scholarly journals The many versions of the painting of Tingqua’s studio: painting copying and originality in nineteenth-century canton

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Elad Yaron
Keyword(s):  
Nineteenth Century ◽  
Main Question ◽  
Art World ◽  
Old World ◽  
Job Requirements ◽  
Knowing That ◽  
The Many

Abstract Personal expression was generally not part of the job requirements of trade-painters in nineteenth-century Canton, China. They were asked to produce paintings tailored to their Western consumers’ interests, wishes, and needs. Yet, in the middle of this “art-world” lies an enigma: a set of thirteen paintings depicting the workshop of the trade-painter Tingqua, which seem, at first glance, to be duplicates of a mundane product of the industry. Closer examination, however, reveals not only that each of these versions is unique, but also that the series as a whole is actually extraordinary. The workshop paintings are full of details, including various quotes written in calligraphy, which would not have been understood either by Western or even by most Chinese viewers, but only by members of the scholar-gentry, that is, the literati of China. The main question we face before this thirteen-piece puzzle is: why did the artist plant messages or integrate codes in paintings that were sent to a world in which nobody could decode them? I propose that these workshop paintings be read as a self-portrait of a person living in a world that is witnessing a contest between two substantially different momentous cultures, each struggling to prove its superiority or dominance. Watching the demise of an old world to which he himself was contributing, Tingqua decided to treasure some of its features despite knowing that those who purchased the works would not be able to appreciate them.

Mobility Stopped in Its Tracks

Transfers ◽  
2015 ◽  
Vol 5 (3) ◽  
pp. 87-103 ◽  
Author(s):  
Catharine Coleborne
Keyword(s):  
Nineteenth Century ◽  
Social Institutions ◽  
The Poor ◽  
Medical Institutions ◽  
Poor White ◽  
White Immigrants ◽  
The Many ◽  
Interpretive Framework

This article examines the interpretive framework of “mobility” and how it might usefully be extended to the study of the Australasian colonial world of the nineteenth century, suggesting that social institutions reveal glimpses of (im)mobility. As the colonies became destinations for the many thousands of immigrants on the move, different forms of mobility were desired, including migration itself, or loathed, such as the itinerant lifestyles of vagrants. Specifically, the article examines mobility through brief accounts of the curtailed lives of the poor white immigrants of the period. The meanings of mobility were produced by immigrants' insanity, vagrancy, wandering, and their casual movement between, and reliance on, welfare and medical institutions. The regulation of these forms of mobility tells us more about the contemporary paradox of the co-constitution of mobility and stasis, as well as providing a more fluid understanding of mobility as a set of transfers between places and people.

Hearing the Crimean War

2019 ◽  
Keyword(s):  
Nineteenth Century ◽  
Sound Studies ◽  
The Black Sea ◽  
Crimean War ◽  
National Unity ◽  
Black Sea Region ◽  
Academic Fields ◽  
History Of ◽  
The Many

This book addresses the sounds of the Crimean War, along with the many ways nineteenth-century wartime is aurally constructed. It examines wide-ranging experiences of listeners in Britain, France, Turkey, Russia, Italy, Poland, Latvia, Daghestan, Chechnya, and Crimea, illustrating the close interplay between nineteenth-century geographies of empire and the modes by which wartime sound was archived and heard. This book covers topics including music in and around war zones, the mediation of wartime sound, the relationship between sound and violence, and the historiography of listening. Individual chapters concern sound in Leo Tolstoy’s wartime writings, and his place within cosmopolitan sensibilities; the role of the telegraph in constructing sonic imaginations in London and the Black Sea region; the absence of archives for the sounds of particular ethnic groups, and how songs preserve memories for both Crimean Tatars and Polish nationalists; the ways in which perceptions of voice rearranged the mental geographies of Baltic Russia, and undermined aspirations to national unity in Italy; Italian opera as a means of conditioning elite perceptions of Crimean battlefields; and historical frames through which to understand the diffusion of violent sounds amid everyday life. The volume engages the academic fields of musicology, ethnomusicology, history, literary studies, sound studies, and the history of the senses.

