Sunday, September 14, 2008

Chinese folk art

Chinese folk art are artistic forms inherited from a regional or ethnic scene in China. Usually there are some variation between . Individual folk arts have a long history, and many traditions are still practiced today. The general definition of folk art incorporates Chinese art forms that are not classified as fine arts.

Paper Art


The first two forms of paper art began in the Han Dynasty with Chinese Paper Cutting and Chinese Paper Folding. These arts have expanded globally.

Puppetry


One of the oldest forms of folk art is puppetry. Puppeteers use various kinds of puppets, including marionettes, , rod puppets, cloth puppets, and wire puppets in performances incorporating folk songs and dances over some dialogues. The subject matter is derived mainly from children's stories and fables.

Shadow play


is a form of puppetry that is performed by moving figures made of animal skins or held behind a screen lit by lamplight. The subject matter and singing style in shadow plays are closely related to Chinese opera, except without using live actors or actresses.

Chinese knot


Chinese knot is a decorative handicraft art that creates knot patterns. It is one of the more traditional art forms almost completely lost in the transition from Imperial to modern China.

Chinese bronzes

Bronzes are some of the most important pieces of , and warranted an entire separate catalogue in the Imperial art collections. The Chinese bronze age began in the ''Xià'' dynasty, and bronze ritual containers form the bulk of the collection of Chinese antiques, reaching its zenith during the ''Zhōu'' dynasty. The appreciation, creation and collection of Chinese bronzes as pieces of art and not as ritual items began in the ''Sòng'' Dynasty and reached its zenith in the ''Qīng'' dynasty in the reign of the ''Qiánlóng'' emperor, whose massive collection is recorded in the catalogues known as the '''' and the '''' . Within those two catalogues, the bronzeware is categorized according to use:-
*Sacrificial vessels ,
*Wine vessels ,
*Food vessels ,
*Water vessels ,
*Musical instruments ,
*Weapons ,
*Measuring containers ,
*Ancient money , and
*Miscellaneous .

The most highly prized are generally the sacrificial and wine vessels, which form the majority of most collections.

Sacrificial vessels


*'''' Sacrificial vessel , originally a cauldron for cooking and storing meat . The Shang prototype has a round bowl, wider than it is tall, set on three legs ; there are two short handles on each side . Later examples became larger and larger and were considered a measure of power. It is considered the single most important class of Chinese bronzeware in terms of its cultural importance. There is a variation called a ''fāngdǐng'' which has a square bowl and four legs at each corner. There exist rare forms with lids. 西清古鑒 contains over two hundred examples, and this is the most highly regarded of all chinese bronzes.
*Dòu : Sacrificial vessel that was originally a food vessel. Flat, covered bowl on a long stem.
*''Fǔ'' : Rectangular dish, triangular in verrtical cross-section. Always with a lid shaped like the dish.
* : Wine vessel and sacrificial vessel . Tall cylindrical wine cup, with no handles or legs. The mouth is usually slightly broader than the body. In the late ''Zhōu'' dynasty, this type of vessel became exceedingly elaborate, often taking the shape of animals and abandoning the traditional shape. These later types are distinguished from gōng by retaining a small, roughly circular mouth. This type of vessel forms the second largest group of objects in the ''Xiqing gujian'', after the ''dǐng'' .
*''Zǔ'' : Flat rectangular platform with square legs at each corner. Not represented in the ''Xiqing gujian''.
*''Yí'' : Sacrificial vessel. Two forms: A. Large squat round pot with two handles; B. Tall box-like container, the base narrower than the mouth with a roof-like lid. Later became a generic name for all sacrificial vessels.

