• Cross-Cultural Studies
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• v.31
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• pp.177-196
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• 2013

This paper is the study of literary modernism school(新感覺派 xinganjuepai), appeared in the early 20th century in China and Japan. This literary modernism, developed in Japan in the 1920s, was developed in China after 10 years in the 1930s. Chinese literary modernism was influenced by the Japanese school. However, the following occurs the difference in modernism caused by background of the two countries. Japanese school of literary modernism was formed by a backlash against the proletarian literature. The rivalry between Japanese proletarian literature and literary modernism occurred in 1920's. Literary modernism in China occurred in the course of the development of the proletarian literature, as part. In addition, China's literary writers of modernism have expressed their support proletarian literature for the position. This difference between the two countries can be caused by the difference of historical background (imperial and colonial) in early 20th century.

• Journal of Daesoon Thought and the Religions of East Asia
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• v.3 no.2
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• pp.147-148
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• 2024

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• Cross-Cultural Studies
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• v.34
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• pp.237-257
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• 2014

Paragraph of the early 20th century, China has begun to blow hot air creative realism. Chinese intellectuals at the time of national crisis, China is facing a national transformed into a modern nation must be performed in order to challenge literary realism to recognize the most suitable literary thoughts. But realism is screwed literary thoughts introduced from the West. Shen Yan Bing in 1922 revolves around a discussion of realism and naturalism in France started to spread all over Europe for historical realism and creative learning originates from the well came from the intended operating suggesting. In addition, writers of Wenxueyanjiuhui is influenced by the Russian realism directly. In this paper, the realism of the French and Russian for the study and development of Chinese accept.

• Cross-Cultural Studies
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• v.20
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• pp.323-346
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• 2010

This study reviews critical literatures regarding Asian cinema, focusing on studies of Japanese cinema, to show that Western scholarship on non-Western national cinemas have been divided into two approaches: traditionalism and modernism. It argues that such a division is not merely a critical tendency but indicative of the fact that a national cinema is an internally divided construct. To support the point, this study examines Chinese film studies conducted by Chinese film critics and the history of South Korean cinema during the 1970s and 80s. Then, it proposes the hegemony model to theorize the inner structure of national cinema. It finally suggests the possibility of comparative film study that the national cinema thesis may activate.

• Fashion & Textile Research Journal
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• v.7 no.5
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• pp.481-493
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• 2005

Reason for contemporary ethnic-look's remarkable world popularity is viewed as due to counteraction of disordered world conditions such as war, terror, and economic depression. These conditions led people to desire the returning to primitive human society where freedom and peace are preserved. The background of ethnic look emergence is influences of post-modernism, eastern and western culture hybrid, and ecology. This study will mainly focus on the analysis of present ethnic fashion trend and, with following to this, their images will be analyzed and categorized. The result of ethnic trend, especially that of Asian's and African's, from 2000 to 2005 is like this: representative Asian ethnic fashion tendency is focusing on Japanese and Chinese. In Japanese style, oversized silhouette was derived by Kimono and wide belt was appeared by influence of Kimono's Obi. Chinese ethic style are analyzed as adapting feministic silhouette and details from Chinese traditional clothes, Chipao. Additionally, in some of the Chinese ethnic-look, there are mixtures with Japanese, North American, and African's images. Mixing with pop images and ancient ones are also emerged. In the African ethnic look, people used colorful cloth and new materials which is considered as integration of primitives and modern science. From the study, it is possible to conclude that current modern ethnic fashion can be defined as blends with one country's image to the other, mixture with new technology, and acceptance to the multi-national folk fashion. These trends are widely revealed and extended in the world fashion. In the following result of the analysis, there were four outstanding images lying underneath in the present ethnic-look. That is eclectic, traditional, natural, and mysterious images.

