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Portrait freedom of birds , which can feel the air on their wings as they take flight .
Retrato a la libertad de las aves, que pueden sentir el aire en sus alas mientras alzan el vuelo.
Chinese Shadow Play Know as the “magic of the East ” among Europeans ,Chinese shadow play is a kind of drama in which silhouettes made of hard paper and hide are projected onto a white screen. The performer manipulates the characters behind the screen while singing the libretto to tell the story. The story-telling is accompanied by music. Chinese shadow play, which came into being during the Han Dynasty(202 BC-220AD) in northwest China’s Shaanxi Province, spread to South Asia, Central Asia, West Asia and North Africa in the 13th century, and to Europe in the 17th century. The famous German poet Goethe staged European opera in the form of Chinese shadow play, and modern movies derived, in part, from this Chinese ancient art. The ancient art gradually fell from the limelight due to the impact of modern audio-visual media such as television and movies. Many shadow play groups have been disbanded, and many of the talented artists have died. In many areas, certain types of plays and the art of performance are actually nearing extinction. But in recent years, there has been a revival of this art, and it has staged quite frequently in Europe and the United Stages. Shi Chenglin, a shadow play artist from Huanxian County, has presented the art in Italy, a county renowned for its opera. Since 1987, the Chinese Gansu shadow play Troupe has staged 24 Daoqing shadow plays in 13 cities including Rome, Venice, Milan and Florence. The performances have sparked strong interest among European audience. In Italy, the audience swarmed to the stage following the performance, eager to understand the “story behind the screen”. Some even offered 50,000 US dollars to buy the stage set. The wonder of the shadow play lies in its application of local culture rather than well constructed stage set. If one is unfamiliar with the customs of northwest China, the value of the art is abated. The globalization of the world economy is assimilating all forms of arts. But China must return to its traditional arts to maintain its special cultural characteristics. Both Chinese artists and the government are making great efforts to conserve and propagate the ancient art form.
wenku.baidu.com/link?url=BpG-m0BTc88HS1BecrXOYIoH2q4WbP7F...
More than 2000 years ago, a favorite concubine of Wu Emperor of the Han Dynasty died of illness; the emperor missed her so much that he lost his desire to reign. A minister called Li Shaoweng made a cotton puppet of the concubine and painted it. As night fell, he invited the emperor to watch a rear-illuminated puppet show behind a curtain. The emperor was delighted and took to it from then on. Recorded in the book titled “The History of the Han Dynasty”, this love story is believed to be the origin of shadow play.During the Qing Dynasty, Chinese shadow play reached its peak. However, in the end of Qing, some regional governments banned the performance of shadow play, and even arrested puppeteers in fear of the crowd mobbing in public.After 1949, existing theatres and performers around the country returned to the stage again. And from 1955 onwards, there had been a number of national and provincial shadow play shows, and puppeteers went abroad for cultural and artistic exchange. Nevertheless, in the “Cultural Revolution”, shadow play was subjected to the adversity of “Posijiu” (elimination of four stereotypes) and suffered a lot.Since shadow play enjoys a wide popularity in China, different schools have been gradually established in various regions during its long-term evolution. For example, the shadow play in Sichuan, Hubei, Hunan, Beijing, Tangshan, Shandong, Shanxi, Qinghai, Ningxia, Shaanxi and so on. The musical style and rhythm in different regions have maintained the essence of local opera, folk song and music system. As a result, a variety of distinctive schools came into being, such as shadow puppetry of Mianyang, Tangshan, Xiaoyi, Fuzhou, Haining, Lufeng etc.
