tag:blogger.com,1999:blog-13345328359834640962024-03-13T11:47:12.941-07:00SOLILOQUY SONG, Kun - PHOTOGRAPHY.
关于摄影的思考和实践。暂时没有用中文,请多包涵。 This blog is all about photography. (www.songkun.net)SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.comBlogger424125tag:blogger.com,1999:blog-1334532835983464096.post-20118318488588827502024-01-11T10:23:00.000-08:002024-01-11T10:23:00.135-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4BvfViJ_edhNltmbPXcdJysGF59isXJEXlIAJtNd4n6mZr3tI6yRdQth8PsjYVWCtIl-fgl4knZR_JEofyQ3Dqe2mVj5ECXNQZ01xKI3jg_t4-9lA_CtolmtkUzrodeZLT3NtQM2Bi1ur47EelFSmVPkwdWD7z04BuexOVXBDVEh08helnNKR3KTm3rji/s6808/flyr1.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6808" data-original-width="5178" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4BvfViJ_edhNltmbPXcdJysGF59isXJEXlIAJtNd4n6mZr3tI6yRdQth8PsjYVWCtIl-fgl4knZR_JEofyQ3Dqe2mVj5ECXNQZ01xKI3jg_t4-9lA_CtolmtkUzrodeZLT3NtQM2Bi1ur47EelFSmVPkwdWD7z04BuexOVXBDVEh08helnNKR3KTm3rji/s320/flyr1.2.jpg" width="243" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-90285887148952240392024-01-10T10:22:00.000-08:002024-01-10T10:22:00.252-08:00<p> <i style="font-family: Helvetica; font-size: 24px;"><span style="color: #38761d;">Have you ever felt anxious logging into the digital world?</span></i></p><i style="font-family: Helvetica; font-size: 24px;"><span style="color: #38761d;">Or confused about whether you exist in the virtual or the physical world?</span></i><br style="font-family: Helvetica; font-size: 24px;" /><br style="font-family: Helvetica; font-size: 24px;" /><span style="font-family: Helvetica; font-size: 24px;">We welcome artists who relate to this to be part of </span><span style="color: red; font-family: Helvetica; font-size: 24px;"><Do Not Disturb></span><span style="font-family: Helvetica; font-size: 24px;">, </span><u style="font-family: Helvetica; font-size: 24px;">an interactive exhibition</u><span style="font-family: Helvetica; font-size: 24px;"> for those who feel constantly lost in this digital maze, questioning your existence between pixels and reality of distracting contents.</span><br style="font-family: Helvetica; font-size: 24px;" /><br style="font-family: Helvetica; font-size: 24px;" /><span style="font-family: Helvetica; font-size: 24px;">In this exhibition, we will introduce words that </span><u style="font-family: Helvetica; font-size: 24px;">have dual meanings in the physical and virtual world</u><span style="font-family: Helvetica; font-size: 24px;"> and </span><u style="font-family: Helvetica; font-size: 24px;">feature artworks</u><span style="font-family: Helvetica; font-size: 24px;"> that echo with the meaning, layered by colours that accentuates the mood. By having people choose which they relate to at the moment, we want to guide the viewers to settle in where and what they are at the moment.</span><br style="font-family: Helvetica; font-size: 24px;" /><br style="font-family: Helvetica; font-size: 24px;" /><span style="font-family: Helvetica; font-size: 24px;">If you want to feel present in the virtual space and help others be serene through your captivating works, please join us! </span><br style="font-family: Helvetica; font-size: 24px;" /><br style="font-family: Helvetica; font-size: 24px;" /><i style="font-family: Helvetica; font-size: 24px;">*Due 18 February 2024<br />*Welcoming all mediums (2D, 3D (images/recordings), poem, etc.)<br />*High-res por favor as it will be printed as an archive as well (non-profit)</i>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-69230306581740170332024-01-09T10:16:00.000-08:002024-01-09T10:16:36.822-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSbYu1mJQPtn2LJ9aRyi9clCIhUTkrbtAL58MBLBsDsBMMvuVs9nbsdm_6RBJ2c52ZXlJpRhmIyr32wFimDM1x2a1GjrBw-7-g5zT8HlKDAQXIqWpqjxaxWssQxsdXfvq2L1wQ_18z2DU57RHOJy3PG-w3oF28ciYITvftyWknTYEvWdWGFtL00TY1f8j-/s3507/Project%2020231220%20%20Sense%20-%20how%20to%20feel%20%20III.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSbYu1mJQPtn2LJ9aRyi9clCIhUTkrbtAL58MBLBsDsBMMvuVs9nbsdm_6RBJ2c52ZXlJpRhmIyr32wFimDM1x2a1GjrBw-7-g5zT8HlKDAQXIqWpqjxaxWssQxsdXfvq2L1wQ_18z2DU57RHOJy3PG-w3oF28ciYITvftyWknTYEvWdWGFtL00TY1f8j-/s320/Project%2020231220%20%20Sense%20-%20how%20to%20feel%20%20III.jpg" width="226" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil42TCY3GS5HkRXmpl20-bVXeZka6EUqdGd0BlUaswN3PpuxVYw1x9GYEWEXj_XF0pda-ao-MNLyd9XK6oFtZLnlc_1NcbICrGMkk7XxKCTfhnYH1-D5_A98LM11ZfBBIp9NIH4OsUjNehvMtf8DYYuVNj_TQjzKNJ7L5MUYS3J1HHN3FRwbRXRBi-edgv/s3507/Project%2020231220%20%20Sense%20-%20how%20to%20feel%20%20III2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil42TCY3GS5HkRXmpl20-bVXeZka6EUqdGd0BlUaswN3PpuxVYw1x9GYEWEXj_XF0pda-ao-MNLyd9XK6oFtZLnlc_1NcbICrGMkk7XxKCTfhnYH1-D5_A98LM11ZfBBIp9NIH4OsUjNehvMtf8DYYuVNj_TQjzKNJ7L5MUYS3J1HHN3FRwbRXRBi-edgv/s320/Project%2020231220%20%20Sense%20-%20how%20to%20feel%20%20III2.jpg" width="226" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-769601728195543442024-01-08T10:13:00.000-08:002024-01-09T10:16:05.597-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcrrPPiPGtKbHSGza1sgj0cUQssOlhARQjohUtpSL92QVd3kNZHvjhPqtDKWmpEpPELCbD9TjgnKqpf8OialJUndg1t6dfmbIKRYvff28fPOdlHTWbPdTJCQMSpqgcp8KTHQ47uwI7rtc4xcxI-MD1ecWzcV-WszjDqW8SIFzuFtg5TZwRf8h6H1LDRX7/s3507/Project%2020231219%20%20Sense%20-%20how%20to%20feel%20%20II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIcrrPPiPGtKbHSGza1sgj0cUQssOlhARQjohUtpSL92QVd3kNZHvjhPqtDKWmpEpPELCbD9TjgnKqpf8OialJUndg1t6dfmbIKRYvff28fPOdlHTWbPdTJCQMSpqgcp8KTHQ47uwI7rtc4xcxI-MD1ecWzcV-WszjDqW8SIFzuFtg5TZwRf8h6H1LDRX7/s320/Project%2020231219%20%20Sense%20-%20how%20to%20feel%20%20II.jpg" width="226" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NJ-W7xbouwvtIJk-WBsr5VsVV-I-91fTztr2TzrYQvGlIMsehSWf-tweTqkZoSxcjv4IgWTN_umLD0lu6n4-lip36khkkd02_UF0RPv3gRkF7IR_puWGSC29Isr5lVu9qpaDfF-aPSq-7NLsGcvo__B5jPnJ9xt3_wemW8JnffF58JhQbukWYfFB0BJw/s3507/Project%2020231219%20%20Sense%20-%20how%20to%20feel%20%20II2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9NJ-W7xbouwvtIJk-WBsr5VsVV-I-91fTztr2TzrYQvGlIMsehSWf-tweTqkZoSxcjv4IgWTN_umLD0lu6n4-lip36khkkd02_UF0RPv3gRkF7IR_puWGSC29Isr5lVu9qpaDfF-aPSq-7NLsGcvo__B5jPnJ9xt3_wemW8JnffF58JhQbukWYfFB0BJw/s320/Project%2020231219%20%20Sense%20-%20how%20to%20feel%20%20II2.jpg" width="226" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-55524939685115793912024-01-07T10:13:00.000-08:002024-01-09T10:13:52.199-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicG24vmtsL0q_nJGvhtF4mXg7DZHXE_W-pgF17Fr-cBdVhf7PlxmaIkuka5ywcqIK4OKtvHb0j7DsfnxtdsvjGVMHm3zPOsD6HVme01ekJ9o1kSpKMkhFaYio81Gv7vkBNeBM3Lj_MVMUNGf0F58yOX8QANJJouNxNGFXl-VyyZu-IQfWDKHb69Qei8MFM/s3507/Project%2020231219%20%20Sense%20-%20how%20to%20feel%20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicG24vmtsL0q_nJGvhtF4mXg7DZHXE_W-pgF17Fr-cBdVhf7PlxmaIkuka5ywcqIK4OKtvHb0j7DsfnxtdsvjGVMHm3zPOsD6HVme01ekJ9o1kSpKMkhFaYio81Gv7vkBNeBM3Lj_MVMUNGf0F58yOX8QANJJouNxNGFXl-VyyZu-IQfWDKHb69Qei8MFM/s320/Project%2020231219%20%20Sense%20-%20how%20to%20feel%20.jpg" width="226" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-16487525345018470922024-01-06T10:12:00.000-08:002024-01-09T10:13:23.397-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmi-PZhbNhN1fPEfuJrHvlYUO7NhjGaERLbvZ4nztZ3_GD5mkNZlk_gE3GyGZ1UEEGSSxZSlxPtQfL-qiVSjLrooSpa8pk9zrVUj0-w88tiamodSboOfoOSHK_sBDhhyQDRzHyBwf-H7KBHcr1kjcyHFN7RF8O6pO8erpjRSRg37Cc_tQCRO3EvSSFfVqx/s3507/Project%2020231218%20%20Sense%20-%20Time%20fast%20or%20slow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmi-PZhbNhN1fPEfuJrHvlYUO7NhjGaERLbvZ4nztZ3_GD5mkNZlk_gE3GyGZ1UEEGSSxZSlxPtQfL-qiVSjLrooSpa8pk9zrVUj0-w88tiamodSboOfoOSHK_sBDhhyQDRzHyBwf-H7KBHcr1kjcyHFN7RF8O6pO8erpjRSRg37Cc_tQCRO3EvSSFfVqx/s320/Project%2020231218%20%20Sense%20-%20Time%20fast%20or%20slow.jpg" width="226" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-42861947165868026012024-01-05T10:10:00.000-08:002024-01-09T10:12:50.290-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD642tPg2L4N2XoZNvL4GVBpr7B5vhv90HjtuwriLlgPFpajb3gkBiHm87frhG26odNfNlHve_zv7LdGr2WYUyMvOE1qO6LqFeG_hsuBPk6CXyJ_BZH4E0-MfNprN8mpJBVSkzLQGbiagJiG-M8Q0ZZlIf0Hhh7r8gpGOFQwnIo5C41xG8Il8IOpLdWlGo/s3507/Project%2020231217%20%20Sense%20-%20Time.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD642tPg2L4N2XoZNvL4GVBpr7B5vhv90HjtuwriLlgPFpajb3gkBiHm87frhG26odNfNlHve_zv7LdGr2WYUyMvOE1qO6LqFeG_hsuBPk6CXyJ_BZH4E0-MfNprN8mpJBVSkzLQGbiagJiG-M8Q0ZZlIf0Hhh7r8gpGOFQwnIo5C41xG8Il8IOpLdWlGo/s320/Project%2020231217%20%20Sense%20-%20Time.jpg" width="226" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-83709782260257670182023-12-03T09:57:00.000-08:002023-12-03T09:57:00.145-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEAGCzhw9Rn5SEPansR6SRCyTEcALDuItZyEWdyFXnOlvOU9Y29P-mR64C6_DUiSvmvtvIoNF8b9PEPSZfuTCcyIcf_wQBp09BxZFBhVnEFwhopJC75G4qeSg0G-P8TRUuJnqUPIp05Z6KOrJAfbpfvGYhGHb2_bwkaVsqKeYxOaHxwIlX0fzSHOXbZ1wc/s3507/Project%2020231115%20%20Sense%20-%20Virtuality.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEAGCzhw9Rn5SEPansR6SRCyTEcALDuItZyEWdyFXnOlvOU9Y29P-mR64C6_DUiSvmvtvIoNF8b9PEPSZfuTCcyIcf_wQBp09BxZFBhVnEFwhopJC75G4qeSg0G-P8TRUuJnqUPIp05Z6KOrJAfbpfvGYhGHb2_bwkaVsqKeYxOaHxwIlX0fzSHOXbZ1wc/s320/Project%2020231115%20%20Sense%20-%20Virtuality.jpg" width="226" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpnU7VWU9kfBnR_8B2X1ItFtYwS5IMvxPa0BKTnyqENXge4BZpG1z_BUPoD3QF6ejjBrxrRGbw8fUespvW5aXuGgtCqPyMmq0-YoGD8y4weaFNGd3hEeH_tTNWR0fn1ATV6gr8sbS8eljsir1QLOzI4Jy5C97quso3YZU4UgIwSsmpyuT_64QExVkooaVd/s3507/Project%2020231115%20%20Sense%20-%20Virtuality2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3507" data-original-width="2480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpnU7VWU9kfBnR_8B2X1ItFtYwS5IMvxPa0BKTnyqENXge4BZpG1z_BUPoD3QF6ejjBrxrRGbw8fUespvW5aXuGgtCqPyMmq0-YoGD8y4weaFNGd3hEeH_tTNWR0fn1ATV6gr8sbS8eljsir1QLOzI4Jy5C97quso3YZU4UgIwSsmpyuT_64QExVkooaVd/s320/Project%2020231115%20%20Sense%20-%20Virtuality2.jpg" width="226" /></a></div><br /> <p></p>SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-88443375300296172442023-12-02T09:56:00.000-08:002023-12-02T09:56:00.130-08:00<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPUpp7xfb5xcdhu2zdOxqEeZuG1ZuK6zByH-TQmD7nxDDUMwkWUJZdRiYGYkA83Qq_MF4Rh1_L0iKNHi25uwjYrN3qtVPHZVAUKv7lPldIFd9PGFwfHMnMisqBQuFq10JdfZqW4nzvHOgzlrE6hmlWRmvuBciB57R-RDGtm0HpNAsPzPVsNJPzQJgXrmZx/s3507/Project%2020231115%20%20Sense%20-%20prepared.jpg" imageanchor="1" style="margin-left: 1em; 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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-82315243336749158592013-06-04T14:06:00.000-07:002013-06-04T13:37:53.538-07:00FP - INVITATION FOR THE EXHIBITION<div dir="ltr" style="text-align: left;" trbidi="on">
