Images Of Minorities In The Art Of The Peoples Republic Of China

This volume focuses on policies and practices in the education of China's national minorities with the purpose of assessing the goals and impact of state sponsored education for China's non-Han people's. The essays in the four sections of this book examine cultural challenges to state schooling, the extent of educational provision in minority areas, the perspectives of Tibetan and Uyghur minorities toward state education, along with providing case studies of four national minorities. The book makes the point that despite the authoritarian character of China's state schooling, diversity reigns.

The late twentieth century has been marked by momentous political, economic, and social change throughout the Chinese world. Deeply rooted cultural assumptions and ancient visual traditions have been challenged by rapid modernization and conflicting global, ethnic, and local identities. Inside/Out: New Chinese Art was the first major international exhibition to explore the impact of these challenges on artists in the People's Republic of China, Hong Kong, Taiwan, and those of the 1980s Diaspora. The multifaceted exhibition and accompanying catalog encompass an extensive range of artistic forms, including installation, video, and performance art as well as more traditional media such as oils and ink. The art is grouped according to themes, some specific to regions and others that reflect widespread and overlapping trends. With the inclusion of ambiguous territories like Hong Kong and Taiwan, the exhibition opens up a perspective of modern Chinese art from the "outside" as well as a looking-out from the "inside." The catalog features essays by eminent Chinese art scholars and curators along with leading curators and historians of Western art. Together they promote Chinese art's rightful place in the contemporary global cultural arena and at the same time acknowledge the influence of its rich heritage. The diversity and freshness of the exhibition reflects the explosion of creativity among Chinese artists during the past decade. The ironic social commentary of Li Shan's The Rouge Series, no. 24, the "apartment art" of artists reacting against the traditional patronage of large museums and corporations, and Wang Jin's sly humor in portraying consumer fetishes in today's China are a few examples of the spirited artistry awaiting the viewers of Inside/Out.

Provides an innovative reinterpretation of the cultural revolution through the medium of the poster -- a major component of popular print culture in China.

Chinese Literature: Lydia H. Liu

China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during the tumultuous period of Chinese history from the end of Imperial rule to the present day. The story of Chinese art in the twentieth and twenty-first centuries is shown to be deeply intertwined with that of the country’s broader socio-political development, with art serving both as a tool for the creation of a new national culture and as a means for critiquing the forms that culture has taken. The book’s approach is inclusive. In addition to treating art within the Chinese Mainland itself during the Republican and Communist eras, for instance, it also looks at the art of colonial Hong Kong, Taiwan and the Chinese diaspora. Similarly, it gives equal prominence to artists employing tools and idioms of indigenous Chinese origin and those who engage with international styles and contemporary media. In this way it writes China into the global story of modern art as a whole at a moment in intellectual history when Western-centred stories of modern and contemporary culture are finally being recognized as parochial and inadequate. Assuming no previous background knowledge of Chinese history and culture, this concise yet comprehensive and richly-illustrated book will appeal to those who already have an established interest in modern Chinese art and those for whom this is a novel topic. It will be of particular value to students of Chinese art or modern art in general, but it is also for those in the wider reading public with a curiosity about modern China. At a time when that country has become a major actor on the world stage in all sorts of ways, accessible sources of information concerning its modern visual culture are nevertheless surprisingly scarce. As a consequence, a fully nuanced picture of China’s place in the modern world remains elusive. China—Art—Modernity is a timely remedy for that situation. ‘Here is a book that offers a comprehensive account of the dizzying transformations of Chinese art and society in the twentieth and twenty-first centuries. Breaking free of conventional dichotomies between traditional and modern, Chinese and Western that have hobbled earlier studies, Clarke’s highly original book is exactly what I would assign my own students. Anyone eager to understand developments in China within the global history of modern art should read this book.’ —Robert E. Harrist Jr., Columbia University ‘Clarke’s book presents a critically astute mapping of the arts of modern and contemporary China. It highlights the significance of urban and industrial contexts, migration, diasporas and the margins of the mainland, while imaginatively seeking to inscribe its subject into the broader story of modern art. A timely and reliable intervention—and indispensable for the student and non-specialist reader.’ —Shane McCausland, SOAS University of London

This book is unique in applying a consumption approach to the study of ethnicity and nationalism, thereby challenging the usual 'top down' approach to nation-formation. Contributors from a variety of disciplines examine the on-going consumption of minority and national cultures by looking at different forms of consumption, including a national lottery, theme parks, museums, cross-cultural handbooks, popular song and audio-visual media. Chapters span diverse parts of Asia '- from Korea, Japan and China to Malaysia and Sri Lanka '- imparting to the volume a rare comparative quality. It should appeal to anyone interested in Asian Studies, as well as in the sociology and anthropology of culture, nationalism and globalisation.

This work is an introduction to the cinema of mainland China from the early 1930s to the early 1990s. Emphasizing both film contexts and film texts, this study covers a broad cinematic analysis that includes investigations of cultural, cross-cultural, social, ethnic and political issues.

The "war on terror" has generated a scramble for expertise on Islamic or Asian "culture" and revived support for area studies, but it has done so at the cost of reviving the kinds of dangerous generalizations that area studies have rightly been accused of. This book provides a much-needed perspective on area studies, a perspective that is attentive to both manifestations of "traditional culture" and the new global relationships in which they are being played out. The authors shake off the shackles of the orientalist legacy but retain a close reading of local processes. They challenge the boundaries of China and question its study from different perspectives, but believe that area studies have a role to play if their geographies are studied according to certain common problems. In the case of China, the book shows the diverse array of critical but solidly grounded research approaches that can be used in studying a society. Its approach neither trivializes nor dismisses the elusive effects of culture, and it pays attention to both the state and the multiplicity of voices that challenge it.