| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "INDIAN INFLUENCES CHINESE ART": |
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Indian Influences on Chinese Art, 2005.
This paper discusses the influences that Indian Buddhism made on Chinese art.
1,800 words (approx. 7.2 pages), 8 sources, £ 50.95
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Abstract
This is an essay analyzing the influence of Buddhism from India on Chinese art. The writer discusses that this profound influence was primarily due to the cultural interchange resulting from the 'silk road' trade route, as well as other routes. The writer points out that Buddhism came to China via these trade roads, and was eventually adapted by Chinese artists. Further, the writer notes that Greek influences are also important in this artistic tradition.
From the Paper
"To a certain degree, the art produced by any given culture is a product of the synthesis of all that culture has experienced and been in contact with, though a flavor or 'look' that is distinct to the given culture invariably remains. It should not come as a surprise that China was not immune to influences from other cultures, one of the most significant being Buddhism, which originated in India and spread throughout much of east Asia, including China, Japan and Korea. Buddhist iconography thus became a part of east Asian art, including Chinese art, particularly during the T'ang Dynasty."
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Indian Buddhism and Chinese Art, 2005.
This paper discusses the Indian Buddhist influence on Chinese art.
1,800 words (approx. 7.2 pages), 8 sources, £ 50.95
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Abstract
This essay discusses the way in which Buddhism, whose origins are from India, influenced Chinese art. The essay discusses specific artists who employed Buddhist themes in their work, The writer also looks at exhibitions and architecture that reflect the tradition of using Indian Buddhism as either the subject of the work or that use Indian Buddhism to symbolically give a message to the viewer.
From the Paper
"Indian Buddhism was founded in India in 525 BC. Its creator Siddhartha Gautama--or Buddha--taught his followers four noble truths: "existence is suffering (dukha); suffering has a cause, namely craving and attachment (trishna); there is a cessation of suffering, which is nirvana; and there is a path to the cessation of suffering, the 'eightfold path' of right resolve, right speech, right action, right livelihood, right effort, right mindfulness, and right concentration"."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, £ 94.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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Chinese Art, 2006.
A guide to the study of Chinese art through the Yuan dynasties.
2,445 words (approx. 9.8 pages), 4 sources, APA, £ 52.95
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Abstract
This paper examines how the study of art of the dynasties up to and through the Mongol Yuan dynasties involves the blending of art from the prior dynasties into the Yuan.
Outline
Thesis Statement
The By the Artist Approach
Ch'ien Hsuan
From the Paper
"Cahill suggests in his writings, both the work cited and other volumes of his body of works, that perhaps the easiest manner for the Westerner to understand the full significance of Chinese Art through the Yuan dynasties is by the study of several of the artists of the periods involved. This therefore gives one a truer picture of what precisely the circumstances, pressures, social effects and other factors during the time of any given work's preparation. This becomes a vital key to the understanding of the whole scope, and a very large scope it is indeed, of this vast period of World history. A history too many Westerners know very little about and because of the circumstances now existing in China and Taiwan even the Chinese literate are beginning to loose sight of in their headlong rush into globalization. "
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Modern Chinese Art, 1994.
Analyzes the prime influences on 20th century Chinese Art. Issues of identity & the relationship of the self to the state are determined primary. Focuses on the works of Xu Beihong & Lin Fengmian.
1,350 words (approx. 5.4 pages), 4 sources, £ 33.95
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From the Paper
"John Fitzgerald in his essay "The Invention of the Modern Chinese Self" considers ways in which the Chinese developed the concept of self, an idea that was first developed in Europe in modern times. The view taken currently differs from that of the earlier Republican era in Chinese history:
In the ethics of late-twentieth century China the naked, new-born self is born a citizen, a little helper and a pillar of society. . . The roles of citizen, little helper and pillar of society into which the child is welcomed today were not known to the child's forebears earlier this century when the identity of the self was up for negotiation along with the rest of the empire (Fitzgerald 25).