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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-47583882637879514952013-06-02T13:38:00.000-07:002013-06-04T13:41:30.357-07:00FINAL EDIT - ESCAPE VELOCITY<div dir="ltr" style="text-align: left;" trbidi="on">
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<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="EN-US" style="color: #383838; font-family: Futura; letter-spacing: 1.0pt; mso-ansi-language: EN-US; mso-font-kerning: .5pt;">There exists a fourth dimension in today’s China – the speed of
development and change. The speed does not merely transform China - it becomes
China. It is not only a phenomenon itself; it is also the relationship linking
all facets of the evolution of contemporary China, be it society, culture,
politics and even nature.<span style="mso-spacerun: yes;"> </span>Reality,
and in fact the only reality today in China lies in the speed of the transit.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #383838; font-family: Futura; letter-spacing: 1.0pt; mso-ansi-language: EN-US; mso-font-kerning: .5pt;">On this planet, the escape velocity is 11.2 kilometers per second. Within
this speed our perception of the world is deemed to be normal. Is the
double-digit rate of economic growth in China within the boundary of this
watershed speed or far beyond it?<span style="mso-spacerun: yes;">
</span>I would like to find out.<span style="mso-spacerun: yes;"> </span>I
would like to see this speed of transit. In order to reach a similar speed I
jumped into a car and asked the driver to drive as fast as possible wherever he
could, down high streets, through residential blocks, up on motorways, across
rural areas and so on.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #383838; font-family: Futura; letter-spacing: 1.0pt; mso-ansi-language: EN-US; mso-font-kerning: .5pt;">After hours of transit, I no longer felt the speed. I locked myself into
the world of speed and transit, physically and mentally.<span style="mso-spacerun: yes;"> </span>I could hear the noise of the engine
and the sound of the wind. I could feel the bumps in the road, but not the
sense of the speed any longer. Speed became part of me and transformed to an
entrance, through which I penetrated into an unknown reality where everything
was distorted. I continuously pressed the shutter. In every fraction of a
second, everything was blurred.<o:p></o:p></span></div>
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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-75472058547341545372013-05-22T14:54:00.000-07:002013-05-22T14:54:00.167-07:00NIGHT REVELS AFTER 1000 YEARS<div dir="ltr" style="text-align: left;" trbidi="on">
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</div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">TABLE OF CONTENTS<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">LIST OF FIGURES<span style="mso-tab-count: 1;"> </span>2<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">INTRODUCTION<span style="mso-tab-count: 1;"> </span>5<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CHAPTER 1 HISTORICAL BACKGROUND<span style="mso-tab-count: 1;"> </span>7<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">NAN TANG IN CHINA HISTORY<span style="mso-tab-count: 1;"> </span>7<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">HAN XIZAI IN NAN TANG<span style="mso-tab-count: 1;"> </span>10<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CHINESE PAINTING<span style="mso-tab-count: 1;"> </span>11<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">NIGHT REVELS OF HAN XIZAI<span style="mso-tab-count: 1;"> </span>12<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CHAPTER 2 CONTEMPORARY CHINA BACKGROUND<span style="mso-tab-count: 1;"> </span>17<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CHINA AFTER DYNASTIES<span style="mso-tab-count: 1;"> </span>17<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CHINA IN EIGHTIES AND NINETIES<span style="mso-tab-count: 1;"> </span>18<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">LAO LI IN CONTEMPORARY CHINA<span style="mso-tab-count: 1;"> </span>20<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CHAPTER 3 IMAGE ANALYSIS<span style="mso-tab-count: 1;"> </span>22<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">SEMIOTICS<span style="mso-tab-count: 1;"> </span>22<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">ALLEGORY<span style="mso-tab-count: 1;"> </span>27<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">APPROPRIATION<span style="mso-tab-count: 1;"> </span>31<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">CONCLUSION<span style="mso-tab-count: 1;"> </span>40<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">FIGURES<span style="mso-tab-count: 1;"> </span>43<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">BIBLIOGRAPHY<span style="mso-tab-count: 1;"> </span>44<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">LIST OF FIGURES<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 1, Gu Hongzhong, 970, Night Revels of Han Xizai, Ink
and Colour Painting on Silk, 28.7 x 335.5 cm, Courtesy:<span style="mso-spacerun: yes;"> </span>Gu Gong, Beijing, At:
http://www.86art.net/art/UploadFiles_5617/200703/20070328110536987.jpg (Accessed
on 06,02,2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 2, Wang Qingsong, 2000, Night Revels of Lao Li,
C-type Print, 96 x 600 cm, Courtesy:<span style="mso-spacerun: yes;">
</span>ICP, New York, At:
http://www.nytimes.com/imagepages/2004/05/28/magazine/30china.1.html (Accessed
on 08,02,2012)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 3, Gu Hongzhong, 970, Night Revels of Han Xizai,
(Detail)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 4, Wang Qingsong, 2000, Night Revels of Lao Li,
(Detail)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 5, Artist Unknown, BC 290, Bianfeng Lady Painting <o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 6, Artist Unknown, The Emperor Li Yu, At:
http://www.hottx.net/userfiles/2010108161948.jpg (Accessed on 10,10,2012)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 7,<span style="mso-spacerun: yes;"> </span>Fan
Kuan, 1010,<span style="mso-spacerun: yes;"> </span>Xishan Xinglv Tu, 103
x 206, Colour painting on silk, Courtesy: Gu Gong, Taipei, At:
http://zh.wikipedia.org/wiki/File:Travelers_Among_Mountains_and_Streams.png
(Accessed on 11,10,2012)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 8, Song Kun, 2012, How to view a Chinese hands scroll
I<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 9, Song Kun, 2012, How to view a Chinese hands scroll
II<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 10, Gu Hongzhong, 970, Night Revels of Han Xizai,
(Scene 1)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 11, Gu Hongzhong, 970, Night Revels of Han Xizai,
(Scene 2)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 12, Gu Hongzhong, 970, Night Revels of Han Xizai,
(Scene 3)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 13, Gu Hongzhong, 970, Night Revels of Han Xizai,
(Scene 4)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 14, Gu Hongzhong, 970, Night Revels of Han Xizai,
(Scene 5)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 15, The bed scene in scene 1<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 16, The bed scene in scene 2<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 17, The red drum in scene 1<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 18, Interaction between scene 4 & 5<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 19, Man caressing woman in scene 5<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 20, Drumsticks in hand scene 5<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 21, Artist Unknown, An example of propaganda poster
in cultural revolution, At: http://www.theeastisred.com/posters.htm (Accessed
on 10,11,2012)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 22, Photographer Unknown, Star Fine Art Exhibition in
1979, At: http://www.fotocn.org/60/1979-4381 (Accessed on 12,10,2012)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 23, Wang Guangyi, 1991-4, Great Castigation Series:
Coca Cola. Oil on Canvas 200 x 200 cm Private Collection, At:
http://www.andrewjamesart.com/chinesecontemporary/wang_guangyi.htm (Accessed on
11,12,2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 24,<span style="mso-spacerun: yes;"> </span>Hong
Lei, 2000, After Song Dynasty Painting Circle Series.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Private collection Set of 5 color photographs. Dimensions:
34.9 x 46 cm (each), At: http://www.terminartors.com/artistprofile/Hong_Lei
(Accessed on 06,09,2012)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 25, Wang Qingsong, 2000, Night Revels of Lao Li
(Scene 1)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 26, Wang Qingsong, 2000, Night Revels of Lao Li
(Scene 2)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 27, Wang Qingsong, 2000, Night Revels of Lao Li
(Scene 3)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 28, Wang Qingsong, 2000, Night Revels of Lao Li (Scene
4)<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Figure 29, Wang Qingsong, 2000, Night Revels of Lao Li
(Scene 5)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 30, Marcel Duchamp, 1919,<span style="mso-spacerun: yes;"> </span>L.H.O.O.Q. At: http://en.wikipedia.org/wiki/L.H.O.O.Q.
