Matching Items (4)
Filtering by

Clear all filters

153268-Thumbnail Image.png
Description
The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the

The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the West, as Chinese artists dealt with the twentieth-century version of the recurring question of modernizing Chinese painting for its times: how does one reconcile an ancient painting tradition with all the possibilities Western interactions introduced? This dissertation focuses on one artist's lifelong struggle, often overlooked, to answer this question. By examining C. C. Wang (1907-2003) and his life in art, this case study reveals broader truths about how twentieth century Chinese diaspora painters, such as Wang, modernized the tradition of Chinese ink painting.

Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.

To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is

asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
ContributorsHua, Ming (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2014
154708-Thumbnail Image.png
Description
This project explores the cultivation of artistic methodologies centered in embodied movement practices. I worked in collaboration with dancers to inform the development of a movement vocabulary that is authentic to the individual as well as to the content of the work. Through the interplay between movement and subconscious response

This project explores the cultivation of artistic methodologies centered in embodied movement practices. I worked in collaboration with dancers to inform the development of a movement vocabulary that is authentic to the individual as well as to the content of the work. Through the interplay between movement and subconscious response to elements such as writing, imagery, and physical environments I created authentic kinesthetic experiences for both dancer and audience. I submerged dancers into a constructed environment by creating authentic mental and physical experiences that supported the development of embodied movement. This was the impetus to develop the evening length work, Flesh Narratives, which consisted of five vignettes, each containing its own distinctive creative process driven by the content of each section. This project was presented January 29- 31, 2016 in the Fine Arts Center room 122, an informal theatre space, that supplemented an immersive experience in an intimate environment for forty viewers. This project explored themes of transformation including cycles, concepts of life, death and reincarnation, and enlightenment. Through the art of storytelling, the crafting of embodied movers, and the theory of Hauntology, the viewer was taken on a journey of struggle, loss, and rebirth.
ContributorsGerena, Jenny (Author) / Standley, Eileen (Thesis advisor) / Rosenkrans, Angela (Committee member) / Britt, Melissa (Committee member) / Arizona State University (Publisher)
Created2016
155199-Thumbnail Image.png
Description
After the opening of Japan in the mid-1800s many foreigners flocked to the

nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many

of her predecessors, however, she went as a single woman and was so taken with Japan

she made it her home over the span of fourteen years.

After the opening of Japan in the mid-1800s many foreigners flocked to the

nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many

of her predecessors, however, she went as a single woman and was so taken with Japan

she made it her home over the span of fourteen years. While a number of cursory studies

have been written on Helen Hyde and her work, a wide range of questions have been left

unanswered. Issues regarding her specific training, her printmaking techniques and the

marketing of her art have been touched on, but never delved into. This dissertation will

explore those issues. Helen Hyde's success as a printmaker stemmed from her intense

artistic training, experimental techniques, artistic and social connections and diligence in

self-promotion and marketing as well as a Western audience hungry for "Old Japan," and

its imagined quaintness. Hyde's choice to live and work in Japan gave her access to

models and firsthand subject matter which helped her audience feel like they were getting

a slice of Japan, translated for them by a Western artist. This dissertation provides an in

depth bibliography including hundreds of primary newspaper articles about Hyde who

was lauded for her unique style. It also expands and corrects the listing of her printed

works and examines the working style of an American working in a Japanese system with

Japanese subjects for a primarily American audience. It also provides a listing of known

exhibitions of Hyde's works and a listing of stamps and markings she used on her prints.
ContributorsMcMurtrey, Shiloh (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2016
151394-Thumbnail Image.png
Description
This dissertation is the first detailed and extensive study dedicated to the life and art of the master artist and scholar-official Chen Rong (active 13th century), and offers an expanded analysis of his most famous work, the Nine Dragons scroll (1244). It provides a reconstruction of Chen Rong's biography, character

This dissertation is the first detailed and extensive study dedicated to the life and art of the master artist and scholar-official Chen Rong (active 13th century), and offers an expanded analysis of his most famous work, the Nine Dragons scroll (1244). It provides a reconstruction of Chen Rong's biography, character and political career, and discusses his significance and impact in the study of Chinese painting during the late Southern Song dynasty (1127-1279) and beyond, by highlighting the reception and interpretation of the Nine Dragons scroll in the past and in modern times. This is achieved by addressing writings such as eulogies, poems and commentary about Chen Rong by his contemporaries and later biographers, and also analysis of recent works by contemporary Chinese artists that reinterpret Chen Rong's Nine Dragons motif directly. In addition to offering an expanded reading and interpretation of Chen Rong's inscriptions on the Nine Dragons scroll and inscriptions by subsequent viewers of the scroll, this study sheds light on the artistic context, significance, and historical development of dragons and dragon painting in China. This dissertation also offers the first full English transcription and translation of Emperor Qianlong's inscription on the Nine Dragons scroll, and that of his eight officials. Furthermore, this dissertation includes two detailed appendices; one is a detailed appendix of all of Chen Rong's paintings documented to exist today, and the second is a list of paintings attributed to Chen Rong that have been mentioned in historical documents that no longer appear extant. This interdisciplinary study provides insight into the processes that influence how an artist's work is transformed beyond his time to that of legendary status. This clarification of Chen Rong's biography and artistic activity, particularly with respect to his most famous work the Nine Dragons scroll, contributes to modern scholarship by providing an expanded understanding of Chen Rong's life and art, which in turn, adjusts prevailing perceptions of his life and work.
ContributorsChao, Jacqueline (Author) / Brown, Claudia (Thesis advisor) / Codell, Julie (Committee member) / Baker, Janet (Committee member) / Arizona State University (Publisher)
Created2012