Wine vessels


* : Wine vessel often elongated and carved in the shape of an animal. There is always a cover and the mouth of the vessel usually covers the length of the vessel. This is not a classification used in the ''Xiqing gujian''; objects of this type are classed under 匜.
*''Gū'' : Tall wine cup with no handles, the mouth larger than its base.
*''Guǐ'' : A cup with two handles.
*''Hé'' : A wine vessel shaped like a tea pot with three legs. It has a handle and a straight spout that points diagonally upwards.
*''Jiǎ'' : A cauldron for warming wine. Like a ''dǐng'' except the body is taller than it is broad, and it may have two sticks sticking straight up from the brim, acting as handles.
*''Jué'' : A wine cup similar to a 爵, except the spout and brim extension are identical and there is a cover.
*'''' : A wine cup with three legs, a spout with a pointed brim extention diametrically opposite, plus a handle .
*''Léi'' : Vessel for wine with a round body, a neck, a cover and a handle on either side of the mouth.
*''Lì'' : Cauldron with three legs. Similar to a dǐng except the legs blend into the body or have large swellings on top.
*''Zhī'' : Wine vessel, and also a measuring container. Like a ''píng'' , except shorter and broader.
*''Zhōng'' : A wine vessel with no handles.
*''Zūn'' : Wine vessel and sacrificial vessel . Tall cylindrical wine cup, with no handles or legs. The mouth is usually slightly broader than the body. In the late ''Zhōu'' dynasty, this type of vessel became exceedingly elaborate, often taking the shape of animals and abandoning the traditional shape. These later types are distinguished from gōng by retaining a small, roughly circular mouth. This type of vessel forms the second largest group of objects in the ''Xiqing gujian'', after the dǐng .

Food vessels


*''Duì'' : Spherical dish with a cover and three short legs.
*''Pán'' : Round curved dish for food. May have zero, three, or four short legs.
*''Yǎn'' : A pot for steaming. Three parts: 鬲, 甑, 箄 q.v.
* : Covered pot with a single looping handle attached on opposite sides of the mouth of the vessel.
*''Zèng'' : A rice pot; referred to as a 腹 fu4 in ''Xiqing gujian''. Has no separate category in 西清古鑑: see ''yǎn'' .

Water vessels


*''Bù'' : see ''pǒu''
*''Dǒu'' 斗: Scoop. Tall bowl with a long handle.
*''Móu'' : A vase with two handles. Vessels of this type are classed as hú in the ''Xiqing gujian''.
*''Píng'' : Tall vase with a long slender neck opening up to a narrow mouth.
*''Pǒu'' : A small bronze ''wèng'' .
*''Wèng'' : Round mouthed, round bellied jar with no foot for holding water or wine. Now commonly used to hold ashes.
*''Yàndī'' : Water container for an ink stone; often in the shape of an animal with a long thin dropper to control the amount of water dispensed.
*''Yí'' : A bowl with a spout; May be elaborately shaped like an animal.
*''Yú'' : Basin for water. May have up to four decorative handles around the edge; no brim.
*''Zhì'' : Broad-mouthed vase, similar in shape to a ''hú'' , but with no handles.
*''Zhōng'' : Small cup with no handles. Not represented in ''Xiqing gujian''.

Musical instruments


*''Bó'' : Cymbals. Not represented in the ''Xiqing gujian.'' See ''náo'' .
*''Gǔ'' : A drum.
*''Líng'' : A small bell . This item is not represented in ''Xiqing gujian.''
*''Náo'' : Cymbals. Not represented in ''Xiqing gujian''. See also ''bó'' .
*''Zhōng'' : A large bell, as might stand in a tower.

Weapons


*''Duì'' : Bronze decoration for the end of a spear or halberd handle; often with an animal motif.
*''Jiàn'' : A sword. There are only three examples in ''Xiqing gujian''.
*''Nǔjī'' : Crossbow mechanism. There are only two examples in the ''Xiqing gujian''.
*''Pī'' : A type of sword.
*''Zú'' : An arrow head.

Measuring containers


*''Zhī'' : A wine vessel and also a measuring container. Like a ''píng'' , except shorter and broader.

Ancient money


*''Bù'' or bùwén : Ancient money . Rectangular with two legs and a head. Type of ''qián''
*''Fúyìnqián'' : Taoist amulet minted in the shape of a yuán , usually with an incantation on the obverse and picture on the reverse.
*''Qián'' : Ancient money . Well represented in 西清古鑑; occurs in three types: 布, 刀, 圓 q.v.
*''Yuán'' : Also called ''yuánbì'' , ''yuánbǎo'' , or ''yuánqián'' . Circular coins with a hole in the middle, usually made of copper or bronze; what most Westerners think of as 'chinese money'. Also see ''fúyìnqián'' .

