Ding Ning is a Professor of Art history & Theory, and Vice Chairman, Deptartment. of Art Studies, Peking University. His areas of interest include Culhnal studies of Visual Arts, Psychology of Art, Western Art History, Philosophy of Art History and Comparative Art studies. He has translated various books on art from English to Chinese, and is the author of numerous articles. His many awarded books include ‘Dimensions of Reception’(1990), ‘Psychology of Visual Art’(1994), ‘Dimensions of Duration: Toward a Philosophy of Art History’ (1997), ‘Depths of Art’(1999) and ‘Fifteen Lectures on Western Art’(2003) and is currently working on his latest book on ‘Cultural Studies of Visual Art’.
November 22, 2004
A Journey through Chinese Painting
With its long history and unique achievement, Chinese painting, gouhua, wins high acclaim. Now it even more or less relates to the potential national identity of China. Guohua is generally divided into such main categories like figure painting, flower-and-bird painting, and landscape painting.
The cultural and symbolic meanings in Chinese painting are important but quite subtle. So, the emphasis is on what are the depth significances of Chinese painting, why Chinese painting is different from Western art, how the Chinese artists perceive and understand nature, and what special materials are adopted, etc. Also, in an attempt to see how traditional Chinese painting is extended in a persistent way and what differences the later Chinese painters have made, some modern Chinese paintings are referred for a comparison.
November 23, 2004
Toward a New Century: A Glimpse into Contemporary Chinese Sculpture
It is significant that contemporary Chinese sculpture has got a faster pace in the late 1990s. Chinese sculptors now reflect harder on how to respond to the new Millennium, since they have acquired much more freedom of expression after China has increasingly opened its doors to the outside world.
Being exposed to various influences, artists try to find their own identity by seeking a unique space for combining what is traditional and innovative, Chinese and western, old and new, local and global, natural and artificial, primitive and technological. It seems that in the future they have much more to express in a newer way. Though some conventional images and even cliches are still visible, the younger generation furthers its exploration and is good at keeping an eye on its own distant tradition and absorbing Western innovative vocabulary.
Chair: Rashmi Poddar