Trading Places: An Introduction to Zoomorphism and Anthropomorphism in Chinese Art

The Zoomorphic Imagination in Chinese Art and Culture ◽

10.21313/hawaii/9780824846763.003.0001 ◽

2016 ◽

Author(s):

Jerome Silbergeld

Keyword(s):

Visual Arts ◽

Chinese Art ◽

Early Use

Zoomorphism: by whatever name, it has been a part of the human imagination and the visual arts throughout our history, from Egyptian and Assyrian reliefs to Donald Duck, Wile E. Coyote, Pogo Possum, and Maus. The word itself means more than one thing, as does its correlate, anthropomorphism. Its early use involved attributing animal characteristics to deities, as with the Egyptian jackal-headed funerary god Anubis, the composite Chinese ...

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The branding of contemporary Chinese art and its politics

Arts Marketing An International Journal ◽

10.1108/am-10-2013-0021 ◽

2014 ◽

Vol 4 (1/2) ◽

pp. 25-44 ◽

Cited By ~ 9

Author(s):

Chloe Preece

Keyword(s):

Visual Arts ◽

Marketing Research ◽

Art Market ◽

Chinese Art ◽

Art World ◽

Content Type ◽

Avant Garde ◽

Political Ideas ◽

Ethnographic Data ◽

Contemporary Chinese

Purpose – The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual arts market and how these are constructed, distributed and consumed. Design/methodology/approach – A review of avant-garde art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong. Findings – The analysis exposes the ideological framework within which the art market operates and how this affects the art that is produced within it. In the case of Cynical Realism and Political Pop, the art was framed and packaged by the art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values. Research limitations/implications – As an exploratory study, findings contribute to macro-marketing research by demonstrating how certain sociopolitical ideas develop and become naturalised through branding discourses in a market system. Practical implications – A socio-cultural branding approach to the art market provides a macro-perspective in terms of the limitations and barriers for artists in taking their work to market. Originality/value – While there have been various studies of branding in the art market, this study reveals the power discourses at work in the contemporary visual arts market in terms of the work that is promoted as “hot” by the art world. Branding here is shown to reflect politics by circulating and promoting certain sociocultural and political ideas.

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Treatment of Realia in the Subtitling of Ekphrastic Texts

Journal of Audiovisual Translation ◽

10.47476/jat.v2i1.10 ◽

2019 ◽

Vol 2 (1) ◽

pp. 104-125

Author(s):

Vedrana Čemerin

Keyword(s):

Visual Arts ◽

Visual Experience ◽

Source Material ◽

Chinese Art ◽

Research Project ◽

Work In Progress ◽

Special Place ◽

Technical Framework ◽

Insight Into

As far as the basic tenets and technical constraints of subtitling go, the subtitling of documentaries devoted to various types of visual arts does not differ significantly from subtitling performed with other types of audiovisual content. However, each source material has aspects that go beyond the technical framework, encompassing cultural idiosyncrasies and culture-specific references. A special place among such items belongs to realia, in the sense of words and phrases denoting concepts characteristic of one nation and foreign to another. This article narrows down the scope of its research of such phenomena to a corpus consisting of several art documentaries ranging in subject from Byzantine to Ottoman and Chinese art and translated from English into Croatian, examining the strategies used to deal with realia in ekphrastic texts and the overall treatment of the concepts which they denote, while at the same time providing insight into the role played by the visual experience given by subtitles as an integral part of the representational process. The paper is partially based on a talk given in February 2016 at the Audiovisual Representation conference in Rome but as the research project had been a work-in-progress, it has since been substantially revised and expanded.

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An Investigation into the Importance of «Inculturation» in the Image of Our Lady in Relation to Visual Arts in Religious Education according to Monica Liu

Foro de Educación ◽

10.14516/fde.677 ◽

2020 ◽

Vol 18 (1) ◽

pp. 167-187

Author(s):

Maria Min-Hui HSU

Keyword(s):

Religious Education ◽

Contemporary Art ◽

Visual Arts ◽

Catholic Church ◽

Chinese Art ◽

Religious Art ◽

Moral Virtues ◽

Left Behind ◽

Secular World ◽

Close Relationship

The purpose of this paper is to emphasize the importance of «inculturation» in the religious images drawn by Monica Liu (Ho-Pei), a unique artist who promoted Religious Art and Education in Taiwan. Monica Liu adopted Western Christianity into Chinese art to create paintings that reflect her love for nature as well as Our Lady who is deeply venerated in the Catholic Church and regarded as the mother of humanity. This paper is a qualitative research based on an interview conducted with Huang Wan-Yun, a protégée of Monica Liu who had a very close relationship with the latter during the last ten years of her life. This research is also based on some writings that Monica left behind and several articles written about her by acquaintances. The culture and faith expressed by Monica Liu through Our Lady’s images help us to deeply understand the value and relationship between religious art and faith. In addressing the needs of the secular world, religious art has encountered difficulties in terms of contemporary aesthetics. Monica’s distinct aesthetic considered «moral virtues» important to modern or contemporary art and their absence could result in distorted values. Therefore, true mission work in the field of religious art has to be close to everyone’s heart, as well as emphasize the importance of inculturation through natural representations and create awareness of taboo in art, which involves «additional and supplementary» elements in original artworks.

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