(Accessed on 06,12,2012)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 31, Édouard Manet,1862–1863, Oil on canvas 208 cm ×
265.5 cm Musée d'Orsay, Paris, At:
http://en.wikipedia.org/wiki/File:Manet,_Edouard_-_Le_D%C3%A9jeuner_sur_l%27Herbe_%28The_Picnic%29_%281%29.jpg<span style="mso-spacerun: yes;"> </span>(Accessed on 02,08,2012)<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 32, Artist Unknown, A typical year painting probably
created in late 1970s, At:
http://www.nipic.com/show/4/110/2f07bfcc71545b5d.html (Accessed on 10,10,2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 33, Jeff Wall, 1979, A Picture for Woman,
Transparency in Lightbox, 1425 x 2045mm Collection of the Artist, At:
http://www.voidport.com/21/picture-for-women/ (Accessed on 12, 10, 2012)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Figure 34, Edouard Manet, 1881, A Bar at the Folies-Borgere,
Oil on Canvas, Courtesy: Courtauld Institute of Art Gallery, At:
http://en.wikipedia.org/wiki/File:Edouard_Manet_004.jpg (Accessed on
02,09,2012)<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">INTRODUCTION<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Night Revels of Lao Li is a contemporary photographic work
by Wang Qingsong (born 1967) made in 2000.<span style="mso-spacerun: yes;"> </span>It is based on a Chinese traditional painting named Night
Revels of Han Xizai by Gu Hongzhong (A.D. 910 – 980) made in ca. 970.<span style="mso-spacerun: yes;"> </span>Night Revels of Lao Li is a C-type
print of 960mm x 6000mm.<span style="mso-spacerun: yes;"> </span>Night
Revels of Han Xizai is an ink and colour painting on a 287mm x 3355 mm silk
cloth mounted on a hand scroll. Night Revels of Lao Li has been widely
exhibited globally since 2000.<span style="mso-spacerun: yes;">
</span>Night Revels of Han Xizai is considered one of the most important
masterpieces in China art history.<span style="mso-spacerun: yes;">
</span>Lao Li is Li Xianting considered as the “Godfather” in contemporary
China art.<span style="mso-spacerun: yes;"> </span>Han Xizai was a
highbrow intellectual and a minister in Nan Tang dynasty.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">This dissertation will discuss both works but with a focus
on Night Revels of Lao Li. I would like to use it as an example to de-construct
China’s contemporary art context by discussing China’s historical heritage and
contemporary social, cultural, and political background.<span style="mso-spacerun: yes;"> </span>I will also use some visual cultural
theories including semiotics, allegory and appropriation to analyse and discuss
the work. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">As most of the readers are from western culture, I would
like to explain China’s historical and contemporary background in enough detail
to help readers gain some essential knowledge to understand and engage my
discussions.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In the first chapter, I will elaborate the social, cultural,
political and historical milieu when Night Revels of Han Xizai was
painted.<span style="mso-spacerun: yes;"> </span>Han Xizai will be
introduced.<span style="mso-spacerun: yes;"> </span>I will also discuss
and introduce the medium specificity of Chinese painting. Chinese art used to
use silk to paint and preserve images.<span style="mso-spacerun: yes;">
</span>This tradition still has a strong impact in China’s contemporary art.<span style="mso-spacerun: yes;"> </span>After this discussion, the painting
will be discussed and analysed.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Then, in the next chapter, a concise summary of China’s
contemporary art development will follow laying out the context to help
understand Wang Qingsong’s artistic development and his work. Li Xianting, as
the key figure in Night Revels of Lao Li, will also be introduced.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Chapter 3 will analyse the image of Night Revels of Lao
Li.<span style="mso-spacerun: yes;"> </span>The theory foundation is
semiotics.<span style="mso-spacerun: yes;"> </span>Based on this, three
layers of readings and analysis will be discussed.<span style="mso-spacerun: yes;"> </span>The initial discussion will be centered on connotation and
denotation concepts.<span style="mso-spacerun: yes;"> </span>Then the
intertextuality aspect of semiotic theory is introduced and an allegorical
reading will be analysed.<span style="mso-spacerun: yes;">
</span>Appropriation will lastly be studied and discussed.<span style="mso-spacerun: yes;"> </span>To help understand this art strategy,
postmodernism will be elaborated to give the social, cultural and political
background followed by discussions on China’s contemporary art and cultural
background, focusing on the 80s and 90s, when globalisation started to emerge
in China.<span style="mso-spacerun: yes;"> </span>Finally, signification
of appropriation in Night Revels of Lao Li will be analysed and presented.<span style="mso-spacerun: yes;"> </span>Some semiotic theories will also be
presented and discussed in this section on appropriation.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The Conclusion will summarise and conclude the findings of
this dissertation. <o:p></o:p></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">CHAPTER 1 HISTORICAL BACKGROUND<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In this chapter, I would like to introduce China’s
historical background.<span style="mso-spacerun: yes;"> </span>First, a
rough history of China is summarised, with a special focus on the Nan Tang
dynasty in power when Night Revels of Han Xizai was created.<span style="mso-spacerun: yes;"> </span>Then Han Xizai, as the key figure in
the painting, will be also researched and introduced in this historical
context.<span style="mso-spacerun: yes;"> </span>Lastly, before the
painting is discussed and presented, I will explain some background of how a
traditional Chinese painting is created and viewed.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Nan Tang in China History<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">China is one of the oldest civilizations. From around 5000 -
2000 BC, an agriculture-based economy and culture were gradually established
and then in the following 4000 years, from 2000 BC to 1911 AD, China was ruled
by various dynasties. The length of their rule varies, but on average, a
dynasty would reign for two or three hundred years until some other group
overthrew them.<span style="mso-spacerun: yes;"> </span>The original
system in China was slavery or feudal but it entered to an absolute monarchy
from Qin dynasty at around 221 BC., followed by Han (202BC. – AD.220), San Guo
(221-165),<span style="mso-spacerun: yes;"> </span>Nan & Bei
(221-581), Sui (581-618), Tang (618-960),<span style="mso-spacerun: yes;">
</span>Song (960-1279), Yuan (1260-1368), Ming (1368-1644) and finally Qing
(1644-1912).<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The civilizations have many cultural milestones.<span style="mso-spacerun: yes;"> </span>To name a few, Chinese hieroglyphic
characters and language are believed to have been invented before at least 1300
BC from the found archeological evidence.<span style="mso-spacerun: yes;">
</span>Some of the Chinese philosophy such as that of Yi Jing originated earlier,
but prospered around 300 BC together with other concurrently established
thoughts such as Taoism, Confucius to name a few.<span style="mso-spacerun: yes;"> </span>Silk fabric was found and developed as early as 3500 BC and
had been used as a medium for painting and writing. A silk painting of at least
more than 2300 years ago (Figure 5) was found in Anhui China in 1949 (Zheng,
2005, p29).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Among the monarchical dynasties, Han and Tang stand out as
the time of consolidation, of practical achievement and of immense
stability.<span style="mso-spacerun: yes;"> </span>Han and Tang themselves
are like ancient Greece and Rome in China’s history.<span style="mso-spacerun: yes;"> </span>Especially, the Tang dynasty has been considered the ideal
period in China’s history, unmatched even today. For example, the Chinese name
for China Town, as found in many western cities, is “Tang Ren Jie”, which
literally means Tang People Street.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The Tang dynasty greatly improved the government system by
replacing the previous family reference system with imperial examinations to
select government officials.<span style="mso-spacerun: yes;"> </span>The
government also adopted a fair land policy called the “Equal-field System”
allocated evenly to people according to the size of the households.<span style="mso-spacerun: yes;"> </span>During this period, the country went
through a series of advanced technological developments, such as papermaking,
woodblock printing, firearms manufacturing and shipbuilding. Economically the
Tang dynasty was recorded as the largest economy in the world of its time.<span style="mso-spacerun: yes;"> </span>The Silk Road trade route had been
re-opened, and much maritime trade with distant foreign countries took place.
Tang’s capital, Chang’an (now Xi’an) was considered vibrant and cosmopolitan,
admired by its neighboring countries.<span style="mso-spacerun: yes;">
</span>(Clunas, 1997, p152)<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Under such a circumstance, much more than earlier periods,
the Tang era was renowned for its time reserved for leisure activity,
especially for those in the upper classes.<span style="mso-spacerun: yes;"> </span>During this period, ancient Chinese philosophy and thinking
such as Confucius and Taoism developed further and Buddhism became a popular
religion for common people. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The Tang period was the golden age of Chinese literature and
art. There were over 48,900 poems penned by some 2,200 Tang authors that have
survived till now.<span style="mso-spacerun: yes;"> </span>(Sullivan,
1977, p.125) Visual arts prospered and there were more painters than ever,
especially in the royal court.<span style="mso-spacerun: yes;"> </span>The
culture and art activities burgeoned and thrived in the Tang dynasty.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">However, like any other dynasties, there was a decline of
central authority in the later half of the dynasty.<span style="mso-spacerun: yes;"> </span>Tang finally was divided up into the state of political
chaos dignified with the name of the Five Dynasties and Ten Kingdoms. Nan Tang (937-975)
was one of the ten smaller kingdoms split from Tang. However at that time, each
kingdom coveted the rest of the fellow kingdoms, and tensions and threats were
always felt everywhere.<span style="mso-spacerun: yes;"> </span>There were
skirmishes and even wars from time to time.<span style="mso-spacerun: yes;"> </span>Despite this situation, Nan Tang’s last Emperor Li Yu
(Figure 6), who himself was one of the greatest poets and writers in history,
had been indulged in writing and leisure while having no intention to
strengthen his military power and no time to manage his government. His whole
government was corrupt and decadent. Not surprisingly, Nan Tang survived only
38 years.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Han Xizai in Nan Tang<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Han Xizai (902-970) scored high in the government
examinations.<span style="mso-spacerun: yes;"> </span>He was talented in
both politics and art, good at writing and composing and highly skillful in
calligraphy and painting.<span style="mso-spacerun: yes;"> </span>He had
been one of the Emperor’s favorite high-ranking officials in Nan Tang.<span style="mso-spacerun: yes;"> </span>He joined Nan Tang, one of the most
powerful kingdoms after Tang was split, with a wish to unite China and to build
another Tang dynasty.<span style="mso-spacerun: yes;"> </span>There are
many alternative accounts, and I would like to present the most common
one.<span style="mso-spacerun: yes;"> </span>As explained, the Emperor’s
mind was not in the governance. His ruling group was split in political ideas.