Shadow play or shadow puppetry is a folk drama, in which players hold human figures that are made of animal hides or paperboards, and reflected on the curtain through the light, playing stories accompanied by the string and drums music with local popular tunes. It enjoys a wide popularity and has various forms owing to different local styles.On May 20, 2006, shadow play was enlisted into the first patch of National Intangible Culture Heritage (ICH). Five years later, it was upon Masterpieces of the Oral and Intangible Heritage of Humanity on November 27, 2011.Shadow play or shadow puppetry is a folk drama in which players hold human figures that are made of animal hides or paperboards, and reflected on the white curtain through the light, playing stories accompanied by the string and drums music with local-color popular tunes. This kind of art form is very popular in rural areas of Henan, Shanxi, Shaanxi and Gansu provinces etc.“Píyǐng” is the general name of shadow play and involved characters. And shadow play is a kind of drama in which audiences watch performances of planar silhouettes of human figures projected onto a white screen. The planar silhouettes and other objects are leather goods hand made by folk artists, which is the reason for the name of “píyǐng”. In the past, shadow play was one of the most popular entertainment activities before the birth of movies and televisions.The status quo of shadow play around China currently presents little optimism due to the aged puppeteers, decreasing audience, shrinking markets etc. Moreover, such limitations of traditional shadow play as great producing difficulty, high demand on technology, time-consuming process and impracticality of mass production are all obstacles to its development.
baike.baidu.com/item/Chinese%20Shadow%20Play?fr=aladdin
According to a survey made by the late writer Sun Kaidi, Chinese shadow play dated back to the mid-or late Tang Dynasty, or the later Five Dynasties (907-960). During that period, it served as a media for the preaching of Buddhist Dharma of transmigration and retribution. In temples, shadow figures were used as the supposed souls of the dead when their sin was expiated after death by monk preachers in charge of public service.
During the Song Dynasty, it became one type of the prosperous folk arts, combined with the genre of popular entertainment mainly consisting of talking and singing. According to the Records of the Origins of Events by Gao Cheng of the Song Dynasty, during the reign of Emperor Renzong, there were some people who could tell Romance of the Three Kingdoms stories or make puppets for a shadow play adapted from the stories. Hence the show of images of the wars among the kingdoms of Wei, Shu, and Wu has been handed down to the present.
In An Account of the Capital's Wonders published in the Song period, a general description can be found of the materials that were used to make shadow puppets and the development of their variations as well as the contents of performance. It says: "The shadow show is played by people in the capital with figures and patterns carved and cut out from white paper in the initial stage and later on from painted sheep's skin. And its text of dialogue is quite like a narrative textbook of history." The capital referred to here was Bianliang (today's Kaifeng of Henan Province), the then capital of the Northern Song Dynasty (960-1127).
In the painting entitled "The Festival of Pure Brightness on the River" by Zhang Zeduan, a well known Song Dynasty genre artist, a puppet show and the like can be seen as an entertainment activity enjoyed by the folks in the capital of Bianliang.
During the Song period, evidence for the prosperous shadow theater can also be obtained from the record of a newly emerging trade of professional craftsmen who carved and made shadow puppets. This professional trade was recorded in the Former Events in Wulin. Wulin was the capital of the Southern Song Dynasty (1127-1279), and was also known as Lin'an (now Hangzhou in Zhejiang Province). This proves that the shadow theater was further developed in the period from the Northern Dynasty to the Southern Dynasty. As the demand grew, craftsmen gradually formed a professional trade. At that time, there were different types of shadow play.
In the chapter titled "Capital's Entertainment Center and the Industry of Arts and Handicrafts" in the book The Eastern Capital: A Dream of Splendors Past, the record says, "Dingyi and Shouji play a kind of 'qiaoying show'."
In the book An Account of the Capital's Wonders, under the entry of "Miscellaneous Handicrafts," a few words say: "There is a kind of hand-operating shadow play."
According to Former Events in Wulin, "A sort of show staged in a small theater, and played by artists, is known as 'the great shadow show,' which is usually welcomed by children and its performance continues without stop in the whole evening."
In the musical score of the southern type of quyi (a type of verse for singing), there was also a melody to accompany the performance of a "great shadow show."
The Chinese character "qiao" meant the word "disguise" at the time. Various art performances in the then entertainment centers included a sort of qiaoxiangpu, or a comic wrestling.
In the qiaoying show, actors would imitate some movements of figures in shadow show. They would perform a burlesque to raise a laugh among the audience. If shadow play at the time had not been so popular in society, the qiaoying show would have never emerged.
"Hand shadow show," taken literally, probably means to use hands to make various silhouette shapes on a screen, just like a game played by people of today using their hands to make various animal shapes before a light source to form silhouettes on a white wall. Or maybe it is just a small-scale shadow show with both hands.