Issues of identity and the relationship of the self to the state serve.."
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Chinese Art, 2007.
This paper looks at art in Chinese history and shows the common denominator of classicism and opposition to change.
1,092 words (approx. 4.4 pages), 6 sources, MLA, £ 27.95
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Abstract
The paper explores the Tang Dynasty which was commonly regarded by many Chinese as the most glorious period of Chinese history and the classical era of Chinese art. The paper discusses how the Chinese artistic style remained relatively uniform, in contrast with the levels of transformation evident in Chinese society and history of the period. The paper examines the art during the Five Dynasties and Ten Kingdoms, the Northern and Southern Song Dynasties, the rule of the Mongols and the Ming and the Qing Dynasties. The paper explains that during all these time periods there was a climate that discouraged rather than encouraged radical innovations that could be called revolutionary in the traditional, Western sense of an artistic revolution.
From the Paper
"The open ports during the Tang Dynasty meant that China was exposed to new ideas, from abroad, and the arts, including sculpture and painting, as well as poetry and the art of the traditional Chinese opera. All of these arts were nationally supported. Yet this brief period of openness ended almost as quickly as it began. ("Tang Dynasty," Classical Imperial China, 2006) Also, the concentration of artistic support near the Imperial Court limited the levels of innovation to a fairly select group of artists."
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Ancient Chinese Art, 2006.
Examines art from the Jiangsu dynasty and the Han dynasty and how they shed light on life during these times in Chinese history.
1,248 words (approx. 5.0 pages), 5 sources, MLA, £ 29.95
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Abstract
There are numerous dynasties in Chinese history, but the two that are focused on in this paper are the Jiangsu dynasty and the Han dynasty. There are thousands of years between these two dynasties and this results in very diversified art. A major concept in most of the Chinese art that we now have is about funerary rituals. The paper explains that by researching this art we can uncover clues about the past, and learn more about cultures that we did not know before. The paper looks at items such as a funerary jar, an incense burner and pottery.
From the Paper
"Time changes everything, and Chinese art is no exception. In Neolithic times most art was made out of pottery, and by the Han period they were using bronze. Pottery "must have been extremely difficult to make, let alone use, for in the succeeding Bronze Age the tradition died out completely" (Sullivan, 8). The use of bronze also gives example to the advancement of Chinese art. In the bronze period art is much more detailed and intricate, showing that the Chinese must have had access to much better resources and tools."
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Chinese Characters And Art of Calligraphy, 2002.
Explores the substance and the origins of Chinese calligraphy.
4,400 words (approx. 17.6 pages), 15 sources, £ 113.95
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Abstract
This paper shows how Chinese calligraphy is a representational art for, and that it provides pictorial representations of the words and concepts that is describes.
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Chinese Martial Arts, 2002.
A summary and analysis of the historical development of martial arts in China.
1,125 words (approx. 4.5 pages), 6 sources, £ 27.95
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Abstract
Summary & analysis of historical development of martial arts in China. Religious & philosophical influences. Use by military for combat training. Classical theories of the importance of moral factors, solidarity & discipline. Moder pragmatic outlook. Daoist thought & exercises. Buddhism's emphasis on self-defense. Consolidation of basic theories. Development of shadow boxing.
From the Paper
"Historical Development of Chinese Martial Arts
This research paper summarizes and analyzes the historical development of martial arts in China. The form and content of martial arts in China has been the product of the confluence and interaction of many religious, philosophical and practical influences dating back to ancient times. The most important influences have been the Chinese classical approach to warfare and military tactics, Daoist thought, Buddhism and various more modern syntheses of martial arts theories, including the teachings of the monks of the Shaolin Monastery during and after the Tang Dynasty (A.D. 618-907) and the Taijiquan classics during the time of the Qing or Manchu Dynasty (1644-1911).
Chinese Military Realities and Classical Theories
The martial arts in practical terms formed the basis for the..."
