Category: Vol.1, No.3 & No.4 Jul.-Sep., Oct.-Dec.2023
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Feminization of Statues in Longmen Grottoes during the Northern Wei Dynasty and its Causes
During the Northern Wei Dynasty, the Longmen Grottoes in Luoyang were excavated, following the excavation of the Yungang Grottoes in Datong. When comparing the statues in the Longmen Grottoes and the Yungang Grottoes, the most prominent difference is that the statues in the Longmen Grottoes present different feminine features. First, the donor figures originally carved…
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The Formation Process and Artistic Value Study of Baoshi Cun
Hui Pang DOI: 10.64212/PYUB8235 AbstractBrushwork (Cun) is a fundamental concept and technique in the history of Chinese landscape painting. Fu Baoshi, a prominent artist in modern Chinese art, creatively developed his distinctive Baoshi Cun technique while building upon this foundation. This technique has gained unanimous recognition from experts in artistic creation and theory. The Baoshi Cun…
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A Comparative Analysis of the Retro Tendency Between the Periods of the European Renaissance and the Fine Art of the Ming Dynasty
Huang Zhong DOI: 10.64212/KTBM3269 AbstractTracing back to the past means better exploration forward, and retro has an indispensable significance in history. The art of the European Renaissance and the Ming Dynasty in China showed corresponding retro tendencies in two different geographic areas in the same period. Their respective retro tendencies have different mechanisms and manifestations. This…
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Research on the Loss and Collection of Chinese Stone Buddhist Sculptures in American Museums
Liu Hong-Cai DOI: 10.64212/MCKZ2016 AbstractStone Buddhist statues are an important representative of Chinese art in collections in American museums. Based on the statistics and research about these collected stone statues, they come from two main sources: donations and purchases. Most of these collections were completed during the 1910s, and the two major subjects of these statues…
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Ch’an, the Beginner’s Mind, and Conceptual Art: A Conversation between Artist Michael Zheng and Critic Max Blue
Michael Zheng DOI: 10.64212/SBMD9300 The second article in this column is based on a forum organized by the Art Frontier, in which art critic Max Blue and artist Michael Zheng engaged in conversations around the topic of “Ch’an Buddhism (禪宗)’s influence on conceptual art”. Owing to its vicinity to Asia, the West Coast of the United…
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Ice Makes Fire: Paul Kos with Jarrett Earnest
Paul Kos, Jarrett Earnest DOI: 10.64212/VYKS5672 Paul Kos is a conceptual artist who has helped create the vocabulary for video, performance, and conceptual art in the San Francisco Bay Area since the late 1960s. Currently, his work is featured in the landmark exhibition “State of Mind: New California Art circa 1970”, which opened at the Orange…
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Paul Kos with Andrew McClintock
Paul Kos, Andrew McClintock DOI: 10.64212/ZIIS1500 On a foggy Sunday afternoon in December, Paul Kos picked me up from the SFAQ office in the Tenderloin, and we headed through the deserted streets of the Financial District in San Francisco. Our first stop was at “Poetry Sculpture Garden”, a public art piece he did with poet Robert…
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Editorial Introduction to the Inaugural Column “Conceptual Art”
Michael Zheng DOI: 10.64212/CONH5624 We are pleased to announce a new column “Conceptual Art” to introduce artworks and artists on the frontier of conceptual art and their historical link. In this inaugural column, we introduce one of the founders of the West Coast Conceptualism in the United States, Paul Kos. As one of the leading figures…