The Marble Faun

2008 ◽  
Author(s):  
Nathaniel Hawthorne
Keyword(s):  
Nineteenth Century ◽  
Human Life ◽  
Human Action ◽  
Old World ◽  
American Expatriates ◽  
Art And Culture

Any narrative of human action and adventure – whether we call it history or Romance – is certain to be a fragile handiwork, more easily rent than mended.’ The fragility – and the durability – of human life and art dominate this story of American expatriates in Italy in the mid-nineteenth century. Befriended by Donatello, a young Italian with the classical grace of the ‘Marble Faun’, Miriam, Hilda, and Kenyon find their pursuit of art taking a sinister turn as Miriam's unhappy past precipitates the present into tragedy. Hawthorne's ‘International Novel’ dramatizes the confrontation of the Old World and the New and the uncertain relationship between the ‘authentic’ and the ‘fake’, in life as in art. The author's evocative descriptions of classic sites made The Marble Faun a favourite guidebook to Rome for Victorian tourists, but this richly ambiguous symbolic romance is also the story of a murder, and a parable of the Fall of Man. As the characters find their civilized existence disrupted by the awful consequences of impulse, Hawthorne leads his readers to question the value of Art and Culture and addresses the great evolutionary debate which was beginning to shake Victorian society.

Viktor Vasnetsov’s New Icons

Experiment ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 131-144
Author(s):  
Wendy Salmond
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
National Culture ◽  
Russian Society ◽  
Late Imperial ◽  
Imperial Period ◽  
Paris Exposition ◽  
The Many ◽  
Modern Orthodox ◽  
Human Hands

Abstract This essay examines Russian artist Viktor Vasnetsov’s search for a new kind of prayer icon in the closing decades of the nineteenth century: a hybrid of icon and painting that would reconcile Russia’s historic contradictions and launch a renaissance of national culture and faith. Beginning with his icons for the Spas nerukotvornyi [Savior Not Made by Human Hands] Church at Abramtsevo in 1880-81, for two decades Vasnetsov was hailed as an innovator, the four icons he sent to the Paris “Exposition Universelle” of 1900 marking the culmination of his vision. After 1900, his religious painting polarized elite Russian society and was bitterly attacked in advanced art circles. Yet Vasnetsov’s new icons were increasingly linked with popular culture and the many copies made of them in the late Imperial period suggest that his hybrid image spoke to a generation seeking a resolution to the dilemma of how modern Orthodox worshippers should pray.

THE GENERAL STATE OF AMERICAN PEDIATRICS IN 1855 WITH PARTICULAR REFERENCE TO PHILADELPHIA

PEDIATRICS ◽  
1957 ◽  
Vol 19 (3) ◽  
pp. 456-461
Author(s):  
Ernest Caulfield
Keyword(s):  
Nineteenth Century ◽  
General Medicine ◽  
Vast Number ◽  
Patent Medicines ◽  
Past Half Century ◽  
The Press ◽  
Practical Nurses ◽  
The Many ◽  
Full Century ◽  
Past Half

IN VIEW of the tremendous advance in pediatrics during the past half century, one might think that a full century ago no one could have known very much about the care of children. To read the newspapers of that day, one might also conclude that it was an age primarily of quacks and patent medicines—of worm cures, hive syrups and of little liver pills. But to appreciate the true status of American pediatrics in 1855 one must judge it not only by the standards of our time but also by the standards of a century earlier, and when that is done it will be seen that American pediatrics in the mid-Nineteenth Century had also made considerable progress. In 1755 the care of the sick was generally in the hands of well-meaning yet untrained practical nurses whereas in 1855 people were turning to physicians who were usually medical school graduates, well acquainted with a vast number of new and important publications. More and more pediatric articles were appearing in the many American journals; and in the review of a new book, one writer mentioned "the numerous publications on the management of infants and children with which the press has been loaded." Indeed, the press was loaded, for the Philadelphia physician had at his command no less than 8 fairsized textbooks in English devoted exclusively to the care of children. The second quarter of the Nineteenth Century saw a definite trend toward pediatrics as a specialty. There is no need to discuss here the numerous elementary guides which were intended primarily for mothers and which were precursors of the textbooks, or the many systems of general medicine with their chapters on pediatric subjects, especially since this trend may be well illustrated by mentioning only the impressive list of textbooks published in Philadelphia.