The "great shadow show" has been specified as a show played by artists. In the light of the historical records, we may guess and imagine the situation of how some types of dramas in the Song and Yuan dynasties took in nourishment from the movements and music of puppet and shadow shows.
The rulers of the Yuan Dynasty took shadow show as a pastime in their Imperial Court and military barracks. The army of Genghis Khan made a vast expedition across the expansive Euro-Asian continent. Along with the expedition, Chinese shadow show was also brought to many Arabic countries in the Persian Gulf area. And later it was brought into Turkey as well as to many countries in Southeast Asia.
In the early 14th century, the Persian historian Rashideg, telling an interesting episode in the history of exchange of shadow shows between China and Persia, said, "When the son of Genghis Khan came to the throne, he dispatched actors and artists to Persia to teach them a kind of drama played behind a screen (shadow show)."
During the Ming Dynasty, the shadow play continued to be staged in cities and villages. It was not only a favorite of the broad people of the lower class, but also was welcomed by educated people as well. People may get a glance at its popularity at the time through a eulogistic poem written by Qu You of the Ming period. Qu was a novelist who was well known for his classical Chinese novel New Tales Under Lamplight.In the poem, we can see that historical stories remained the contents of puppet shows in the Ming period as a tradition passed down from the Song Dynasty. And the story referred to in the poem was about the war staged between Liu Bang and Xiang Yu scrambling for supreme power in the country in the third century BC -- the history of the war between the Chu and Han kingdoms.The poem reads like this: A new shadow theater was recently opened at the entertainment center in the south of the town. / The theater, through illuminating candles and lights, / Shows the rise and fall of the kingdoms past. / Though he lost in the war, retreating to a ferry / By the Wujiang River, / The Conqueror of Chu remains to be honored / As a hero even doomed to flight.During the Qing Dynasty, especially in the period between the late Qing and the early Republic of China, shadow shows prevailed across the whole country and various local styles were also established.
丁乙 Ding Yi, born 丁荣 in 1962 in Shanghai, is an artist in China most well known for his “Appearance of Crosses” 十示 abstract paintings.
Together with his contemporaries 徐红明 Xu Hongming (b. 1971), 李华生 Li Huasheng (b. 1944) and 余友涵 Yu Youhan (b.1943), these abstract works from China [1] is known as “中國極多主義 (中国极多主义) Chinese Maximalism”, a term coined by 高名潞 GAO Minglu where the intention for abstraction in China differs that from the west [2].
Aside from painting, Ding Yi is also the first Chinese artist to collaborate with French luxury fashion label Hermès and has his own line of silk scarves in the “Hermès Editeur” collection [3].
Ding Yi 丁乙
Appearance of Crosses 十示 2012-4
2012
Acrylic on canvas
120 x 140 cm / 47 1/4 x 55 in
# 丁乙 Ding Yi
b. 1962 Shanghai, China
# Galerie Karsten Greve AG St. Moritz
Drususgasse 1-5
50667 Cologne
Germany
5, rue Debelleyme
75003 Paris
France
Via Maistra 4
7500 St. Moritz
Switzerland
www.galerie-karsten-greve.com/
# Notes
1. www.wikipaintings.org/en/ding-yi
2. www.aaa.org.hk/Collection/Details/5165
3. editeur-en.hermes.com/hermes-editeur.html
# SML Data
+ Date: 2013-05-23T15:57:38+0800
+ Dimensions: 3173 x 2701
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 27 mm
+ ISO: 640
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°16'58" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13852
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by 丁乙 Ding Yi (b. 1962 China): 十示 Appearance of Crosses 2012-4, 2012 (Acrylic on canvas)” / Galerie Karsten Greve AG St. Moritz / Art Basel Hong Kong 2013 / SML.20130523.6D.13852
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #丁乙 #DingYi #GalerieKarstenGreve #acrylic #painting #abstract #maximilism
Designer: Weng Rulan (翁如蘭)
1967
A Crowd of Clowns
Qun chou tu (群丑图 )
Call number: BG E39/563 (IISH collection)
This image was first published on 22 February 1967. It features the first thirty-nine high-ranking targets of the Cultural Revolution in the order they were purged from government.
