China

Chinese Artist: Wang Bu

“Vases with Bird-and-Flower Painting” by Wang Bu (1898–1968)

Artist

Wang Bu was a 20th Century Chinese artist that specialized in working with Ceramics.  He was officially trained in the blue and white art, working under an expert tutor for several years.  Wang Bu’s first significant work came when popular ceramic artist, Wu Aisheng, hired him to design porcelain items in the style so popular during the Ming and Qing periods.  He would continue working with porcelain and ceramics for the rest of his life, preferring to decorate them in the blue and white coloring his father and mentor had loved.

Wang Bu made two great contributions to the art field.  First, He created the innovative method of using Chinese brush drawing to add the blue and white colors onto his ceramics and porcelain works ~ a technique that many other artists would soon pick up.  Second, he invented a “coloring pigment” by using the Chinese ink painting technique.  This pigment helped the colors used on ceramics to stay bright and colorful, as opposed to dulling and spotting as it dried.  

He briefly abandoned the blue and white style  during the tumultuous period of WWII an the Anti-Japanese War. However, he would later return to his roots, and eventually earned the title “King of Blue and White.  In the sixty years that he worked, he designed millions of works, many of which are still famous today.

Influences

  • His father, Xiuquing, who was an expert in blue and white painting. 
  • Xu Yousheng, his teacheer and another expert artist that worked with blue and white painting.
  • Ming and Qing Dynasty ceramic artists.

Stylistic Characteristics

  • Blue and White Coloring ~ particularly over-glazed with colors underneath or paste on paste.
  • Ceramics and Porcelain canvases.
  • Use of Chinese brush drawing or ink painting.
  • Bright, smooth coloring.
  • He seems to have like flowers, animals, and natural subjects.
  • His signature in his later years was often “the old man Taoqing.” 

Coming Exhibition: A Parallel Tale ~ Taipei in 80s X Hong Kong in 90s

“A Parallel Tale ~ Taipei in 80s X Hong Kong in 90s”

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Who:  

Comic Home Base
Hong Kong Arts Centre
Dala Publishing Company

When: June 25, 2014 – Aug. 31, 2014 (Sat.-Sun 10 a.m. – 8 p.m.)

Where: 

Comic Home Base
North Campus Drive
Provo, Utah 84602

How Much:  Free!

More Information: Here and Here.

Participating Hong Kong Comics Artist: Fung Chi-ming, Ho Ka-fai, Seeman Ho, Li Chi-tak, Justin Wong 
Participating Taipei Comics Artist: 61Chi, Sean Chuang, Amin Lee, Push Comic (Ah Tui), Ahn Zhe (Tu Tse-Wei) 

Comics artists from Hong Kong and Taipei set out on a fascinating time-travel trip with their drawing pens, taking a stroll down the memory lane to trace the footprints they left in the two cities in the 80s and 90s. Stories and scenes that pop up in the artists’ minds as they revisit the old times are transformed into pages of original comics – some light-hearted and some thought-provoking – to illuminate their memories of the people and things from a few decades ago, and even the social and cultural phenomena at that time. 

Featuring 10 comics artists and 10 comics works loaded with nostalgia, the exhibition takes everyone to travel backward in time, returning to the Hong Kong and Taiwan in the sweet, old past. The exhibition was held in Taiwan as one of the programmes of the “Hong Kong Week 2013@Taipei” and received overwhelming response. The exhibition will be shown in Hong Kong in this summer. In addition to the exhibition, there are also a series of side events aiming to offer the general public valuable insight into the comics and publishing industry both in the past and at present, as well as the startling artistic ability and creative talent of the artists from Hong Kong and Taiwan. 

Side Events

– 1+1 Live Drawing Demonstration

– Sharing Session: I Am a Comics Artist/ Publisher!