“A Stalwart Motor of Revolutions”: An American Merchant in Pernambuco, 1817-1825

2008 ◽  
Vol 65 (1) ◽  
pp. 35-62 ◽  
Author(s):  
Caitlin A. Fitz
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
New World ◽  
The United States ◽  
Thomas Jefferson ◽  
Spanish America ◽  
New Order ◽  
Early Nineteenth Century ◽  
Old World ◽  
Republican Government

A new order for the New World was unfolding in the early nineteenth century, or so many in the United States believed. Between 1808 and 1825, all of Portuguese America and nearly all of Spanish America broke away from Europe, casting off Old World monarchs and inaugurating home-grown governments instead. People throughout the United States looked on with excitement, as the new order seemed at once to vindicate their own revolution as well as offer new possibilities for future progress. Free from obsolete European alliances, they hoped, the entire hemisphere could now rally together around republican government and commercial reciprocity. Statesmen and politicians were no exception, as men from Thomas Jefferson and James Monroe to John Quincy Adams and Henry Clay tried to exclude European influence from the hemisphere while securing new markets for American manufactures and agricultural surplus.

The Chronology of Sudanese Arabic Genealogical Tradition

2000 ◽  
Vol 27 ◽  
pp. 325-337 ◽  
Author(s):  
Jay Spaulding
Keyword(s):  
Nineteenth Century ◽  
World War I ◽  
Historical Record ◽  
Economic Transformation ◽  
Nile Valley ◽  
Human Beings ◽  
Old Kingdom ◽  
History Of ◽  
The Many ◽  
Islamic Faith

Modern nationalisms first arose during the later eighteenth century around the wide periphery of the ancient heartland of western culture and gnawed their way inward during the course of the nineteenth century to the core, culminating in World War I, Each new nationalism generated an original “imagined community” of human beings, part of whose ideological cohesion derived from a sense of shared historical experience. Since the actual historical record would not necessarily satisfy this hunger, it was often found expedient to amend the past through acts of imagination aptly termed the “invention of tradition.”One of the many new “imagined communities” of the long nineteenth century took shape in the northern Nile-valley Sudan between the final disintegration of the old kingdom of Sinnar (irredeemable after the death of the strongman Muhammad Abu Likaylik in 1775) and the publication of Harold MacMichael's A History of the Arabs in the Sudan in 1922. The new national community born of the collapse of Sinnar, strongly committed to Arabic speech and Islamic faith, was tested by fire through foreign conquest and revolution, by profound socio-economic transformation, and by the challenges attendant on participation in an extended sub-imperialism that earned it hegemony—first cultural, and ultimately political—over all the diverse peoples of the modern Sudan.One important response of the nascent community to the trials of this difficult age was the invention of a new national historical tradition, according to which its members were descended via comparatively recent immigrants to the Sudan from eminent Arabs of Islamic antiquity.

scholarly journals The graffiti art and the discover of the Keith Haring’s mural in Amsterdam

2020 ◽  
pp. 236-249
Author(s):  
Caterina Soliani
Keyword(s):  
New York ◽  
Collective Memory ◽  
Street Art ◽  
Art World ◽  
Continuous Growth ◽  
The World ◽  
To Come ◽  
The Many ◽  
Shed Light ◽  
Made In

The purpose of this work is to contribute to the continuous growth of the art world (Street Art in particular) and to discuss how it is essential for the discovery of artists. These artists have been pioneers and forerunners of new pictorial techniques, freeing creative and psychological flair, and combining the latter with the artistic technology that promises great things despite limited materials.  The intention of this article is to consider the elements of artistic expression that are less commonly subject to discussion, such as the world of Street Art. This form of artwork has not always been understood or accepted, with street artists waiting for the opportune moment to express the narrative, experiences, and emotions of society through their artwork, a power that unites sentiment and encourages change.  It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour.  This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic.  Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation. With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.

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