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"Stories from a Ming Collection: The Art of Chinese Story-teller", 2002.
An analysis of this book which was translated by Cyril Birch and a comparison of two stories from the book.
1,020 words (approx. 4.1 pages), 1 source, £ 31.95
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Abstract
This paper will analyze the book "Stories from a Ming Collection: The Art of Chinese Story-teller" translated by Cyril Birch. By understanding the ideas of ethical premise that are within the two stories "The Lady was a Beggar" and "The Pearl Sewn Shirt" we can compare them to better see the human relationships that exist in the tales.
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Gender and Upward Influence: An Indian Study, 2008.
A look at a study by K. Asha, A. Mahfooz, and R. Himanshu, that was carried out on interactions between Indian male and female workers, entitled "Gender, Affect and Upward Influence: An Indian Study".
878 words (approx. 3.5 pages), 2 sources, APA, £ 22.95
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Abstract
This paper describes and critiques the research study, "Gender, Affect and Upward Influence: An Indian Study", hypothesizing that in Indian mixed-sex workforce groups, interactions between males and females continue to be dominated by attitudes that women hold a lower social status than men. The paper explains that study examines the usage of upward influence (UI) in the workplace environment and contradicts previous studies that indicate little or no difference in UI strategies between males and females in the workplace. The paper also explains that the study uses a combination of survey methodology to prove eight separate hypotheses and includes interviews.
Outline:
Description of the Experiment
Independent and Dependent Variables
Sampling Used
Reliability and Validity of the Experiment
From the Paper
"Gender will become an increasingly important issue in the Indian business world, as businesses continue to hire greater numbers of women to fill the labor void created by an expanding market. This research study hypothesizes that in mixed-sex workforce groups, interactions between males and females continue to be dominated by attitudes that women hold a lower social status than men. The study examines the usage of upward influence (UI) in the workplace environment (Asha, Mahfooz, & Himanshu, 2006). This study contradicted previous studies that indicated little or no difference in UI strategies between males and females in the workplace."
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Indian and Chinese Cultures, 1992.
Examines writing forms, religion in literature, poetry and language.
1,125 words (approx. 4.5 pages), 3 sources, £ 27.95
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From the Paper
"Hindu and Chinese Writing Forms: Sanskrit and Ideograph
Sanskrit, an archaic Hindu language, is the oldest of the Indo-European tongues, and therefore is related to English and Latin. The word, Sanskrit, means 'perfected'. It is the language of the religion, Hinduism, and classical Indian literature. The language is characterized by verbs in active, middle, and passive tenses, as well as very long compounded adjectives.. For example, "the put-all-the-pie-he-could-eat-in-his-stomach man". When used in poetry Sanskrit does not have any use of parallelism (as in Jewish literature), or rhymes (as in English literature.) Instead it uses long and short syllables arranged metrically. The language is now considered dead except for religious and scholarly use. It has been replaced by ..."
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The British Influence on the Indian Army, 2002.
Review of the British involvement in India and its influence on the creation of the Indian Army.
2,400 words (approx. 9.6 pages), 8 sources, £ 62.95
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Abstract
The military history of British involvement in India began, fully, in 1857 when Indian forces staged a revolt against the British East India Company. The Indian army began as an indigenous force run by British officers. The British role in India, far surpassed the history of British Imperialism anywhere else in the world.
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Indian Art, 2002.
An insight to the role of passion in Hindu art by reference to two sculptures and one painting.
2,400 words (approx. 9.6 pages), 5 sources, £ 62.95
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Abstract
This essay will attempt to present a brief understanding of the role of passion in Hindu art. The main references will be two sculptures and one painting. However, there will also be a brief discussion of the role of the Devadasis as representative of passion in religion. This special class of females had a significant part in the practice of religion which involved dance and erotic acts. In addition, they were models for sculptures on certain temples which will be focused upon in the discussion.
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