Mistrust, corruption and conflicts became prevalent within the government. He
pleaded allegiance to Nan Tang’s fellow Kingdoms, sacrificing Nan Tang’s
sovereignty to a temporal peace.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">He had a high hope for Han Xizai but distrusted those
officials who came from the north where Han Xizai was from. Additionally, his
corrupt officials framed Han Xizai, being jealous of Han Xizai’s ability.<span style="mso-spacerun: yes;"> </span>They told the Emperor that Han Xizai
would like to overthrow his dynasty and betray him.<span style="mso-spacerun: yes;"> </span>Therefore, when Zhou’s soldiers of the Northern Kingdom
pressed on the border, Li Yu offered Han to be his prime minister to solve the
crisis and to test Han’s loyalty. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Judging the situation well, Han Xizai was disappointed that
his loyalty was suspected and the government was corrupt. He was not satisfied
at all with the Emperor’s incompetence, suspicion and corruption. However, he
did not see that he could make a change in the government and to the
situation.<span style="mso-spacerun: yes;"> </span>He therefore rejected
the offer. He would rather indulge himself in drinking, partying, and
womanizing at a much more elevated level than his peers.<span style="mso-spacerun: yes;"> </span>He was using this self-insulting way to
protect himself too.<span style="mso-spacerun: yes;"> </span>During that
time, partying had been considered a shameful lifestyle among
intellectuals.<span style="mso-spacerun: yes;"> </span>By indulging in
this lifestyle with such enthusiasm, his loyalty would never be questioned by
the Emperor as he would appear to lack ambition, and he would not be considered
as a threat to the government either.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The banquet party became so grand that the Emperor became
suspicious and curious about it.<span style="mso-spacerun: yes;">
</span>He would like to find out the reason why Han Xizai rejected his offer
and he would like to know if Han Xizai had another ambition and if the banquet
was indeed what he heard of.<span style="mso-spacerun: yes;"> </span>So
the Emperor Li Yu sent his court painter Gu Hongzhong to stay overnight at Han
Xizai’s house to document the party in a painting. The painting Night Revels of
Han Xizai was created in such a background.<span style="mso-spacerun: yes;"> </span>(Wu, 1996, p.26-27)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Chinese Painting<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Chinese painting could be traced to the appearance of the
hieroglyphic character followed by some representational but mainly ornamental
patterns or designs on pottery and fresco in ancient times.<span style="mso-spacerun: yes;"> </span>Paintings on hard surface such as album
sheets, lacquer ware, folding screens and walls are all important areas in the
painting history.<span style="mso-spacerun: yes;"> </span>However, it is
the introduction of silk that developed Chinese painting significantly.<span style="mso-spacerun: yes;"> </span>Paper painting happened at a much later
stage.<span style="mso-spacerun: yes;"> </span>The paintings on these soft
media were normally mounted later on scrolls such as hanging scrolls or hand
scrolls. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The Five Dynasties and Ten Kingdoms time is the watershed
period in Chinese painting history.<span style="mso-spacerun: yes;">
</span>Before this period, there was great interest in realism. However, later,
the Chinese painting style became more stylized. Rather than being
representational, it focused on “Xie Yi” literally meaning, “painting to
ideas”.<span style="mso-spacerun: yes;"> </span>(Xie Yi style painting
example: Figure 7)<span style="mso-spacerun: yes;"> </span>This style
emphasizes the artist’s thoughts and subjective perceptions.<span style="mso-spacerun: yes;"> </span>It is an idealised painting with
freehand styles where proportion, light and perspective are all subject to the
artist’s personal conception of the subject. The definition of time and space
are highly subjectivised.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The scroll form of paintings in China had distinctive
effects. For example, Chinese paintings do not have a single point or a linear
perspective like the western art does. Instead, the perspective points shift as
the viewer's eye moves through the landscape, unrolling, perhaps, a section of
the scroll at a time. Texts are also important and inseparable from painting,
especially after this “Xie Yi” shift.<span style="mso-spacerun: yes;">
</span>The painter would normally write a poem on the painting to express his
reflections.<span style="mso-spacerun: yes;"> </span>Also collectors of
paintings would sometimes write an aphorism, comments or a poem along side the
painting scrolls.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Night Revels of Han Xizai<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The painting Night Revels of Han Xizai was created in this
distinctive historical and cultural context.<span style="mso-spacerun: yes;"> </span>It was the highlight of realism before the representational
style developed in the previous thousands of years shifted to the idealism
style.<span style="mso-spacerun: yes;"> </span>It was actually a product
of “painting-journalism” more than one thousand years ago.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The painting is mounted on a hand scroll of 28.7 x 335.5
cm.<span style="mso-spacerun: yes;"> </span>There are five parts in the length
of 335.5cm with every part of around 60 cm approximately.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Hand scroll was a popular form of painting and
presentation.<span style="mso-spacerun: yes;"> </span>Viewers roll out the
scroll from the right to the left. As the hand scroll is normally very long,
the viewers have to roll in the right part back to the scroll to save the desk
space to view further left part.<span style="mso-spacerun: yes;">
</span>(Figure 8 & 9:<span style="mso-spacerun: yes;"> </span>an
example of a hand scroll being viewed by the author)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">As we start to unfold the scroll, it starts from a glimpse
of a bed, where blankets are untidy (Figure 15). A pipa, a Chinese instrument
similar to a western guitar, stuck out of this untidy bed.<span style="mso-spacerun: yes;"> </span>It is like a prelude, a frozen moment
from somewhere in the past or even future.<span style="mso-spacerun: yes;"> </span>Then we see Han Xizai in grey sitting in another bed
together with Lang Can who is the Zhuang Yuan of that year, the first
prizewinner of government examination.<span style="mso-spacerun: yes;">
</span>There is a waitress beside too.<span style="mso-spacerun: yes;">
</span>Three of them are looking to the left.<span style="mso-spacerun: yes;"> </span>In front of them is a table with food, tea and alcohol.<span style="mso-spacerun: yes;"> </span>Further left, Li Jiaming, another government
intellectual, appears with hands folded in front of him and eyes staring
straight to the viewer. Then a group of five people identically are turning and
looking towards left side.<span style="mso-spacerun: yes;"> </span>We
become curious and motivated to continue to roll out the painting from the
scroll. We start to see that in front of a picture screen sits a lady looking
over the whole area playing a pipa. (Figure 10)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">This first frame can be appreciated as a separate painting
with a typical pictorial structure and composition. However as this frame is in
the hand scroll, we feel a time element as we follow the slow speed of rolling
by both hands.<span style="mso-spacerun: yes;"> </span>Before we go
further we noticed that a lady stuck her body out of the screen, and we also
glimpse a red drum between the gaps. (Figure 17)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Everything is subject to time and as we unfold further we
start to see another man standing beside the screen.<span style="mso-spacerun: yes;"> </span>The part seen disappeared as our right hand fold them away
and we are motivated to look for more scenes to be unfolded leftward. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In the second scene (Figure 11), Han Xizai changed to his
informal dress knocking a big red drum.<span style="mso-spacerun: yes;">
</span>We realise that the drum was the drum we glimpsed in the previous
scene.<span style="mso-spacerun: yes;"> </span>Wang Wushan, a beautiful
dancer in Nan Tang history, was dancing in front of the drum.<span style="mso-spacerun: yes;"> </span>There are eight persons in the frame
all immersed in the music and dance except a monk.<span style="mso-spacerun: yes;"> </span>Monk Deming, also an important intellectual monk in the
history, dressed in a typical monk’s costume looking away as if contemplating
something.<span style="mso-spacerun: yes;"> </span>He seems exist out of
the context and out of the time and space. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">There is nothing but a blank space between the second and
the third scene, however this blank serves somehow to the thoughts of time and
space – time is continuing and there are no numbered presumed separations.<span style="mso-spacerun: yes;"> </span>This blank is called “Liu Bai” in
Chinese, literally meaning flowing white, which was actually a void physically
in a painting, and was used widely later in idealised painting to create
conceptual space for contemplating.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The third part (Figure 12) starts from a waitress with a
tray of foods and beverages.<span style="mso-spacerun: yes;"> </span>Right
beside her is the pipa lady walking towards a bed.<span style="mso-spacerun: yes;"> </span>The bed is covered with untidy blankets.<span style="mso-spacerun: yes;"> </span>From the red drapes, we recognized it
is the similar bed from the very beginning.<span style="mso-spacerun: yes;"> </span>(Figure 15 & Figure 16 to compare) We remembered the
pipa in the untidy bed.<span style="mso-spacerun: yes;"> </span>The logic
of the time gets reversed.<span style="mso-spacerun: yes;"> </span>The
bed, the pipa and the untidy blanket become a symbolic sign. In the time and
space created by this hand scroll, it seems that every fragment of the scene
could be considered as a start or an end or any time in between with no linear
concept. We start to doubt again the separation of the painting with the time
and space concept. They become more and more mixed up and integrated as we roll
out the hand scroll further.<span style="mso-spacerun: yes;"> </span>Han
Xizai is dressed up again sitting in a bench bed with five ladies around
him.<span style="mso-spacerun: yes;"> </span>He is relaxed washing his
hands.<span style="mso-spacerun: yes;"> </span>He is looking to the right,
corresponding to himself playing the drum from the previous part. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Separated by another screen and the bed, we enter into the
fourth scene. (Figure 13) This time Han Xizai is dressed in underwear exposing
his chest and stomach.<span style="mso-spacerun: yes;"> </span>There are
five ladies playing flute in front of him and another three ladies chatting
around him serving.<span style="mso-spacerun: yes;"> </span>In front of
another screen, Li Jiaming is playing a bamboo instrument and looking to Han
Xizai.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Behind Li Jiaming there is another screen.<span style="mso-spacerun: yes;"> </span>A man turns left and talks to a woman
at the other side of the screen. (Figure 18) They seem to be not only in scene
four but also in scene five.<span style="mso-spacerun: yes;">
</span>(Figure 14) Han Xizai is facing directly to the right with the
drumsticks. (Figure 19)<span style="mso-spacerun: yes;"> </span>In front
of him, a man is sitting caressing a lady erotically while another lady is
giving him a massage.<span style="mso-spacerun: yes;"> </span>(Figure 20)
Behind Han Xizai, a man trying to seduce Wang Wushan walking from left to
right.<span style="mso-spacerun: yes;"> </span>It seems to be a time of
some climax of the party in this scene.<span style="mso-spacerun: yes;">
</span>This last scene also reminds us of the second scene where Han Xizai is
knocking a drum accompanying Wang Wushan’s dance.<span style="mso-spacerun: yes;"> </span>It seems that this scene is before the second one but at the
same time maybe implies another round of party.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">We then finish the viewing and have to roll everything back
to the original hand scroll mode; therefore we have the chance to look back
swiftly, maybe spending a few more moments looking at some interesting parts
during the previous procedure.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">After this work is created in 970, during the next 1000
years, many Emperors and collectors collected the original painting.<span style="mso-spacerun: yes;"> </span>They wrote comments along side the
painting and extended the hand scroll.<span style="mso-spacerun: yes;"> </span>Hundreds of famous painters re-painted and coped the
original one.<span style="mso-spacerun: yes;"> </span>Night Revels of Han
Xizai becomes a canon in China’s art history and the story was told into many
different versions, eventually becoming different legends.<span style="mso-spacerun: yes;"> </span>It was not until 2000 that a
contemporary artist Wang Qingsong created a new version of Han Xizai and
reverberated this classical Chinese artwork, this time with a modern medium -
photography.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">CHAPTER 2 CONTEMPORARY CHINA BACKGROUND<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Within the last three decades from the 1980s, contemporary
art has developed significantly in China.<span style="mso-spacerun: yes;">
</span>Photography as an avant-garde medium is of no exception.<span style="mso-spacerun: yes;"> </span>Wang Qingsong constructed the
photographic work in 2000 and named it as “Night Revels of Lao Li” based on the
painting Night Revels of Han Xizai 1030 years ago.<span style="mso-spacerun: yes;"> </span>To analyse this work in Chapter 3, I would like to discuss
the social, cultural, economical and political background in this Chapter, presenting
a concise roadmap of the development of China art in this period.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">China after Dynasties<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Imperial China ended its last dynasty in 1911.<span style="mso-spacerun: yes;"> </span>From the late Qing dynasty, following
the Opium War from 1840, China had been invaded by foreign powers. The country
struggled in a series of civil and foreign wars and suffered with catastrophes
and continuous economic downturns.<span style="mso-spacerun: yes;">
</span>Comparing with other neighboring countries such as Japan, China had not
been open to the rest of the world and hence has been much less influenced by
the culture, science and politics from the west.<span style="mso-spacerun: yes;"> </span>There were sporadic innovations in politics, economics and
culture from the west but they never resulted in any major movements. GDP
contribution percentage to the global economy had been dropping since 1840 for
more than 100 years. <span style="mso-spacerun: yes;"> </span>Due to the
unprecedented havoc during the period, the culture production had been poor.
