1,721,025 research outputs found
The OCS council Makes (Art)History. The International Exhibition of Chinese Art at the Royal Academy, 1935-1936 and its Organisers: Percival David, George Eumorfopoulos, R. L. Hobson, Oscar Raphael
No full textPierson Stacey, Collectors, Collections and Muséums. The field of Chinese Ceramics in Britain, 1560-1960
No full textDupaigne Bernard. Pierson Stacey, Collectors, Collections and Muséums. The field of Chinese Ceramics in Britain, 1560-1960. In: Outre-mers, tome 94, n°356-357, 2e semestre 2007. La colonisation culturelle dans l'Empire français, sous la direction de Sophie Dulucq et Colette Zytnicki. pp. 400-401
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Recreating the Past: Guwan tu Handscrolls and Practices of Illusionism under Emperor Yongzheng (r. 1723–35)
Full text linkThis thesis centres on two Yongzheng period (1723–35) handscrolls entitled Guwan tu 古玩圖 (Pictures of Ancient Playthings) housed in the British Museum and the Victoria and Albert Museum. By reexamining the scrolls not solely as pictorial representations of antiquities, the thesis proposes an alternative approach to the scrolls through reintroducing them as material objects actively engaged with their spatial surroundings and socio-cultural milieus. Resituating them within the context of Qing image-making practices and object consumption, the thesis examines the scrolls’ position in relation to the canons of painting and objects prevailing under Emperor Yongzheng. An iconological-iconographical study focusing on the subject of the scrolls is further conducted in an attempt to reveal the identities of the depicted guwan in relation to extant objects similar in types. Through this study, the thesis presents the classification guidelines embedded in the Guwan tu, while calling attention to the complicated interrelationship between varied art objects attributed to different temporal layers in the history of Chinese material culture. Finally, the thesis delves into the provenience and provenance of the Guwan tu and the depicted objects, proposing the association between the scrolls, the painted guwan, and Yuanmingyuan, the imperial garden complex cherished by Emperor Yongzheng. Through an intensive cross-media investigation of the paintings in juxtaposition with textual and pictorial records of Yuanmingyuan, the thesis aims to elucidate how and why the Guwan tu series, as a painting project, was initiated in conjunction with the vigorous construction projects and practices of illusionism launched by the emperor in the imperial garden
13th - 14th century Yuan and Mongol silk-gold textiles: transcultural consumption, meaning and reception in the Mongol empire and in Europe
Full text link
The purpose, operation and impacts of the art investment of the British Rail Pension Fund’s collection of Chinese works of art from 1974 to 1989
Full text linkObjects of popular devotion : Longquan ceramic religious figures during the Song-Yuan-Ming period
Full text link- …