Miscellaneous


*''Biǎozuò'' Cylindrical container with added animal motif. There are only three examples in the ''Xiqing gujian.''
*''Jiàn'' : Refers to two different objects: either a tall, broad bronze dish for water, or a circular bronze mirror, usually with intricate ornamentation on the back. The modern meaning is a mirror.
*''Jué'' : Farming implement shaped like a pickaxe, but used as a hoe. 西清古鑑 contains only two examples; the rubric states: 按說文大鉏也又博雅斫謂之钁 "According to the Shouwen it is a large hoe, that is called a ''jué'' by the learned." Only the bronze heads of the two examples survive, because the wooden handles have long rotted away.
*''Lú'' : A brazier. These are a nebulously classified group of bronze vessels and there are a number of forms: A. It may similar to a dǐng with very short legs sitting on a pán ; or B., a ''duì'' on a ''pán'' ; or C., like a ''dòu'' on a ''pán'' .
*''Shūzhèn'' : Paper weight. Usually solid bronze, moulded in the shape of a reclining or crouching animal .

Chinese Tongzhi ceramics

Chinese Tongzhi 同治 porcelain marks the reconstruction of the Jingdezhen 景德鎮 official kilns after the destructive Taiping Rebellion 太平天国 which completely devastated the area. Already by 1853 Nanking had fallen and was made the capital by the rebel forces. Eventually Zeng Guofan 曾國藩 of the Imperial Ching forces defeated the rebels and restored imperial Ching rule. The period was one of continued unrest. In 1856 the English had attacked Guangtong. They invaded the capital itself, looting and burning the celebrated Yuanming Palace 圆明园. It was against this background of these events, and others, that the Tongzhi Emperor took to the throne and palace functions were partially restored. The official palace ceramic wares of this period are thought to reflect this general historical unrest and decline. The Jingdezhen area itself was liberated by the well known Li Hongzhang 李鴻章 in 1864. The new Imperial kilns were to be under the directorship of the official Cai Jinching. After completion a list of ceramic wares was forwarded to the Emperor and is preserved in the area gazetteer ''Jiangxi tongzhi'' 江西通志. The wares consisted of round wares and vases . It is difficult to imagine the ceramics of this period would be dramatically different from those of the previous Daoguang 道光 period. Indeed many of the artisans of the early 1800s must have continued in their profession with the restorations of the kilns. Two ceramic artists associated with later productions of Qianjiang ware or porcelain decorated in sepia and pale umber pigments, Wang Shaowei and Jin Pinqing, are said to have been employed in the Tongzhi era as decorators at Jingdezhen. Certainly there was a quantitative disparity. The extant list of Tongzhi ceramics include such items as quadrangular vases with the Eight Triagrams 八卦 and other items. Extant under glaze blue vases are renditions of classic shapes and patterns continuously celebrated from the 18th century.

Chinese Arts Centre

The Chinese Arts Centre is the UK agency for , Culture and Creativity based in Manchester, England.

Centre of Chinese Culture and Arts

Centre of Chinese Culture and Arts is a non-profit-making organization established by Hungarians, a community of people who share a great interest in getting to know Chinese culture and traditions, through practicing various Chinese arts. This association works in Hungary, Europe. Since its establishment in 1995 the association preserved its unique way of operation which has always been based upon mutual esteem and respect, while through the years the association showed great progression in many ways. Being successful in several aspects of Chinese culture, art and sport activities, nowadays it provides a special opportunity for those who are interested in practicing. Since 2003 the association is the official representation of the authentic ways of martial arts . Their exploration of the tradiational branches of art is also unique – with the partnership of several other Chinese organizations it creates a living, world-wide alliance. Their everyday work is helped and monitored by both Chinese and Western teachers and masters, who provide us with an always reliable source of wisdom and knowledge which plays an important role in the future development of this Institute.



Making of Value and Community


The Centre of Chinese Culture and Arts organises working partnerships with several Hungarian and international nonprofit organisations and official Institutes. Following counties give "home" for those partnerships:

*'''''' – Republic of Hungary
*'''''' – People's Republic of China
*'''''' – State of Nepal
*'''''' – Republic of India
*'''''' – Commonwealth of Australia
*'''''' – Russian Federation
*'''''' – Federal Republic of Germany
*'''''' – United Kingdom of Great Britain and Northern Ireland
*'''''' – Kingdom of Spain
*'''''' – United States of America

The CCCA has friendly relations with several Eastern and Chinese non-profit-making organizations, thus members are becoming the center of Chinese culture in Hungary, Europe. As a community the CCCA is more and more successful in reaching the goals:

*A deeper and purer sort of representation of Chinese culture and arts
*Enhancing Chinese-Hungarian friendly relations ;
*Enhancing the culutural exchange between the two countries, creating real opportunities to show their unique features;

Beside the traditional trainings the CCCA provides a sort of continuously growing help in organizing Chinese / Hungarian cultural and social events. For all of those joining the association the members offers the direct opportunity to experience China, Chinese culture and arts and its represenatatives too hand-in-hand with them, from an extraordinary point of view.