During the period, China’s art tradition had been doubted, adversely
challenged, negated and yielded by western art like in any other colonised
culture. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">A new government was formed in 1949 and the country has
become stable since then.<span style="mso-spacerun: yes;"> </span>After
China Communist Party became a major political and ruling force from 1930s,
politics played an important role in art, echoed by the Soviet Russia’s<span style="mso-spacerun: yes;"> </span>political art movement.<span style="mso-spacerun: yes;"> </span>Art came to serve the purpose of
politics and became a propaganda tool for the government.<span style="mso-spacerun: yes;"> </span>The “red, light, bright” public and
political idealism and realism became the mainstream to praise the success of
the government using an easy-to-understand utilitarian ways targeted at the
farmers, the major target.<span style="mso-spacerun: yes;"> </span>(Figure
21) Thousands of seminars, workshops and forums had been held to implement,
unify and instigate the political values to artists since 1930.<span style="mso-spacerun: yes;"> </span>Artists who did not follow the then
Zeitgeist were removed from important positions and even subject to prison
terms.<span style="mso-spacerun: yes;"> </span>This situation developed to
a climax in the notorious Cultural Revolution from 1966 till 1976.<span style="mso-spacerun: yes;"> </span>Thousands of intellectuals and artists
were repressed to death during the period by the government or government
affiliates.<span style="mso-spacerun: yes;"> </span>Mao’s principles of
utilitarian and mass art were accepted by most of the people, which had great
impact on the later development of art.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">China in Eighties and Nineties <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In 1979, China started to open up to the world and changed
its centralised and planned economic system to a market oriented one.<span style="mso-spacerun: yes;"> </span>Under the official art association
system, national galleries were still full of politically correct propaganda
art works but young amateur and un-official artists started to self-organise
exhibitions such as the milestone one, Star Fine Art Exhibition in 1979.<span style="mso-spacerun: yes;"> </span>(Figure 22) These ideological
emancipation movements in the art world reached to a climax in 1985 and created
the 85’ New Wave Movement, which studied, absorbed, and adopted the modern and
contemporary art from Europe and America pursuing individual and cultural
freedom.<span style="mso-spacerun: yes;"> </span>The movement and its
artworks were accepted into the official and national art systems. (Gao, 2006,
p23-32)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">After 1989, China social transitions accelerated. The
avant-garde art development lost its support from national art authorities and
was confronted with unrelenting ideological context and governmental
interference.<span style="mso-spacerun: yes;"> </span>Art activities
changed its front from the public to the underground.<span style="mso-spacerun: yes;"> </span>Cynical Realism and Political Pop became prevalent with many
artists coping, appropriating and deconstructing artistic works of the previous
“Cultural Revolution”,<span style="mso-spacerun: yes;"> </span>(Figure 23)
At the same time, new and diversified forms of art flourished with the
phenomenon of the artist’s village and apartment art.<span style="mso-spacerun: yes;"> </span>Around the second half of 1996, conceptual photography began
to emerge in contemporary Chinese art.<span style="mso-spacerun: yes;">
</span>For example, staged photography with Cultural Revolution themes appeared
frequently such as Wang Jinsong’s Standard Family and Zhuang Hui’s collective
photography,<span style="mso-spacerun: yes;"> </span>(Wu, 2005, p.148)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Around 1999, artist Hong Lei, Huang Yan and Wang Qingsong
used photography to revisit classical Chinese paintings. (Figure 24) They used
contemporary concepts and aesthetic strategies to transform and replace the
original significations of the traditional painting and produced many new
allegories with displaced visual impacts and strategies. Night Revels of Lao Li
was created during this period in 2000.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Lao Li in Contemporary China<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Lao Li in Night Revels of Lao Li is acted by “Lao Li”.<span style="mso-spacerun: yes;"> </span>The Chinese tend to address someone
with the surname and add “Lao” as an honorific. Lao means old literally in
Chinese. Lao Li is actually Li Xianting.<span style="mso-spacerun: yes;">
</span>He is one of the most influential contemporary art critics especially in
the 1980’s and 90’s, when Chinese contemporary art was emerging. He is
sometimes referred to as “the Godfather of Chinese contemporary avant-garde
art”. He organised one of the most important exhibitions, Star Fine Art
Exhibition, in 1979 and was the first to use the terms “cynical realism” and
“political pop” in China. He graduated from Chinese Painting Department,
Central Academy of Fine Art in 1978, and became the editor of Fine Art Magazine
until 1983. From 1985 to 1989 he was the editor of the authoritative China Fine
Art Newspaper, and was also active as an important independent critic and
curator based in Beijing henceforth.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">During his post, he published and edited hundreds of seminal
critiques most of which were considered to be heresy in the late 70’s and
80’s.<span style="mso-spacerun: yes;"> </span>At that time, the government
controlled most of the art magazines. Editors had to make sure all voices and
opinions were in accordance with the government values and propositions.<span style="mso-spacerun: yes;"> </span>Due to his straightforwardness and
audacity to say no to what he did not believe, he was demoted and made
redundant in 1983 from Fine Art magazine.<span style="mso-spacerun: yes;">
</span>(Li, 2000, p.38)<span style="mso-spacerun: yes;"> </span>He was
also summoned to clean his thoughts by authorities several times in his career.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In 2000, Wang Qingsong, a photographic artist, meticulously
planned a constructed photographic of Night Revels of Han Xizai but replaced
Han Xizai with Li Xianting addressed as “Lao Li”.<span style="mso-spacerun: yes;"> </span>He commented on his work as follows:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">“What has been haunting in my mind is the position and
destiny of the Chinese intellectuals’ experience in our history. In such an era
that lacks ideals, people have cast doubt on the heroes and ideals of the past.
I wanted to catch some scenes that describe such loss of hope and its
replacement with the desire for money and power. To compare the past and
present, I appropriated the old and known masterpiece “Night Revel of Han
Xizai” which was the best piece of Chinese traditional figure painting. This
old art piece reflected the then social life in the torrents of transformation,
and depicted the life of a worried intellectual and high official in Post-Tang
Dynasty, Han Xizai. He was powerless to fulfill his ideals of reconstructing
the country. To “cleanse” himself, he chose to evade and “indulge in” comfort.
After several centuries, even though the Chinese dynasties have changed
frequently, the status of intellectuals in society has remained the same. With
some thoughts on this question, I created “Night Revel of Lao Li”. It is a
portrait of contemporary Chinese reality in this new century, portraying the
situation of contemporary Chinese people, and of intellectuals in particular”.
(Wang, 2000)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">CHAPTER 3 IMAGE ANALYSIS <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">From its development in the second decade of the 20th
century, semiotics has been widely applied in the field of image analysis since
the 1960s. This chapter will apply semiotics tools in multiple ways to analyse
and discuss the photographic work Night Revels of Lao Li. In different sections
within this chapter, based on this foundation, I will first discuss the image
from the connotation and denotation point of view.<span style="mso-spacerun: yes;"> </span>I shall then extend the analysis and readings from an
allegorical dimension.<span style="mso-spacerun: yes;"> </span>Finally I
will discuss the work from an appropriation viewpoint in the relevant social
and cultural context with the introduction of post-modernism in the globalised
background.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Semiotics<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">W.J.T. Mitchell (1994) introduced the phrase “pictorial
turn” (p. 11-35). The phrase is used to describe the increasing importance of
image oriented in the textually dominant language world. Semiotics, originally
developed as a text language theory, is widely used in image or pictorial
language discussions. Language and image are made up of ‘signs’ through which
we make meanings. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">F. Saussure defined sign as being composed of a signifier –
the form that the sign takes and the signified – the concept it represents
(cited in Chandler, 2004). The two elements are related by
“signification”.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">CS Pierce categorised sign into three types:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Index: a mode in which the signifier is not arbitrary but is
directly connected in some way (physically or causally) to the signified.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Icon: a mode in which the signifier is perceived as
resembling the signified.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Symbol: a mode in which the signifier does not resemble the
signified but which is fundamentally arbitrary.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">(cited in Chandler, 2004, p. 36).<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Using these semiotics theories and devices, R. Barthes
developed theories by structuring signs into two levels. He introduced
denotation, connotation and myth. Denotation refers to “the literal meaning of
a sign” (Burgin, 1982, p.128) and connotation refers to “the meanings that lie
beyond denotation but are dependent on it”. (Burgin, 1982, p.128). After a sign
is formed by signification as the denotation procedure, the meaning acts as a
signifier of the second level – connotation. As the second level somehow
directs ideology and culture meaning in the society, Bathes called this second
level “myth”.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">1. Signifier<span style="mso-tab-count: 1;"> </span>2.
Signified<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;">
</span>3. Sign<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;"> </span>I SIGNIFIER<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;"> </span>II
SIGNIFIED<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;">
</span>III SIGN<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">(Barthes, 1977b, p.115)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">While the first level is usually clear and literal, the
second level will have a polysemic nature due to the arbitrary interpretation
from different angles and contexts. Dyer (1986) raised the issue “concept of
codes” (p.131). As codes are deeply rooted in the social, cultural and
ideological context of the observer their interpretation may vary.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In Night Revels of Lao Li, the verisimilitude of colour and
abundance of detail instantly correlates with our minds perception that this is
a photo work.<span style="mso-spacerun: yes;"> </span>The index
characteristic of the sign is demonstrated by the causal relationship of the
light reflected from the actual situation to the film or digital sensor of the
camera. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The image size is 96 x 600 cm not conventional for normal
photographic works.<span style="mso-spacerun: yes;"> </span>After careful
observation, we notice that it actually consists of five parts with repeating
appearance of some of the sitters.<span style="mso-spacerun: yes;">
</span>It is so long that we don’t know which side we should start to look
from.<span style="mso-spacerun: yes;"> </span>We understand it is taken in
a studio, as there is no inference from the background just a blue
backdrop.<span style="mso-spacerun: yes;"> </span>It seems that there is
no sense of time and space as all the scenes are seamlessly linked.<span style="mso-spacerun: yes;"> </span>We know it should be done by digital
technology, but why?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">There are five groups of people, both men and women. Some of
the ladies are playing instruments and some are serving men whilst others are
flirting with other men. Men are mainly sitting, looking and enjoying all kinds
of services and performances.<span style="mso-spacerun: yes;">
</span>Guitar, China flutes and colourful fans are used in the performances.
Men are dressed mainly in dark and grey colour.<span style="mso-spacerun: yes;"> </span>The ladies are dressed erotically with very colourful
costumes, resembling underwear. They all wear flamboyant clothing and heavy
make up.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">There are beds, tables, stools and screens, most of which
are obviously in the traditional Chinese style. There are fruits and beverages
on the tables.<span style="mso-spacerun: yes;"> </span>We see Coca-Cola
and the “Jack Daniel’s” whisky.<span style="mso-spacerun: yes;"> </span>We
also see a Chinese traditional stone art craft on a table.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Our common sense formed in the daily life and culture
context tells us instantly that this is probably a scene of a party in modern
China. It is a contemporary scene evidenced by the presence of cola and whisky
– not a traditional Chinese selection of drinks! We can infer that some of the
men are getting very intimate with some of the women by observing one sitting
relaxed in bed with a maid washing his feet whilst another massages his back.
We can also tell those ladies are probably not limiting their services to
entertainment only.<span style="mso-spacerun: yes;"> </span>There are also
a few girls sitting in the bed chatting in a relaxed fashion.<span style="mso-spacerun: yes;"> </span>The screen is covered with a cloth.<span style="mso-spacerun: yes;"> </span>We understand that the wooden screen is
to maintain privacy and with the draping cloth we can infer there has been some
level of high privacy taking place. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">We notice the title of the image as “Night Revels of Lao
Li”.<span style="mso-spacerun: yes;"> </span>This “anchoring” function of
the text verified our surmise of the location and further reacts to our
signification, which is the “relaying” function of the text. We are sure this
is a night party.<span style="mso-spacerun: yes;"> </span>We can infer
that Lao Li is the man in black as he repeatedly appears in the five scenes in
focal positions.<span style="mso-spacerun: yes;"> </span>While most
of others have facial complexions, Lao Li is always immersed into some kind of
thinking with a deadpan face in each scene, looking remorseful and probably not
happy at all.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">These meaning processes happen at the literal level, which
in our semiotics model, is the first signification level.<span style="mso-spacerun: yes;"> </span>This denotation is the ‘mechanical
analogue of reality’ (Barthes, 1977a, p.18) which then acts as a signifier and
pushes us to the next level - connotation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">We are all influenced by the media around us, from which we
know that China has opened to the world since the early eighties but democracy
has continued to suffer since this time. Continuous control of the ideology has
made it difficult for people to accept things and instead question
everything.<span style="mso-spacerun: yes;"> </span>What beliefs people
due have are void of any spiritual element, situation further eroded by the
utter commercialisation and globalisation sweeping modern China. The ethos,
“work hard, play hard” is subscribed to by the masses as the route to success
and dictates their lifestyles and aspirations. In this context we can surmise that
the moments captured in this image capture this moment in society. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The kitschy colours of woman’s dress, the carefree, sexy and
erotic interaction, foreign cola and whisky, as the symbols of “social
spectacle” (Debord, 1967), signified the change from a closed communism to an
open capitalism society. Deadpan expressions portray the numbness of feeling in
reality and feeling of loss in this fast developing economy and society. The
old Chinese traditional props such as furniture, flutes, and fans can be
interpreted as the old values of China. They co-exist with the newly developed
ideologies and cultures. Finally the whole scene seems to signify and is a
social comment that the present generation appears lost in making merry and
seems devoid of the idealism that has defined the distinctive Chinese culture
over the millennia.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Connotation makes meaning via a set of codes that are “the
forms of social knowledge which are derived from social practices and beliefs”
(Dyer, 1982, p.135). While the above is one of the semiotic reading, others who
understand China history especially art history will signify another level or
kind of connotation to be discussed in the next section.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Allegory<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The connotation suggested at the end of the previous section
is an allegorical reading. Allegory is allos agoreuei in Latin.<span style="mso-spacerun: yes;"> </span>It means to speak otherwise
(allos=other; agoreuei=to speak) – to tell one story through another.