NJ Rhino Horn Smuggling Case ~ Outcome

I know I’m a little late to the table on the whole “Ivory-banning” topic, but a case was just settled on the issue, so I thought it was an interesting share.   Message To Leave With–Ivory of all kind is pretty much forboten in the States right now. So don’t try smuggling in or out anything made of Rhino or Elephant ivory; you risk a hefty fine and/or prison time.  

A little (Super-Simplified) background on the laws themselves:

Endangered Species Act (1973)–>More or less stated that protecting our “natural heritage” (as opposed to  artifacts/art/man-made heritage) was an important duty for Americans. It went on to begin outlining basic legal protections for the “native plants and animals” that were considered endangered or on the verge of extinction.  Out of this came the:

African Elephant Conservation Act (1989)–> This act acknowledged that African elephants (and because they are “indistinguishable,” Asian Elephants) were on the verge of extinction (note the link here they made to previous law). Furthermore, the “illegal trade” was a large part of the problem, and the US had a responsibility to put a stop to such trade on its own shores.  Take note: sport hunting was left out in this act as being OK. Thus, you just needed to prove that your ivory/Elephant parts came from sport hunting instead of poaching, and you were all good.  Closely linked to and resembling this act was the soon to follow:

Rhinoceros and Tiger Conservation Act (1994)–> As with the Elephant Act, the Rhino & Tiger Act started by stating that the Rhinos and Tigers were (under the Endangered Species Act definitions) considered to be endangered.  And once again, the “illegal trade” was most of the problem, and the US had a responsibility here to stop such trade.  Exact wording:  “A person shall not sell, import, or export, or attempt to sell, import, or export, any product, item, or substance intended for human consumption or application containing, or labeled or advertised as containing, any substance derived from any species of rhinoceros or tiger.”  

 This one went a little further in that the US had signed a contract with a bunch of other countries that it would actually destroy any stockpiles of Rhino horns that it found. Personally, I think this was a massive waste of ivory that didn’t benefit the Rhinos and only boosted the black market for their horns (where there is less of an item, more and more people want it).  Whatever you believe, this was a huge situation between US and Chinese/Taiwanese wildlife exporters.  The US actually put into place a ban on Taiwanese exports of wildlife into the US in 1994 because Taiwan had not changed their rules enough to suit the US government.  Nonetheless, there was still a  loophole for sport hunting or “legally taken trophies” here.  This meant that all the little “buddhas” or trinkets made out of ivory, or even the old pianos that had real ivory keys, were still okay for transport if you could show that they weren’t poached ivory.

Everything moved along, with minor disputes arising as to what was ivory, how bad the penalties should be etc. Then the next major change actually showed up this year (2014).  

February 11, 2014, the Department of Interior announced that it was going to officially ban ALL Commercial trade of Ivory in an effort to stop poaching.  This meant that it was taking away the little “Sport hunting”/”Legal Trophy” loophole that was left by previous laws.  It would impact all ivory taken from African Elephants and Rhinos.   Their argument was that the ivory trade was increasing; I would argue that this was a direct result of the rising demand for a suddenly “rare” commodity such as the governments had created with their previous bans.  

PROBLEM: suddenly, picking up little buddha or ivory trinket during your layover in India wasn’t quite so safe as it had been.  It was now going to be illegal to trade in pretty much any type of Ivory. The only exceptions were a “narrow class of antiques” already protected under the original Endangered Species Act (see how the lawyers intertwined these laws!) and those ivory pieces you already owned. Basically, you had to prove that you were exempt and this requirement was getting fairly strict (it had to be imported into the US before 1990 for African Elephant Ivory and 1975 for Asian Elephants).

This has potentially serious impacts on a ton of cultural resources, which is why you are probably still seeing quite a few articles discussing the situation.

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Now, with that extensive background, I bring you the recently decided NJ Rhino Horn Smuggling Case.