Designer unknown (佚名)
Ca. 1967
One Hundred Clowns
Bai chou tu (百丑图)
Call nr.: BG C32/476 (IISH collection)
36 caricatures of prominent Party members, specialists, scholars and other functionaries who were under attack during the Cultural Revolution.
Published in Shanghai.
On the back: www.flickr.com/photos/chinesepostersnet/12175798743
More? See: chineseposters.net
Designer: Propaganda Group of the Preparatory Office of the Oath-taking Rally to Struggle Against the Peng, Lu, Luo, Yang Counter-revolutionary Revisionist Clique (斗争彭、陆、罗、杨反革命修正主义集团誓师大会筹备处宣传组)
1966, December
Resolutely smash the counter-revolutionary revisionist clique of Peng, Lu, Luo and Yang
Chedi fensui Peng, Lu, Luo, Yang fan geming xiuzheng zhuyi jituan! (彻底粉碎彭、陆、罗、杨反革命修正主义集团！)
Call nr.: PC-1966-002 (Private collection)
More Chinese propaganda posters? See: chineseposters.net/
Designer: United Committee of Revolutionary Rebels to Smash the Rotten Ministry of Culture (革命造反派砸烂文化部联合委员会)
Ca. 1967
Struggle Meeting
Douzhenghui (斗争会)
Call nr.: PC-1967-013 (Private collection)
More? See: chineseposters.net/themes/monsters-demons
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
Christmas with Ding Yi at The Canopy, Gardens by the Bay during the Christmas Festival 2017 celebrations.
Christmas with Ding Yi at The Canopy, Gardens by the Bay during the Christmas Festival 2017 celebrations.
Christmas with Ding Yi at The Canopy, Gardens by the Bay during the Christmas Festival 2017 celebrations.
Christmas with Ding Yi at The Canopy, Gardens by the Bay during the Christmas Festival 2017 celebrations.
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
Christmas with Ding Yi at The Canopy, Gardens by the Bay during the Christmas Festival 2017 celebrations.
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
Movement Gallery explores the relationship among space, behavior, and Chinese Shan-shui (landscape) painting. The gallery design is based on a combination of spatial analysis, cognitive mapping, and a psychospatial understanding of gallery spaces, as well as an interrogation of the role of perspective in depictions of nature in Shan-shui painting. As a responsive VR experience, the gallery allows visitors to construct unique and personal viewing scenarios appropriate to specific paintings.
Credit: Zhi Qin
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
Photographer and street artist JR will be in Shanghai in October 2010 during the Shanghai Biennial for a project called Wrinkles of the City.
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Christmas with Ding Yi at The Canopy, Gardens by the Bay during the Christmas Festival 2017 celebrations.
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
The carollers from NUS Resonance with Ding Yi Music Compnay performed at The Canopy, Gardens by the Bay during the Christmas festival 2017 celebrations.
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Groningen, Museumeiland (Groninger Museum), 01-04-2008. Appearance of Crosses 93-2 - Ding Yi, acryl op doek. 1993.
Groningen, Museumeiland (Groninger Museum), 01-04-2008. Appearance of Crosses 93-2 - Ding Yi, acrylic on canvas. 1993.
Onderdeel van de tentoonstelling Tekens aan de wand. Chinees Nieuw Realisme en Avant-garde uit de jaren '80 en '90. Voor degenen die niet speciaal uitzien naar de sportieve festiviteiten in China de komende weken. Alhoewel je nog tot 26 oktober 2008 de kans hebt.
Part of the exhibition Tekens aan de wand. Chinees Nieuw Realisme en Avant-garde uit de jaren '80 en '90 at the Groninger Museum. For those of you who don't particularly look forward to al those sport events during the Olympic Games.
My Museums set
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com
Photographer and street artist JR will be in Shanghai in October 20120 during the Shanghai Biennial for a project called Wrinkles of the City.
Chinese Abstract Slow Art, designed by Ryan Pescatore Frisk & Catelijne van MIddelkoop, Strange Attractors Design, strangeatractors.com