Originally from literature, classical allegory had been widely used in art from
before the Renaissance until the emergence of modernism.<span style="mso-spacerun: yes;"> </span>Since the start of postmodernism, there
has been a resurgence of allegory in contemporary art. Intertextuality theory
in semiotics can help explain the allegorical process and the analysis of Night
Revels of Lao Li.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">One of the weaknesses of early structuralist semiotics is
that the study tends to consider the individual text or element of language.
Textual or pictorial, separate or discrete, it tends to consider only internal
structures.<span style="mso-spacerun: yes;"> </span>In the early eighties,
Julia Kristeva introduced intertextuality.<span style="mso-spacerun: yes;"> </span>She developed two axes: a horizontal axis connecting the
author and the reader, and a vertical axis connecting the text to other texts
(Kristeva 1980, p.69).<span style="mso-spacerun: yes;"> </span>Kristeva
claimed “every text is from the outset under the jurisdiction of other
discourses which impose a universe on it” (cited in Culler 1981, p.105).<span style="mso-spacerun: yes;"> </span>She proposed that we should shift our
focus to structuration meaning how the structure come into being rather than
only study the structure of a text or an element of a language.<span style="mso-spacerun: yes;"> </span>Later Mikhail Bakhtin developed this
theory further by suggesting that language is “dialogic” which means that when
a language is used, what we use is tied both to things said before and to
utterances that we expect to be made in the future.<span style="mso-spacerun: yes;"> </span>(Bakhtin, 1981)<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The concept of intertextuality argues that each element of
language exists in relations to others.<span style="mso-spacerun: yes;">
</span>For anyone who is either of a Chinese background or has some
understanding of Chinese art history, the artwork Night Revels of Lao Li
instantly signified another Chinese painting Night Revels of Han Xizai, as the
layout, scenes, and content are very similar.<span style="mso-spacerun: yes;"> </span>The modern photographic artwork directly alludes to the
painting more than 1000 years prior.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">We understand the social context of how this old painting
was commissioned and how the storyline of the content developed.<span style="mso-spacerun: yes;"> </span>Rather than a simple copy of a night
party scenes, this modern artwork manipulated and re-contextualised the old
vocabulary, in this case, the old painting. This signification and connection
give rise to an allegorical reading space.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Under our gaze, the content of the photographic work is
intercepted and supplanted by “something other”.<span style="mso-spacerun: yes;"> </span>We notice that the props and subjects were replaced with new
modern ones. Then after we conjure up the historical background and the old
story, combined with the contemporary contexts, the allegorical meaning is
generated and conveyed.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Craig Owen (1980, p.69) claimed, “the allegorist does not
invent images but confiscates them”. Wang Qingsong, as the author of this work,
did not invent the ‘truth’ but used a camera to confiscate the scenes.<span style="mso-spacerun: yes;"> </span>He used Night Revels of Han Xizai as a
vessel through which to convey something other.<span style="mso-spacerun: yes;"> </span>The allegorical meaning developed in horizontal axis,
between the photographer Wang Qingsong and the viewer, and in vertical axis,
between this artwork and the old painting. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Introduced and explained in Chapter 1, we understand Han
Xizai was a high-level government official and an important intellectual in Nan
Tang dynasty.<span style="mso-spacerun: yes;"> </span>He was deeply
dissatisfied with the Emperor’s incompetence in managing the country and the
government. Whilst he could do nothing to stop the government from
deteriorating, he indulged himself in this wild night revels life style to
declare his displaced belief and the ambivalence to the Emperor and his
concurrent peers and at the same time to protect himself.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The photographic work is constructed yet not fictional.<span style="mso-spacerun: yes;"> </span>Lao Li, i.e., Li Xianting is an
important art critique and was repressed due to his insistence to speak freely
the ideas different from the then government.<span style="mso-spacerun: yes;"> </span>Like Han Xizai, he could not do anything to change the
situation either.<span style="mso-spacerun: yes;"> </span>The photographer
Wang Qingsong knows Lao Li well and considered this situation as a typical one
in contemporary China. He constructed scenes copying the old painting and
invited Lao Li to replace Han Xizai. Modern props replaced the traditional ones
such as food, costume, and etc.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Within this constructed reality, an allegorical
signification takes place and we start to use the old painting to learn the
message that the contemporary intellectuals position is the same as that of
more than 1000 years ago when China was feudal imperial.<span style="mso-spacerun: yes;"> </span>Wang Qingsong deconstructs the readings
of the pre-existing interpretation and supplants one with another.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In an allegory, “the image is a hieroglyph; an allegory is a
rebus – writing composed of concrete images” (Benjamin, 1938, cited in Owens
1980, p.84)<span style="mso-spacerun: yes;"> </span>“Night Revels of Lao
Li” is a political and historical allegory.<span style="mso-spacerun: yes;"> </span>What is depicted in the photograph is not just a group of
modern people partying but a social and political phenomenon with multi layered
allegorical significance such as democracy, freedom, commercialisation and
spectacle.<span style="mso-spacerun: yes;"> </span>We “super-induce a
vertical or paradigmatic reading of correspondences upon a horizontal or
syntagmatic chain of events”. (Owens, 1980, p.96)<span style="mso-spacerun: yes;"> </span>Owens considered this as Barthes’ “obtuse meaning” and
explained as something to do with disguise. (p.97) It is identified with
“isolated details of make-up and costume (which properly belong to the literal
level)” (Owens, p.98) and proclaims their artifices through excess.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Photography is an indexical surface functioning as allegory
signifiers.<span style="mso-spacerun: yes;"> </span>The allegorical obtuse
meaning is the “third meaning” following literal and symbolic ones.<span style="mso-spacerun: yes;"> </span>It is the third surface, under which we
deconstruct the presumed meanings of the images and reconstruct another reality
with the intervention of obtuse meaning.<span style="mso-spacerun: yes;">
</span>Night Revels of Lao Li draws historical and current reference reflecting
allegorical enigmatic and complex realism.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">This art making strategy is called appropriation.<span style="mso-spacerun: yes;"> </span>It has a further potential in
signification process in the social, cultural and art context.<span style="mso-spacerun: yes;"> </span>It is more complex than both the first
signification discussed as denotation and connotation and the second
signification as the allegorical readings.<span style="mso-spacerun: yes;"> </span>I would like to discuss this further in the next section
within its social and historical context.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Appropriation<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Appropriation literally means the process of making
something one’s own.<span style="mso-spacerun: yes;"> </span>In art, it is
defined as the creation of a new work by borrowing pre-existing and
already-authored images materials and objects with little or no transformation
applied to them. (Chilvers, 2009, p.27) An artist may borrow from a variety of
sources including artworks in history or everyday objects. One of the early and
important example of appropriation is Marcel Duchamp’s L.H.O.O.Q in 1919.
(Figure 30) Duchamp painted two moustaches on the classical work of DaVinci’s
Mona Lisa.<span style="mso-spacerun: yes;"> </span>Since then
appropriation has became an artistic tool, especially important and popular in
post-modernism western from Pop Art movement in late fifties and sixties.<span style="mso-spacerun: yes;"> </span>In this section I would like to discuss
appropriation in general and its background post-modernism.<span style="mso-spacerun: yes;"> </span>Then I will discuss how this
international trend influenced China contemporary art.<span style="mso-spacerun: yes;"> </span>Lastly I will discuss and analyse the
usages of appropriation and parody in the work, Night Revels of Lao Li.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">To understand how appropriation became widely used in art in
the second half of twentieth century, it is crucial to understand the social
and cultural context of post-modernism, a continuation of modernism.<span style="mso-spacerun: yes;"> </span>Modernism, as the successor of
Romanticism rejected the previous religion related and authority dominated
artistic values. The individual subjective experience became more
important.<span style="mso-spacerun: yes;"> </span>The onset of<span style="mso-spacerun: yes;"> </span>the industrial revolution and rapid
technologic progress and socio-political rumblings, led to the development
of<span style="mso-spacerun: yes;"> </span>Modernism “involving the
pursuit of change for its own sake and issuing in forms of militant
avant-gardism and experiment”. (Harrion, 1997, p.11) During the period roughly
from the 1860s to the 1970s, visual art underwent radical changes from Édouard
Manet’s “The Luncheon on the Grass” (1863) (Figure 31) through Impressionism,
Futurism, Cubism, and at the turn of the century to Abstract Expressionism.
Greenberg was one of the key art theorist of the time. His high formalism
claimed that art has to liberate itself by removing ideas and meaning, from its
content. Only then, can art purify itself to a higher form and become distinct
from mass culture. “The significant form” becomes the reflection and expression
of artist’s emotion and self. Self-criticism developed out of this process via
continual avant-garde works.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The literal meaning of Postmodernism is “after modernism”.
