair and hope. He expertly conveys the diverse and at times bizarre intertwining of Chinese cultural history and art during this century. Included are the intense debates between traditionalists and reformers, the creation of the first art schools, and the birth of the idea—shocking in ethnocentric China—that art is a world language that obliterates all frontiers. The scholarly traditions of classical Chinese painting, the belated discovery of Western modernism, the artistic upheaval under Communism, and China's rethinking of the very nature of art all have a place in Sullivan's fascinating history. Michael Sullivan has known many of the major figures in China's modern art movement of the 1930s and 1940s and has also gained the confidence of younger artists who rose to prominence following the 1979 "Peking Spring." This long-awaited book—richly documented and abundantly illustrated—is a capstone to Sullivan's work and will be enthusiastically welcomed by art lovers everywhere.
Contributors include: K. Biggerstaff, H. Dubs, J.K. Fairbank, Fang Chao-ying, L.C.Goodrich, Hu Shih, T.Numata, E. Swisher, Teng Ssu-yu, C.M. Wilbur, H. Wilhelm. Hummel’s biographical dictionary remains the single indispensable reference tool for Chinese history since 1644. It was first published in 1943–44. ‘The best history of China of the last 300 years’ – Hu Shih.
An annotated bibliography of contemporary Chinese novels and short stories published between 1949 and 1974. Includes succinct summaries and bibliographic detailes, including references to translations, for virtually all fictional works published in China during this period. Also includes author, title, and subject indexes.
Academies were part of the educational institutions of the Sung (960-1279), an era in China marked by profound changes in economy, technology, thought, and social and political order. This study explains the phenomenon in the light of the changes in society and in intellectual circles.