• Architectural research
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• v.17 no.2
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• pp.49-56
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• 2015

For more than 100 years, American skyscrapers got along with the change of Modern architecture. However, high-rise building can not be regarded anymore as a monopoly of America. The purpose of this study is to clarify the aesthetic characteristics of Asian high-rise buildings. Basic concepts on the aesthetic and artistic expression of high-rise building have been discussed, emphasizing the importance of artistic characteristic. A brief introduction on the rise of Asian high-rise buildings also summarized in terms of changing trends for decades from 1970s. Among the 75 buildings in Asian countries out of 100 tallest buildings in the world, 10 buildings are selected to clarify the artistic characteristics which can be presented as an Asian trend in 21st century. The results can be summarized as follows; It was from 1990s that the Asian high-rise buildings began to express a specific regional aesthetics as a trend of post-modernism. Conventional ideas, traditional objects, and regional shapes and patterns are good instruments to successfully represent their national prides. Religions in Chinese and Islamic culture are popular motifs in Asian countries as well as feng shui and conventional idea of five primary elements. Traditional objects like pagoda and minaret are good precedents that can provide friendly recognized vertical objects. Many other interesting cases can be found referring to the traditional shapes and patterns like Chinese character, geometric pattern, Islamic sign, etc.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.85-95
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• 2010

East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

• Cartoon and Animation Studies
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• s.45
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• pp.321-343
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• 2016

The purpose of this thesis is to look through the political and social background of China preparing for a new era after getting out of the Communist Party of Mao Zedong, rapid inflow of the Western modernism and the avant-garde art arising in China with the focus of art works of Xu Bing, which contributed to the expansion of printmaking of China. Particularly, 85 New Wave Movement arose by young artists since 1985 and the China/Avant-Garde Exhibition held in Beijing in 1989 are the two important issues which reflect a new change from the traditional Chinese art. The artists of 85 New Wave Movement, who pursued a historical revolution and novelty, worked very actively by leading private exhibitions. Since the Cultural Revolution, the government owned the National Museum of Fine Art Beijing had exhibitions on a large scale displaying various visual arts such as performing art, installation, painting, sculpture but the Chinese government interrupted exhibitions two time due to bold performing art and unconcealed installation. Some artists were even taken to the police when performing art. Under these circumstances, Xu Bing, who majored printmaking, produced one of his major works, Books from the sky(1988), while he was working on various experiments focusing on the production process of printmaking and its repetitiveness. Xu Bing devised letters, carved them in trees and finally created approximately 2000 characters. Going further he displayed it as installation work, which means the developed characters go beyond a printed form, for audiences. This made him earn favorable reviews since it was a form of western art coupled with Chinese contents 'Chinese character'. After he received unfavorable reviews, however, he went to America leaving his last work in China, Ghost Pounding the Wall, in 1990, which was not able to exhibited. In those days, China society was going through a chaotic era thanks to the extinction of the Cultural Revolution and Deng Xiaoping's(1904-1997) reformation after the debacle of Tiananmen Massacre. This study looks into Xu Bing's artworks from his initial print works until he went to the US in 1991 and examines how he performed experiments utilizing reproductivity and plurality of prints tinged with Chinese traditional elements, and ultimately became one of the avant-garde artists representing the period.

• Korean Institute of Interior Design Journal
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• v.21 no.1
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• pp.211-219
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• 2012

I.M. Pei, 2nd generation Chinese immigrant to America, has been one of the most recognized architects who designs museum architecture through out the world for completing significant projects such as the East Building of National Gallery of Art(1068-78) as well as Le Grand Louvre Renovation(1983-89) to name a few. His museum architecture, in particular, reveals his detailed consideration on viewer's artistic experience by providing well balanced architecture design to support exhibiting objects while showing his sensitivity on overall functionality of space. In recent projects such as Miho Museum in Japan, Suzhou Museum of China, and Museum of Islamic Art of Qatar, reveals his growing interests in considering "local context" in museum architecture. Therefore, the purpose of this study is focused on analyzing I.M. Pei's three museum projects having its concept focused on local context. Through out the paper, above mentioned museums were analyzed and compared to summarize his design characters and concept including site plan, spatial organization and architectural form. As a result, it is evident that I.M. Pei had put full effort to apply oriental context with modernism through out his museums. In particular, his site plan, spatial organization, and architectural form shows visible connection to comply with nature which is fundamental idea in oriental philosophy. While his basic design philosophy has been borrowed from the tradition, his ultimate design concept shows nature friendliness as well as theoretical system of thoughts and emotion and most of all, his design excellency in representing local context.