The CCCA's Board, the Leadership


The Board contains seven leaders. The leadership of Center for Chinese Culture and Arts consists of people who are committed to Chinese culture and practice these arts actively. Their mission is to represent pure Chinese culture on more deeper and deeper levels and the instruction of Chinese arts widely – endeavouring to make cultural exhancge even stronger between the two countries. From 1 September, 2006 the association created a new range of duties which helps to preserve and cultivate Chinese – Hungarian values and traditions in a better organised atmosphere. The valuable work of our members and the leadership contributes directly to the development of the improvement of our members’ and the associated people’s life.

The Departments


*Authentic KungFu Department
official representation of the authentic Chinese martial art in Hungary. Grand master: Zhang Eryu , leader: Zhang's top disciple, Mr. XiaoFeng Gábor Cserkész

*Tea Department
leader: Zhang's top disciple, Mr. XiaoFeng Gábor Cserkész , leader of this style.

*ShuFa and Painting Department
Leader: Mrs. Lu YuHua, . Member of Revolution Committee of China Kuomingtang Party, graduated sequentially from Art Department of Wenzhou Normal College and Oil Painting Department of China Art University. Gained award of "New star in educational circles of JinHuan" and "Teaching Master"

*Music Department
Leader: Ms. ZhangYu , music teacher, top singer, master of GuZheng traditional instrument.

Specialities


In the Community, physical trainings are often combined with teachings – sometimes with the participation of respected masters and teachers. For years now the practitioners appear with success in Chinese cultural festivals and programmes. Other Chinese organizations located in Hungary have also appreciated their knowledge and joined their activities. With the boradening of these relations the members also felt it necessary to be able to adopt ourselves to the current needs quickly and to be always up-to-date. The Centre of Chinese Culture and Arts also has the opportunity to prove the skills that are needed to organise and lead such a team in multi-cultural surroundings too. Being practitioners they also know and understand the subtle features of those sometimes quite challenging Chinese – Hungarian cooperations. Walking this way they strive to meet the cultural and social claims and fulfil our goals.



*Ttransmit real values and cultural features;
*Trainings are based on true human values;
*Organise social events on Hungarian culture for those Chinese people who are interested in learning more about us;
*Created and keep alive the unique triangle of ?sport-clture-art”;
*Activities get true support in Hungary and on international levels too;
*Cultivate friendly relations in 10 countries;
*Established the country’s first Hungarian – Chinese media and since then we have been continuously operating and developing it;

Working days, competences



Creating values

*Professional articles on Chinese culture, arts, and today’s society
*Cultural and artistic connections through 10 countries
*Cooperation with Chinese organizations in Hungary
*Chinese press and media connections in Hungary and abroad

Preserving and sharing values

The Centre of Chinese Culture and Arts believes that certain occasions, exclusive cultural and social events can affect Chinese – Hungarian / Chinese - European relations directly. Without the intention to be exhaustive:

*Authentic cultural events and training camps, seclusions
*Cultural Festival and Tea Presentation in Debrecen
*The visits of Chinese Radio International to Hungary and national listeners’s meetings
*The National Thailand New Year’s Eve Celebration
*Chinese – Hungarian Primary School Opening
*First Hungarian Tea Celebration and Festival
*?The Country of the Dragon” Chinese Day
*Spring Festival 2005
*XII. Logisztikai Fórum és Bál – Chinese – Hungarian business and cultural relations
*Prof. Liu Yue Ning’s solo performance
*Spring Festival and gyhetes rendezvénysorozat 2006
*Night of Museums – Chinese Tea Culture
*Wine Festival in Egrer and Trout Festival in Szilvásvárad with the Hungarian Chinese Embassy 2006
*2008 Beijing Olympic Games – An important presentation and social event in Budapest
*Summer Music Festival – ?Romano Drom” in front of Chinese audience
*Translation / Interpretation for the Chinese Minister of Water and his delegation
*Organise of Chinese Spring Festival 2007 with 10 Chinese companies and associations
*In connection to International Chinese ZEN painting exhibition - cultural activities
*Evening of European Museums 2007 –Chinese music presentations

TV and RADIO programmes

*Flowers of China, a live cultural radio programme on China
*?Chinese Week” on BBC
*Choose the Knowledge
*Chinese people in Hungary
*Choose the Knowledge – Closer to China
*Several reports and interviews in connection with the Chinese traditions, culture and arts - and of course, for about daily China

Flowers of China, the living radio programme



Hungary’s first, live Chinese – Hungarian cultural radio programme, Flowers of China has entered its IV. season in 2007. Every Monday from 19:00 – 20:00 PM CCCA's programme can be listened to at FM98.0 MHz from Radio CIVIL’s Budapest studio.

