|
1
|
1955
|
Ausstellung Ten years of socialist construction in Czechoslovakia in Beijing. Zdenek Sklenar reist an die Ausstellung und trifft Ai Qing, Li Keran und Guo Moruo.
The journey gave him a taste of Chinese art and lifestyle. His "Chinese" paintings represent over one-third of all his oil paintings : Chinese landscape, theatre, ornaments etc. He kept a diary with notes and sketched visual impressions.
|
-
Document:
The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014).
[Enthält] :
Part I: Blending Chinese and Foreign Cultures
Chapter One ................................................................................................. 2
Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura
Aaron M. Rio
Chapter Two .............................................................................................. 23
Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting
Maria Kar-wing Mok
Chapter Three ............................................................................................ 44
"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945
Clare Taylor
Chapter Four .............................................................................................. 65
"Chinese" Paintings by Zdenek Sklenar
Lucie Olivova
Part II: Envisioning Chinese Landscape Art
Chapter Five .............................................................................................. 88
Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting
Michelle Ying-ling Huang
Chapter Six .............................................................................................. 115
In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art
Minna Törmä
Chapter Seven .......................................................................................... 130
The Return of the Silent Traveller
Mark Haywood
Part III: Conceptualising Chinese Art through Display
Chapter Eight ........................................................................................... 154
Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture
Lenore Metrick-Chen
Chapter Nine ........................................................................................... 179
Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador
Michaela Pejcochova
Chapter Ten ............................................................................................. 200
The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America
Noelle Giuffrida
Part IV: Positioning Contemporary
Chinese Artists in the Globe
Chapter Eleven ........................................................................................ 228
Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities
Diana Yeh
Chapter Twelve ....................................................................................... 255
The Reception of Xing Danwen’s Lens-based Art Across Cultures
Silvia Fok
Chapter Thirteen ...................................................................................... 278
Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions
Elizabeth Kim S. 65-69.
(Huang1,
Publication)
-
Person:
Ai, Qing
-
Person:
Guo, Moruo
-
Person:
Li, Keran
|
|
2
|
1956-1961
|
Zdenek Sklenar malt "chinesische" Bilder und chinesische Zeichen und illustriert Übersetzungen von Bo Juyi, Guo Moruo, Feng Menglong, Wu Cheng’en ins Tschechische.
|
-
Document:
The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014).
[Enthält] :
Part I: Blending Chinese and Foreign Cultures
Chapter One ................................................................................................. 2
Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura
Aaron M. Rio
Chapter Two .............................................................................................. 23
Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting
Maria Kar-wing Mok
Chapter Three ............................................................................................ 44
"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945
Clare Taylor
Chapter Four .............................................................................................. 65
"Chinese" Paintings by Zdenek Sklenar
Lucie Olivova
Part II: Envisioning Chinese Landscape Art
Chapter Five .............................................................................................. 88
Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting
Michelle Ying-ling Huang
Chapter Six .............................................................................................. 115
In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art
Minna Törmä
Chapter Seven .......................................................................................... 130
The Return of the Silent Traveller
Mark Haywood
Part III: Conceptualising Chinese Art through Display
Chapter Eight ........................................................................................... 154
Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture
Lenore Metrick-Chen
Chapter Nine ........................................................................................... 179
Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador
Michaela Pejcochova
Chapter Ten ............................................................................................. 200
The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America
Noelle Giuffrida
Part IV: Positioning Contemporary
Chinese Artists in the Globe
Chapter Eleven ........................................................................................ 228
Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities
Diana Yeh
Chapter Twelve ....................................................................................... 255
The Reception of Xing Danwen’s Lens-based Art Across Cultures
Silvia Fok
Chapter Thirteen ...................................................................................... 278
Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions
Elizabeth Kim S. 68.
(Huang1,
Publication)
-
Person:
Bo, Juyi
-
Person:
Feng, Menglong
-
Person:
Guo, Moruo
-
Person:
Wu, Cheng'en
|
|
3
|
1967
|
Zdenek Sklenar illustriert die Übersetzung von Cantos of old China.
|
-
Document:
The reception of Chinese art across cultures. Ed. by Michelle Ying-ling Huang. (Newcastle upon Tyne : Cambridge Scholars Publishing, 2014).
[Enthält] :
Part I: Blending Chinese and Foreign Cultures
Chapter One ................................................................................................. 2
Shades of Mokkei: Muqi-style Ink Painting in Medieval Kamakura
Aaron M. Rio
Chapter Two .............................................................................................. 23
Mistakes or Marketing? Western Responses to the Hybrid Style of Chinese Export Painting
Maria Kar-wing Mok
Chapter Three ............................................................................................ 44
"Painted Paper of Pekin": The Taste for Eighteenth-Century Chinese Papers in Britain, c. 1918 - c. 1945
Clare Taylor
Chapter Four .............................................................................................. 65
"Chinese" Paintings by Zdenek Sklenar
Lucie Olivova
Part II: Envisioning Chinese Landscape Art
Chapter Five .............................................................................................. 88
Binyon and Nash: British Modernists’ Conception of Chinese Landscape Painting
Michelle Ying-ling Huang
Chapter Six .............................................................................................. 115
In Search of Paradise Lost: Osvald Sirén’s Scholarship on Garden Art
Minna Törmä
Chapter Seven .......................................................................................... 130
The Return of the Silent Traveller
Mark Haywood
Part III: Conceptualising Chinese Art through Display
Chapter Eight ........................................................................................... 154
Aesthetics and Exclusion: Chinese Objects in Nineteenth-Century American Visual Culture
Lenore Metrick-Chen
Chapter Nine ........................................................................................... 179
Exhibitions of Chinese Painting in Europe in the Interwar Period: The Role of Liu Haisu as Artistic Ambassador
Michaela Pejcochova
Chapter Ten ............................................................................................. 200
The Right Stuff: : Chinese Art Treasures’ Landing in Early 1960s America
Noelle Giuffrida
Part IV: Positioning Contemporary
Chinese Artists in the Globe
Chapter Eleven ........................................................................................ 228
Under the Spectre of Orientalism and Nation: Translocal Crossingsand Discrepant Modernities
Diana Yeh
Chapter Twelve ....................................................................................... 255
The Reception of Xing Danwen’s Lens-based Art Across Cultures
Silvia Fok
Chapter Thirteen ...................................................................................... 278
Selling Contemporary Chinese Art in the West: A Case Studyof How Yue Minjun’s Art was Marketed in Auctions
Elizabeth Kim S. 68.
(Huang1,
Publication)
|
