|
|
| Show All 315 Results (Text Only) |
|
| Cai Guo-Qiang: "Traveler" |
|
| Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution
|
Website documenting two site-specific installations at the Sackler Gallery and the Hirshhorn Museum created by the contemporary artist Cai Guo-Qiang (b. 1957), an artist who "integrates aspects of Eastern history into contemporary contexts." With photographs and descriptions of installations and the transcript from a 2004 interview with the artist. Uses Flash.
Go to Museum Resource: https://archive.asia.si.edu/exhibitions/online/cai/traveler.htm | |
|
|
| Cai Guo-Qiang: I Want to Believe |
|
| Guggenheim Museum
|
"Cai Guo-Qiang has literally exploded the accepted parameters of art making in our time. Drawing freely from ancient mythology, military history, Taoist cosmology, extraterrestrial observations, Maoist revolutionary tactics, Buddhist philosophy, gunpowder-related technology, Chinese medicine, and methods of terrorist violence, Cai’s art is a form of social energy, constantly mutable, linking what he refers to as 'the seen and unseen worlds.' This retrospective presents the full spectrum of the artist’s protean, multimedia art in all its conceptual complexity." With video documentation and an online exhibition of selected works. See also: Teaching Materials.
Go to Museum Resource: https://www.guggenheim.org/exhibition/cai-guo-qiang-i-want-to-believe-2 | |
|
|
| Calligraphy |
|
| University of Washington, Visual Sourcebook of Chinese Civilization
|
"This unit will cover calligraphy in China up through the Tang dynasty, with an emphasis on the Six Dynasties and Tang. It was during this period that calligraphy first began to flourish as an art form." A Visual Sourcebook of Chinese Civilization was prepared by University of Washington history professor Patricia Buckley Ebrey. With questions for discussion, timelines, maps, and suggested readings. Select HOME to find link to teachers' guides for all topics featured on the website.
Go to Museum Resource: http://depts.washington.edu/chinaciv/callig/callmain.htm | |
|
|
| Calligraphy in East Asia: Art, Communication, and Symbology |
|
| Education About Asia
|
An ideal introductory overview of brush calligraphy’s powerful influence on East Asia. As an artistic genre, brush calligraphy holds a central place in the cultural history in East Asia. The form of the characters used in the Chinese writing system—as well as the other writing systems that were derived from it— have long held a place of special regard in the aesthetic traditions of the region. Brush calligraphy has historically been ubiquitous in the visual culture of China, Japan, and Korea, either as a complement to another kind of image (perhaps a landscape painting or part of an illustrated book) or as a work of art in its own right; consequently, it is central to the study of East Asian art history… East Asian brush calligraphy closely integrates aspects of art, communication, and symbology, thus offering educators a particularly rich set of resources from which to draw upon. With PDF download.
Go to Museum Resource: https://www.asianstudies.org/publications/eaa/archives/calligraphy-in-east-asia... | |
|
|
| Cave as Canvas: Hidden Images of Worship Along the Ancient Silk Routes |
|
| Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution
|
Buddhist Cave Temples in Chinese Central Asia. Buddhism reached Chinese Central Asia (modern Xinjiang) from India around the first century A.D., brought by missionaries via the ancient Silk Routes. By the third century A.D., this new religion was flourishing in all the oasis kingdoms in the Tarim Basin (the Taklamakan Desert), also known as eastern Turkestan. As the Buddhist religion took hold and piety increased, the Indian tradition of excavating caves to serve as Buddhist sanctuaries proliferated in this region. In many of the Central Asian states, monasteries and temples were hewn out of the cliffs in secluded river valleys. With the patronage of local rulers, the elite, and wealthy merchants, these institutions gradually became major Buddhist centers. They continued to grow and prosper until the advent of Islam. Today, such Buddhist rock-cut cave complexes are some of the finest, if little known, monuments preserved in Chinese Central Asia.
Go to Museum Resource: https://archive.asia.si.edu/exhibitions/online/cave/default.htm | |
|
|
| Ch'in (Qin), 221-206 B.C. |
|
| Minneapolis Institute of Arts
|
"During this very brief dynasty, a dynamic leader named Shih-huang unified the "warring states" of the preceding era and declared himself China's first emperor." A brief, one-paragraph overview, along with a map, a video clip featuring an MIA curator, and one object representative of the period.
Go to Museum Resource: http://archive.artsmia.org/art-of-asia/history/dynasty-chin.cfm | |
|
|
| Ch'ing (Qing), 1644-1912 |
|
| Minneapolis Institute of Arts
|
"The last Chinese dynasty began on a positive note -- of energetic collecting, cataloging, and exporting -- but ended disastrously." A brief, one-paragraph overview, along with a map, a video clip featuring an MIA curator, and 445 objects from the period.
Go to Museum Resource: http://archive.artsmia.org/art-of-asia/history/dynasty-ching.cfm | |
|
|
| The Chairman Smiles |
|
| International Institute of Social History
|
"The former Soviet Union, Cuba, and China: three countries where posters played an important political role and received a large amount of artistic attention. This is a selection of 145 political posters, famous masterpieces as well as equally beautiful but unknown examples drawn from the collection of the International Institute of Social History in Amsterdam. ... The Chinese posters include not only a number from the period of the Cultural Revolution (1966-1976), with the glorification of Mao Zedong, idyllic scenes in agricultural communes and sharp attacks on political opponents, but also extremely rare posters from circa 1949 to the early 1960s, with the establishment of the People's Republic and the campaign for the Great Leap Forward. There are also posters from the 1980s and early 1990s, the period of Deng Xiaoping and the economic modernization."
Go to Museum Resource: http://www.iisg.nl/exhibitions/chairman/index.php | |
|
|
|
| Show All 315 Results (Text Only) |