However, it refers to a complicated movement in a wide range of aspects
including cultural, social, philosophical and other areas from mid 20th
century. Postmodernism is difficult to define, because to define it would
violate the postmodernist's premise that no definite terms, boundaries, or
absolute truths exist. Heartney (2001) used Narcissus’s reflection in water as
the analogy saying the postmodernism disintegrates the moment one reaches out
to grasp it. Postmodernism is a reaction towards modernism and a reflection of
the conditions of our time.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Postmodernism rejects the methodology of rationalization,
which itself originated from the Enlightenment period. It questions and
deconstructs the system and foundation upon which science, culture, and society
are based and developed. It considers that any assertion of truth and any
appeal to nature, principle or system are purely sham. It argues that reality
is fragmented with many old assumptions not unitary. Pluralism exists in
culture, art, society etc. There is no universal foundation standard as
pluralism has its own context. There is no right or wrong, superior or
inferior, nothing is out of context. Same thing could lead to different
perceptions in different contexts. We can no longer judge on the grounds of
truth, knowledge and justice. Lyotard claimed that “grand-narratives” is
substitute by “mini-narratives”.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">In visual art, postmodernism was a deliberate rejection of
modernism practice, theory, and criticism – especially Abstract Expressionism
and the formalist criticism of Clement Greenberg’s modernism dogma. Pop Art and
Conceptual Art are major movements that attack this dogma and appropriation is
one of the tools. The art movement inherited the method of commercial kitsch
from Pop Art and followed the approach to involve the viewer as part of the
work against Greenberg’s “high art”. It deliberately abandoned the artist’s
self, sometimes employing highly mechanical constrictions in creating works as
a rejection of Greenberg’s “emotion and feeling”. All these attribute to the
reaction and reflection against modernism. It questioned and deconstructed the
modernism art system and it offered a great plural art form to postmodernism
art. It is of “mini-narratives” in the historical context when pure formalism
thoughts dominate the art world, which is opposed to the fact that the movement
eventually walked into art institution - the “grand-narrative” in modernism
art.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Postmodernism, as the continuation, reaction, reflection
against modernism, provided a much-needed corrective to the exclusionary and
falsely universal worldview of Greenberg-style modernism.<span style="mso-spacerun: yes;"> </span>Postmodernism is the avant-garde
movement to develop modernism.<span style="mso-spacerun: yes;"> </span>It
is within this context appropriation became one of a major tools to confront
previous canon work, question authority and follow the post modernism trend.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">China followed a different time frame.<span style="mso-spacerun: yes;"> </span>Appropriation art and other avant-garde
art approaches appeared in China 30 years later. There had been wide use of
appropriation only in the early 90’s when political pop became a major
movement.<span style="mso-spacerun: yes;"> </span>Artists like Wang
Guangyi (Figure 23), Zhang Hongtu and others appropriated mainly propaganda
images and materials from Cultural Revolution to create many social critique
works.<span style="mso-spacerun: yes;"> </span>Then it is up till the end
of 90’s did some artists start to appropriate traditionally and historically
classical canons to confront self-expression in their work.<span style="mso-spacerun: yes;"> </span>These artworks use methods of
appropriation that evoke and alter works, images and concepts essential to
China history and re-contextualise to convey new messages.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The social, economic, cultural and political complications
in China in the last 150 years resulted in this delay.<span style="mso-spacerun: yes;"> </span>As discussed in the earlier chapters,
foreign invasions in the late 19th and early 20th century together with long
period of civil wars reaped unprecedented havoc in the country.<span style="mso-spacerun: yes;"> </span>Art and cultural development within
this period was rather limited.<span style="mso-spacerun: yes;">
</span>With the government stabilized after 1949, the ensuing communisms
utilitarian art movement stifled intellectuals’ and artists’ originality and
disconnected China from the rest of the world.<span style="mso-spacerun: yes;"> </span>The ten year long Cultural Revolution in sixties and
seventies deeply suppressed all forms of culture and artistic creation.<span style="mso-spacerun: yes;"> </span>Therefore different to the west, there
had been no “self-reflected” and “significant form” purification process like
what occurred in the early 20th century.<span style="mso-spacerun: yes;">
</span>There had been no social, cultural and political context like previous
western modernism for this country to step into the postmodernism.<span style="mso-spacerun: yes;"> </span>When China opened its doors to the
world, adopting economic reform in the late seventies and early eighties the
changes radically altered all aspects of Chinese society including social,
cultural, political and economical aspects.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Russian Soviet Realism had been dominating art in China. The
system had been rigid, not accepting any other art form.<span style="mso-spacerun: yes;"> </span>Anyone who dared to use any other art
form would be thrown out of the official art system, which was the only art
circle at that time.<span style="mso-spacerun: yes;"> </span>The system
was like a factory with sets of rigid rules to create art.<span style="mso-spacerun: yes;"> </span>For example, for any sketch, the
background had to be in a dark grey colour, for high key areas 2B pencil had to
be used, for shadow areas, 4B pencil had to be used, students sketch otherwise
would be doomed to fail in exams.<span style="mso-spacerun: yes;">
</span>(Wang, 2010, p.232)<span style="mso-spacerun: yes;"> </span>Any
other form would be branded as capitalism thought and would be criticized or
even punished.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Additionally, Chinese art education had been traditionally
conservative.<span style="mso-spacerun: yes;"> </span>For thousands of
years, not only in art but also in literally everything such as literature,
calligraphy and music “Fang” has always been the key process.<span style="mso-spacerun: yes;"> </span>“Fang” means copying in Chinese.<span style="mso-spacerun: yes;"> </span>It is prescribed that students should
train their techniques by copying from past masters and referring to the
masterpiece of classical paintings and the fixed set of conventions of subjects
and compositions.<span style="mso-spacerun: yes;"> </span>An artist could
spend most of or even all of the life copying canon works sometimes even
without creating their own. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">For decades due to the closed nature of the country people
knew nothing about the west and artists were ignorant of how western art
developed at all.<span style="mso-spacerun: yes;"> </span>When the doors
opened in the eighties an despite the lack of readiness to digest and accept
western new techniques and thoughts, the cultural and art circle started to be
vibrant out of a sudden. The system at that time was yet to catch up and art
was yet to be free from system checks. Within a couple of years, contemporary
Chinese art was swarmed with new, radical, and interesting art works,
exhibitions and movements.<span style="mso-spacerun: yes;">
</span>Modernism and Post Modernism art technique and strategies had been used
at the same time.<span style="mso-spacerun: yes;"> </span>As Martina
Koppel-Yang (2004) argued in Semiotic Warfare, <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">“Contemporary Chinese art should not be understood as a copy
of Western modernity or Post-modernity, but… ‘as a set of cultural
translations’.” (p.126)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">To China, this period was a cultural phenomenon, a social
experience and an ethos or spirit, which challenged people and society to
explore something new and unknown in uneven means. In the current context of
China, post-modernity should not be understood as a coherent response to the
decline of modernity, but rather as a range of responses to all sorts of
phenomenon of pre-modernity, modernity and post-modernity.<span style="mso-spacerun: yes;"> </span>It was within this context
appropriation started to be used and became a mature art techniques in contemporary
China. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The previous semiotics theory can also be used to understand
this.<span style="mso-spacerun: yes;"> </span>With the basis of myth
formation as part of a process of signification, Barthes explained in his book
Mythologies (1957) that dominant culture is seen to operate through
appropriation:<span style="mso-spacerun: yes;"> </span>It abstracts the
specific signified into social groups into general signifiers that are then
consumed as cultural myths.<span style="mso-spacerun: yes;"> </span>By the
same token, the culture and institution appropriate a well-known or favourite
work and mythify it as a canon or a popular reference.<span style="mso-spacerun: yes;"> </span>Then Barthes proposed a
counter-appropriation: <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">“Truth to tell, the best weapon against myth is perhaps to
mythify it in its turn, and to produce an artificial myth: and this
reconstituted myth will in fact be a mythology… All that is needed is to use it
as a departure point for a third semiological chain, to take its signification
as the first term of a second myth.” (p.135) <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Much appropriation art flourished in the seventies and
eighties in the west.<span style="mso-spacerun: yes;"> </span>These arts
followed Barthes’ strategy: to break apart the authoritarian mythical sign, to
appropriate some or all of them in a critical montage, and then to circulate
this new artificial myth in turn. Douglas Crimp (1977, p.27) defined
appropriation into two categories:<span style="mso-spacerun: yes;">
</span>regressive and progressive.<span style="mso-spacerun: yes;">
</span>Regressive appropriation is to find and mimic historical style and
content while progressive is to utilize current everyday material such as ready
made. Duchamp’s L.H.O.O.Q appropriated Mona Lisa myth in this way challenging
the definition of canon. Most of the Pop Art in the sixties created new myths
using a progressive appropriation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Night Revels of Lao Li on the other hand used appropriation
both regressively and progressively.<span style="mso-spacerun: yes;">
</span>China economy took off especially in late 90’s.<span style="mso-spacerun: yes;"> </span>The market economy continue to develop
further following the economic reform in the 80’s, and the whole society was
abandoning everything to frantic consumerism.<span style="mso-spacerun: yes;"> </span>Drinking Coke and eating McDonalds became fashionable
symbols.<span style="mso-spacerun: yes;"> </span>Colourful polyester
garments were replacing the grey and dark uniform like clothes.<span style="mso-spacerun: yes;"> </span>Old values such as Maoism and Confucius
were replaced gradually by lust for Epicureanism. Like previous pop art
artists, Wang selected every day symbolic items and appropriated them in his
work.<span style="mso-spacerun: yes;"> </span>We see kitsch colours,
costumes and props such as the symbolic Coke, whisky, and colourful sexy dress
in Night Revels of Lao Li.<span style="mso-spacerun: yes;"> </span>He used
this technique to explore the dynamic change and the resulted confusion and
contradictions of a country overwhelmed by the unprecedented market economic
and social reform.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">The colourful kitsch has another dimension of reading in
China, too.<span style="mso-spacerun: yes;"> </span>The communist
utilitarian art thoughts dominate China art for decades.<span style="mso-spacerun: yes;"> </span>One of the important advocates is to
create artwork for the mainstream.<span style="mso-spacerun: yes;">
</span>For thousands of years Chinese art had developed as a language only for
intellectuals.<span style="mso-spacerun: yes;"> </span>To please the major
force of the revolution, the government would like to create an easy art form
for the farmers as they accounted for the majority of the population. (Li,
1999, p.19)<span style="mso-spacerun: yes;"> </span>Farmers in China
traditionally like rather colourful paintings especially for Chinese New
Year.<span style="mso-spacerun: yes;"> </span>There is a strong tradition
that every household buys paintings for the New Year, which are normally very
colourfully created by government sponsored proletariat artist.<span style="mso-spacerun: yes;"> </span>(Figure 32) Wang de-contextualised the
typical kitsch colour out of the farmer’s surroundings and used it in this work,
a photographic re-made of a canon masterpiece in China art history.<span style="mso-spacerun: yes;"> </span>When it lost the down-to-earth farmer
context, these kitsch colours start to echo commercialism and farmers taste and
to act as an irony and satire for the social status quo.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Wang also regressively appropriated the classical painting
Night Revels of Han Xizai.<span style="mso-spacerun: yes;"> </span>The
long scrolls format, the five scenes setup, the storylines are all copied from
the original work.<span style="mso-spacerun: yes;"> </span>He used modern
dressed people and props to re-stage and mimic a scene 1000 years ago.
Interestingly, while the painting was documenting the new work using the
pencil-of-light photography medium constructed the scene.<span style="mso-spacerun: yes;"> </span>It is fictional yet not exactly. Wang
invited one of the top contemporary intellectuals Li Xianting to replace the
hero of the painting Han Xizai.<span style="mso-spacerun: yes;">
</span>While the scene is fake, constructed and fictional, Li Xianting is
real.<span style="mso-spacerun: yes;"> </span>He stepped into a time and
space deadpan and bewildered.<span style="mso-spacerun: yes;"> </span>The
story and scene was from the past but it seems to have occurred in the modern
times complete with modern surroundings.<span style="mso-spacerun: yes;">
</span>The studio cleansed all the traces of time and space like the painting
1000 years ago.<span style="mso-spacerun: yes;"> </span>It created a third
space, in which the old and the new became convoluting and co-existing.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Wang, the photographer, was in each of the frame too.<span style="mso-spacerun: yes;"> </span>In the first scene he was hiding behind
the screen like a voyeur; in the second scene he was hiding behind the curtain;
in the third he was sitting just in front of the curtain talking to a mobile
phone; the fourth beside a stainless rubbish can sipping coke looking towards
the whole room; and finally sitting and looking to ground as if in
contemplation.<span style="mso-spacerun: yes;"> </span>He was part of the
group physically but at the same time he was not engaging, so he seemed, on the
other hand, not from the concurrent group.<span style="mso-spacerun: yes;"> </span>At the beginning he was half hiding, then he was relaxed
sitting in the space, and at last he seems deep in thought.<span style="mso-spacerun: yes;"> </span>There is another space here, that of Wang’s
thoughts.<span style="mso-spacerun: yes;"> </span>He is an outsider but at
the same time an insider; a contemporary figure but at the same time maybe from
1000 years ago too, from Night Revels of Han Xizai.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Night Revels of Lao Li blurred traditional China, modern
China and the globalised west.<span style="mso-spacerun: yes;"> </span>It
asked many questions to art, politics, culture and many other aspects in
contemporary China.<span style="mso-spacerun: yes;"> </span>It also
redefined China semantic mechanisms.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">CONCLUSION<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">John Calvin Ferguson researched the painting Night Revels of
Han Xizai and found that there are 18 versions created after Gu Hongzhong’s
