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Anonymous users2024-02-10Shi Shouqian, born in 1951, is an art historian and holds a Ph.D. from Princeton University. He used to be a professor and director of the Institute of Art History at National Taiwan University, and the vice president and director of the National Palace Museum in Taipei. He is the pioneer of the study of Taiwan's new art history, and has made many achievements in the study of painting from the perspective of cultural history, and is the author of books such as "Style and World Change".
On July 5, 2012, he was elected as an academician of the 29th Zhongpai Boyang Research Institute.
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Anonymous users2024-02-09**Associate Researcher of the Institute of History and Linguistics (1984-1993), Professor of the Institute of Art History, National Taiwan University (1990-2000), Professor and Director of the Institute of Art History, Taiwan University (1991-1997), Associate Researcher of the Institute of History and Philology of the Research Institute (1993, May 20, 2004).
Adjunct Professor, National Taiwan University (1993, May 20, 2004), Vice President of the National Palace Museum, Taipei (May 20, 2000, May 20, 2004), Director of the National Palace Museum, Taipei (May 20, 2004, January 25, 2006), Research Fellow, Institute of History and Philology (2006), National Academy of Sciences Outstanding Research Award (1994-96), National Science Council Outstanding Research Award (1996-98).
**Fellow of the Academy (2012- ).
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Anonymous users2024-02-08Reflections on the History of Chinese and East Asian Painting.
In my research over the past 20 years, I have tried to provide some different understandings of the history of Chinese painting and its related historical development from the perspective of cultural history, which can be roughly divided into three parts.
The first part is the relationship between stylistic changes and cultural environment in the history of painting. The understanding of stylistic changes has been a basic topic in art history, but in addition to explaining from the perspectives of the rise and fall of painting schools and changes in socio-economic conditions, changes in the cultural environment can often further explain the reasons why various styles succeed or fail in competition with each other. The results of this section can be found in the book Style and World Change (Taipei, 1996).
The second component is on the issue of regional development. In the development of Chinese painting in the region, it often became a leading school dominated by painters. However, in the midst of this strange phenomenon, if we look at it from the perspective of competition, we can highlight the positive role of regional traditions in the history of painting.
Examples such as Suzhou, Nanjing, Fujian and Guangdong have been studied to illustrate the important role played by regional traditions.
The third part is on the issue of elegance and vulgarity. From another point of view, the area is also entangled with the evaluation of the vulgar. Elegance and vulgarity have always been regarded as opposing concepts, but if we adopt a dynamic understanding, there is only a difference between the two, and the phenomena of flow and interaction are extremely diverse.
The royal family, nobles, literati and the common people all absorbed each other and actively separated each other. This change in the modern era has made the issue even more complex.
Since 2007, I have been implementing the Academy's Deep Cultivation Project The Movement of the Peach Blossom Spring: The Development of Landscape Painting in East Asia from the 10th to the 16th Centuries. In the past, most of the academic research on East Asian landscape painting focused on the issue of Chinese influence and localization, and my in-depth cultivation plan will re-evaluate the validity of this discourse in a more cautious manner. After a thorough search of hand-me-downs, archaeological excavations, and ancient documents, I propose to take East Asia as a whole to make a comprehensive observation of the development of landscape painting in China, Japan, and Korea between the 10th and 16th centuries, with special attention to the interaction between the three regions.
This work does not merely mean to broaden the scope of observation, nor is it intended to deliberately highlight the historical significance of inter-regional cultural exchanges; More importantly, the fact of the interaction between the three places should be used as a necessary framework for observing the development of various places, re-understanding its content, and retrieving important historical information that had been sacrificed by the discourse of Han cultural centrism in the past.
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Anonymous users2024-02-07Shi Qian, male, is a full-time teacher in the Department of Environmental Engineering of Xiamen University of Technology. In July 1983, he graduated from the Department of Geology of Fuzhou University with a bachelor's degree. In July 1991, he obtained a master's degree in marine chemistry and marine sedimentation research from Xiamen University.
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Anonymous users2024-02-06Shi Qian (1883-1927) is a member of the word. Shaanxi Baishui people. At the age of 14, he ran away from the country due to family poverty, and became friends with more than ten "knife customers" such as Li Shilian, Qu Junting, and Shifa Hairstyle Zhenchi.
Once, in a fight with the bandit leader Bu Li An's boat, he was cut off his right leg by An's accomplice, so he was called "Stone Kidnapper". He said: "If you don't get rid of the thief, you will not be a man."
Soon, he was designed to be killed by his righteous friend Li Shilian, which was a harm to the people.
8b-15 "Stone Trench Officials" recitation: Jiang Yuan.
The stones of other mountains can be attacked. The stone breaks the sky, the water falls out of the rock, the sea is dry, the stone falls into the well, the stone falls into the well, the stone kills two birds, the water drops and the stone wears through the stone of other mountains Sincerely, the gold and stone are. Dripping water through stones, safe as a rock, falling like a rock, falling like a rock, falling like a rock, falling like a rock, falling like a stone, falling like a stone, falling into a stone, hitting the stone, the sea is dry, the stone is rotten, falling into the well, the stone is flowing, the stone is burned, the stone sinks into the sea, the stone flows gold, the negative stone goes to the river, the stone is open, the body is the arrow, the electric light stone fire, the pillow stone gargle, the stone silk bamboo, the water stone Qinghua, the wooden man stone heart, the stone with the egg, the pillar of the stone, the stone is like a stone, the stone is like a stone, the stone flows gold, the touchstone, the stone pillow flow, the stone is good, the craftsman is the gold, the heavenly stone is the stone, the stone is the wind, the stone room is gold Cracked stone piercing the clouds, pillow flow gargle stone, stone throwing down the well, Hengshi Chengshu, bitter mouth, evil stone, stone and gold kui, five stones and six cranes, a stone falls to the ground, if an egg throws a stone, one water in ten days, one in five days. >>>More
Dry stone is obtained by the player refining the general, and it requires that the card must be refined with more than four stars to get a certain amount of dry stone. The specific data is that refining a four-star general can get 5 dry stones, and refining a five-star general can get 100 dry stones. This is actually quite good, because often players will draw some chicken rib purple cards, and at this time you can consider getting rid of them all. >>>More
Taihu stone. Also known as "Taihu Lake Strange Stone", it is a precious strange stone produced in the Taihu Lake area of Jiangsu, China. Due to the Taihu Lake Stone, the Taihu Lake Stone has inherently unique characteristics. >>>More
Ingredients: 1 piece of tender tofu.
Onion half. >>>More