Beside the true presentation of the everyday life of the Chinese colony of Hungary the programme focuses on traditional Chinese arts and the aspects of Chinese culture to build another bridge between Chinese and Hungarian people, helping their cooperation and future work. This broadcast's main goal is to inform you while remaining objective, thus CCCA use the radio as an effective way of communication in order to help to get to know each other better and to help promoting several friendly terms and relations.

Flowers of China works up the literature and history of ancient China, its religions and philosophy separately, along with Chinese tea culture, painting, calligraphy modern and traditional martial arts, Chinese music. The guests are Hungarian and Chinese teachers and masters – respected artists of various arts. The programme tells about Hungarian cultural values, important sights, traditions and history in Chinese starting at 19:30 PM in the radio programme called China Magazine. It also reports on the recent events in China, providing all Hungarians working on the fields of finance with valuable pieces of information. Listeners can easily gain access to the Studio free news-sending service at http://news.kinainfo.hu – which can be listened to both in Chinese and Hungarian languages and everybody can also send pieces of news and information to the editorial office too.

Flowers of China in the Hungarian Wikipedia:

Capital Cities and Tombs of the Ancient Koguryo Kingdom

Capital Cities and Tombs of the Ancient Koguryo Kingdom is a World Heritage Site located in the People's Republic of China. The designated area of the site is located in and around Ji'an, Jilin. The site was designated as a cultural World Heritage Site in 2004, qualifying as such under the first five of the six .

The site contains the archaeological remains of three cities , and forty identified tombs of Koguryo imperial and noble families.

Capital Cities


is the first capital of Koguryo Kingdom. Guonei City and Wandu Mountain City are at one time or another the capital of the Koguryo Kingdom.

Wunu Mountain City is only partly excavated. Guonei City, within the modern city of Ji’an, played the role of a supporting capital after the main Koguryo capital moved to Pyongyang. Wandu Mountain City contains many vestiges including a large palace and many tombs.

The Capital Cities of the Koguryo Kingdom are an early example of mountain cities, later imitated by neighbouring cultures. The system of capital cities represented by Guonei City and Wandu Mountain City also influenced the construction of later capitals built by the Koguryo regime.

The capital cities of the Koguryo Kingdom represent a perfect blending of human creation and nature whether with the rocks or with forests and rivers.

Tombs


The site includes archaeological remains of 40 tombs: 14 tombs are imperial, and 26 are nobles. Which were built by Koguryo, A kingdom that ruled over parts of northern China and the northern half of the Korean Peninsula from 37 BC to 668 AD.

Some of the tombs have elaborate ceilings, designed to roof wide spaces without columns and carry the heavy load of a stone or earth tumulus which was placed above them. The tombs, particularly the important stele and a long inscription on one of the tombs, shows influence of Chinese culture on Koguryo. The paintings in the tombs, while showing artistic skills and specific style, are also an example of strong influence from various cultures.

The tombs represent a masterpiece of the human creative genius in their wall paintings and structures.

Bird-and-flower painting

Bird-and-flower painting is a kind of Chinese painting named after its subject matter. Normally, most bird-and-flower paintings belong to the scholar-artist style of Chinese painting.

Subjects


According Chinese tradition, bird-and-flower painting covers "flowers, birds, fish, and insects" . It can thus deal with a wide range of natural topics, including flowers , fish, insects, birds, pets etc.

Varieties


According to painting technique:
*

Representatives: Lin Liang , Qi Baishi , Zhang Daqian


*Fine-brush

**Fine-brush with Ink and Wash Painting

Representatives: Lin Liang , Ren Yi , Zhang Daqian
**Fine-brush with Colour

*** Fine-brush with Heavy Colour

*** Fine-brush with Light Colour

Representatives: , Lü Ji , Lin Liang , Zhang Daqian


*Freehand Style
**Great Freehand Style
**Slight Freehand Style

Representatives: Tang Yin , Xu Wei , Wu Changshuo , Ren Yi , Zhang Daqian


*Fine-brush with Freehand Style

Representatives: Lin Liang , Tang Yin , Zhang Daqian