original one. (Ferguson, cited in Lei, 2008, p.293) We can infer that there
should be at least dozens or even hundreds more of versions of Night Revels of
Han Xizai painted by other painters in history as most of them probably got
lost or damaged in the prevailing millennia.<span style="mso-spacerun: yes;"> </span>There are also dozens of books on this painting published,
explaining, analysing and commenting this canon work.<span style="mso-spacerun: yes;"> </span>One of the books written by Michael Sullivan even mentioned
Wang Qingsong’s appropriated photographic work. Sullivan commented Wang’s work <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">“…a somewhat tasteless work that claims to be a satire on
China’s current flirtation with Western culture, and succeeds only in
diminishing the original” (2008, p.74)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Night Revels of Lao Li may look bazaar or tasteless from a
pure visual or formal point of view.<span style="mso-spacerun: yes;">
</span>However the content – the multi layered semiotic readings behind the
work are far from tasteless.<span style="mso-spacerun: yes;"> </span>It is
one of the milestone art works in China Contemporary Art History.<span style="mso-spacerun: yes;"> </span>To understand the work, the social and
cultural context has to be thoroughly analysed and understood.<span style="mso-spacerun: yes;"> </span>Therefore, in this dissertation, being
mindful that the readers are western, I purposely spend a significant part of
the length to explain the social, cultural and political background for both
Night Revels of Han Xizai and Lao Li.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Especially for the work Night Revels of Lao Li, as its
context is rather complex with a globalised western background, I introduced
the western influence to the social, cultural and political aspects in
China.<span style="mso-spacerun: yes;"> </span>Being Chinese, I tried to
analyse and discuss from an insider’s point of view, however at the same time I
used some western theoretical frameworks such as semiotics, allegory and
appropriation to analyse the work.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Above all my aim is to go beyond the obvious political and
social commentaries on this photographic work. Instead I focus on the
indigenous sources of cultural self-understanding and self-correction within
China cultural context.<span style="mso-spacerun: yes;"> </span>Given the
complex nature of contemporary China’s relationship with the west, the dichotomy
of East and West must be taken into account. I consider this dichotomy as
symptomatic social, cultural and political pressures, not as a given which
exists in reality but as a system to understand two amorphous concepts.<span style="mso-spacerun: yes;"> </span>This dichotomy is especially important
to China contemporary art from early 80’s when China opened its doors to the
west.<span style="mso-spacerun: yes;"> </span>With this in mind, I
introduced western postmodernism and its background related to the concurrent
east for a better understanding of the context to the photographic work.<span style="mso-spacerun: yes;"> </span>Then using the semiotics, allegory and
appreciation theories, I discussed and presented multi layers of reading for
reference and some conceptual space for further engaging and studying.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Night Revels of Lao Li is a pastiche with less props, acts
and even numbers of sitters.<span style="mso-spacerun: yes;"> </span>From
the literal point of view, the painting of Han Xizai may be much more
interesting, pleasant and engaging.<span style="mso-spacerun: yes;">
</span>However, as a product from an avant-garde way of contemporary art
making, Night Revels of Lao Li is no doubt a complex presentation in China’s
concurrent context.<span style="mso-spacerun: yes;"> </span>It is one of
the milestone artworks, which demonstrates that photography became a mature
medium in contemporary China art.<span style="mso-spacerun: yes;">
</span>Before Wang’s Night Revels of Lao Li, photography usage in China art was
stagnated in pure documenting stage. It was like that of pre-conceptual art
movement in western art history when photography acted as a proof to record the
conceptual art process.<span style="mso-spacerun: yes;"> </span>Wang’s
constructed photography gives photography confidence to exert its pictorial
potential to emulate its bother, the medium of painting.<span style="mso-spacerun: yes;"> </span>This work in China contemporary art
history can be compared with Jeff Wall’s A Picture for Woman (1979) in the west
contemporary art history, which appropriated Édouard Manet’s Le Bar aux Folies-Bergère
(1881).<span style="mso-spacerun: yes;"> </span>(Figure 33 & 34)<span style="mso-spacerun: yes;"> </span>Night Revels of Lao Li opens more
possibility to utilise China’s thousands years of classic art and cultural
heritage and propel contemporary art to the next era.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">(WORD COUNT 9856) <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">FIGURES<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">BIBLIOGRAPHY<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
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<div class="MsoNormal" style="text-align: left;">
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<div class="MsoNormal" style="text-align: left;">
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<div class="MsoNormal" style="text-align: left;">
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<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Bakhtin, Mikhail (1981) The Dialogic Imagination: Four
Essays. translated by C Emerson & M Holquist. Austin, TX: University of
Texas Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Barthes, Roland (1977) Image-Music-Text. translated by
Stephen Heath. New York: Hill and Wang.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Barthes, Roland (1977) Mythologies. translated by Annette
Lavers. New York: Hill and Wang.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Burgin, Victor (1982) Thinking Photography. London:
Macmillan.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Chandler, Daniel (2004) Semiotics: The Basics. London:
Routledge.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Chilvers, Ian & Glaves-Smith, John eds. (2009) Dictionary
of Modern and Contemporary Art. Oxford: Oxford University Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Craig, Clunas (1997) Art in China. Oxford: Oxford University
Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Crimp, Douglas (1995) On the Museum’s Ruins. Cambridge: MIT
Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Culler, Jonathan (1981) The Pursuit of Signs: Semiotics,
Literature, Deconstruction. London: Routledge & Kegan Paul.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Debord, Guy (1977)<span style="mso-spacerun: yes;">
</span>The Society of the Spectacle. translated by Fredy Perlman and Jon Supak.
New York: Black & Red.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Dyer, Gillian (1982) Advertising as Communication Method.
London: Routledge.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Gao, Minglu, (2006) The Wall: Reshaping Contemporary Chinese
Art. Beijing: China People’s University Press. (In Chinese)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Heartney, Eleanor (2001) Postmodernism. London: Tate.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Harrison, Charles (1997)<span style="mso-spacerun: yes;"> </span>Modernism. London: Tate.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Köppel-Yang, Martina (2004) Semiotic Warfare: Chinese
Avant-Garde, 1979-1989. A Semiotic Analysis. Hong Kong: Blue Kingfisher.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Kristeva, Julia (1980) Desire in Language: A Semiotic
Approach to Literature and Art. New York: Columbia University Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Li, Xianting<span style="mso-spacerun: yes;">
</span>(1999) Some More Thoughts on the Raison d’Etre of Gaudy Art (Ouh La La
Kitsch!).<span style="mso-spacerun: yes;"> </span>Changsha: Hunan Fine Art
Press. (in Chinese)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Li, Xianting (2000) The Important Thing is not Art Nanjing:
Jiangsu Fine Art Press. (In Chinese)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Lei, Shaofeng (2008) A Discussion of Night Revels of Han
Xizai. Changsha: Hunan Normal University Press. (In Chinese)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Lutgens, Annelie & Smith, Karen (2005) The Chinese:
Photography and Video from China.<span style="mso-spacerun: yes;">
</span>Ostifildern: Hatje Cantz Publishers.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Mitchell, W.J.T. (1994) Picture Theory. Chicago: University
of Chicago.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Owens, Craig (1980) “The Allegorical Impulse: Toward a
Theory of Postmodernism.” (1992) in Scott Bryson, Barbara Kruger,Lynne
Tillman,and Jane Weinstock eds., Beyond Recognition: Representation, Power, and
Culture. Berkeley: University of California Press.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span class="Apple-style-span" style="font-size: large;">Philips, Christopher, (2004) ed. Between Past and Future:
New Photography and Video from China.<span style="mso-spacerun: yes;">
</span>New York: ICP.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: left;">
<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Sullivan, Michael (1977) The Arts of China. Berkeley:
University of California Press.<o:p></o:p></span></div>
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<br /></div>
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<span class="Apple-style-span" style="font-size: large;">Sullivan, Michael (2008) Night Entertainments of Han Xizai.
Berkley: University of California Press.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Wang, Peggy (2010) Contemporary Chinese Art: Primary
Documents. Durham: Duke University Press.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Wang, Qingsong (2000) Available at<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">http://www.wangqingsong.com/index.php?option=com_content&view=article&id=58&Itemid=12&lang=en<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Accessed: 03/03/2012.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Wu, Hung (1997) The Double Screen: Medium and Representation
in Chinese Painting. Chicago: University of Chicago Press<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Wu, Hung (2007) Making History: Wu Hung on Contemporary
Chinese Art and Art Exhibition. HongKong: Timezone 8.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Zheng, Wei<span style="mso-spacerun: yes;">
</span>(2005) China Art History. Beijing: Beijing Publishing Group. (In
Chinese)<o:p></o:p></span></div>
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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-60470900771692115822013-05-01T14:47:00.000-07:002013-05-05T15:54:33.327-07:00MP - THE LAST CRIT<div dir="ltr" style="text-align: left;" trbidi="on">
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Nostalgia and sentimental, a bit, with the passion fading away as the process is finishing. Sometimes you do need a little bit tension to get something out of you. Now the tension is replaced with the routine busy work and life chores. These noises and distractions are getting bigger and louder and I started to forget my ever burning aspiration. I have not been to the campus site for a long time and today's visit clicked open lot of thoughts. So it goes the last crit. I had finished literally everything and had thought I would not change anything at all. However, the discussions, comments and suggestions never fails to surprise me, in a such a good way. Mainly on text and edit. The crit gives me more engagement and thoughts on my subject and the project. I think I will be making some fine tuning this week to re-finalise the project. </div>
SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-58443504044012810892013-04-30T13:58:00.000-07:002013-04-30T13:58:00.590-07:00TAKE A BREAK - LIGHT SHOW @ HAYWARD<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">Visitors are more than ever, at least from my experience,
probably because this Light Show is very playful.<span style="mso-spacerun: yes;"> </span>I think I can soak myself there for a few good hours, but as
always, there is a dimension in time…<span style="mso-spacerun: yes;">
</span>I particularly like Leo Villareal’s Cylinder II (2012).<span style="mso-spacerun: yes;"> </span>I feel I am moved by it and I feel I am
lost in the infinity of the universe or just nothingness.<span style="mso-spacerun: yes;"> </span>There is a melancholia inside me
feeling this wonderful objects.<span style="mso-spacerun: yes;"> </span>The
intensity and speed of the thousands of the LED mini lights changes; the light
shimmer, glow, appear to rise and fall or oscillate, become dim and then quite
bright.<span style="mso-spacerun: yes;"> </span>The sequencing has no
beginning, middle or end.<span style="mso-spacerun: yes;"> </span>Anyway,
I dream to have such a lighting installation in my home!<span style="mso-spacerun: yes;"> </span>I love lights, all sorts!</span></div>
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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-12727363563333437182013-04-11T17:03:00.000-07:002013-04-11T17:03:00.214-07:00MP - FURTHER RESEARCH - JOHN KIPPIN<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">Many artists are excellent in texts. I still remember how far reaching the impact after I saw Victor Burgin's works. Now, following Silke's leads and recommendation, I found John Kippin's work interesting. One of the things is that he go beyond the topographical approach, and all images in his project has a lot more as they are composed differently. I think I need to move away from the rigorously engineered Dusseldorf approach, I need some intuition and dynamics. I remember I used to be fascinated by Becher style, now I am fed up somehow... keep changing...</span></div>
SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com2tag:blogger.com,1999:blog-1334532835983464096.post-66106893354646117312013-04-10T16:59:00.000-07:002013-04-10T16:59:00.126-07:00MP - FURTHER RESEARCH - WILLIE DOHERTY <div dir="ltr" style="text-align: left;" trbidi="on">
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I like text inter play with image. It always create a third space. Another artist using text here...</div>
SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0tag:blogger.com,1999:blog-1334532835983464096.post-44290561402234123342013-04-09T15:58:00.000-07:002013-04-09T15:58:00.146-07:00MP - FURTHER RESEARCH - JENNY HOLZER<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">Holzer belongs to the feminist branch of a generation of artists that emerged around 1980, looking for new ways to make narrative or commentary an implicit part of visual objects. Her contemporaries include Barbara Kruger, Cindy Sherman, Sarah Charlesworth, and Louise Lawler.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">Holzer is mostly known for her large-scale public displays that include billboard advertisements, projections on buildings and other architectural structures, as well as illuminated electronic displays. The main focus of her work is the use of words and ideas in public space. Originally utilizing street posters, LED signs became her most visible medium, though her diverse practice incorporates a wide array of media including bronze plaques, painted signs, stone benches and footstools, stickers, T-shirts, condoms, paintings, photographs, sound, video, light projection, the Internet, and a Le Mans race car.</span></div>
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<span class="Apple-style-span" style="font-size: large;">Then I saw one of her works in the Light Show at Hayward Gallery.</span></div>
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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com1tag:blogger.com,1999:blog-1334532835983464096.post-30828768708981866362013-04-08T15:46:00.000-07:002013-04-08T15:46:00.051-07:00MP - FURTHER RESEARCH - HAMISH FULTON<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-size: large;">Hamish Fulton is a land artist.<span style="mso-spacerun: yes;"> </span>What is interesting is that unlike Richard Long he used lots
of texts.<span style="mso-spacerun: yes;"> </span>The text layout are
quite interesting.<span style="mso-spacerun: yes;"> </span></span></div>
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SONG, Kunhttp://www.blogger.com/profile/12138659658426751225noreply@blogger.com0