In December 2013, Zhifei Li, a Chinese citizen and owner of “Overseas Treasure Finding, pled guilty to smuggling rhinoceros horns from the United States into China.  He apparently paid three different antiquities dealers to assist him in exporting around thirty rhino horns and “objects” made from rhino and elephant horns.  Altogether, the items were worth approximately $4.5 million.  He has just been sentenced to six years in prison and a $3.5 million fine.

Mr. Li was officially tried under the older, pre-2014 amended laws.  But now with the changes, those laws could apply to you to.  So, as I said at the beginning, don’t try bringing in or out anything made of Rhino or Elephant ivory; it’s not worth the battle.

 

“Over 1,000 Ancient Buddha Statues Uncovered in China”

“Over 1,000 Ancient Buddha Statues Uncovered in China”

by April Holloway via “Epoch Times

“Archaeologists have discovered more than 1,000 ancient Buddha statues in three stone caves on a cliff-face in Yangqu County, in north China’s Shanxi Province, according to a report in China.org.cn. Although official dating has not yet been carried out, it is believed that the statues date back to the Ming Dynasty.

The Ming dynasty, was the ruling dynasty of China for 276 years (1368–1644 AD) following the collapse of the Mongol-led Yuan dynasty. The Ming, described by some as “one of the greatest eras of orderly government and social stability in human history”, was the last dynasty in China ruled by ethnic Han Chinese. The creation of stone Buddha statues reached its peak during the period from the Northern and Southern Dynasties (420-589) to the Tang Dynasty (618-907), so it is rare to find stone Buddha statues from the Ming Dynasty.

According to traditional accounts, Buddhism was introduced in China during the Han dynasty (206 BC-220 AD) after an emperor dreamed of a flying golden man thought to be the Buddha. Although the archaeological record confirms that Buddhism was introduced sometime during the Han dynasty, it did not flourish in China until the Six Dynasties period (220-589 AD). The year 67 CE saw Buddhism’s official introduction to China with the coming of the two monks Moton and Chufarlan.

The latest finding including stone statues carved into the cave walls and measuring 12 to 25 centimetres long, said Yang Jifu, director of the county’s cultural heritage tourism bureau. Yang said two of the caves had been restored in the Ming Dynasty, according to the record on two steles in the caves. . . . .”

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Current Exhibition: Beijing: Contemporary and Imperial ~ Photographs by Lois Conner

“Beijing: Contemporary and Imperial ~ Photographs by Lois Conner”

Solitary Arch, Changchun Yuan, Yuanming Yuan (Garden of Extended Spring, Garden of Perfect Brightness), 1998, printed 2013. Lois Conner

Who:  Cleveland Museum of Art

When: Mar. 30, 2014 – June 29, 2014 (Mon-Sat. 10 a.m. – 9 p.m.)

Where: 

Cleveland Museum of Art
11150 East Boulevard
Cleveland, OH 44106

How Much:  Generally Free, some special exhibits require a ticket.

More Information: Here.

“Magical, miraculous, and often times dangerous is how photographer Lois Conner has described some of her experiences capturing the images included in Beijing: Contemporary and Imperial: Photographs by Lois Conner.Opening at the Cleveland Museum of Art on Sunday, March 30 alongside Conner’s in-person Artist Talk that afternoon, the exhibition features a vast visual tour of historic and contemporary Beijing, inviting the viewer to reflect on China’s rising power in the context of its history and cultural landscape. The sites depicted span three centuries, embracing the dynastic glory of the Qing and its decline, the revolutionary 20th century, and the post-imperial and post-socialist story of Beijing and China today.

“Conner has said that the subject of her photography is landscape as culture,” comments Barbara Tannenbaum, the museum’s Curator of Photography. “The designs of public squares, city streets, gardens, palaces, humble homes, and office buildings directly impact the lives and emotions of those who occupy them. Those spaces also reveal the intentions of their creators, whether it is to demonstrate political, religious, or social power; offer a soothing respite from urban bustle; or burnish the beauty of nature.” . . . 

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