Portrayal, Definition and Reconstruction of “The Body” in Contemporary Chinese Photography

2013 ◽  
pp. 67-86
Design Issues ◽  
2019 ◽  
Vol 35 (3) ◽  
pp. 64-75
Author(s):  
Christine Tsui

This paper examines the basic design theories underpinning contemporary Chinese fashion by exploring a fundamental question: are there any common features that can be summarized about Chinese fashion, and, if yes, what is Chinese fashion? Chinese fashion in this paper means clothing that is in “Chinese” style and designed by People's Republic of China (PRC) designers. To answer the specific question, I undertook in-depth interviews with selected Chinese designers and then supplemented these with a textual analysis of interviews published previously in prominent Chinese fashion journals. This study shows the Chinese style exhibiting features of “implied beauty” in aesthetic, flat form in shape, and harmony in spirit. I synthesize the three features into one Chinese character, HE. HE literally encompasses rich meanings: harmony, peace, implicit but evoking, reserved, pure, natural, and any synonyms of these words. The character indicates an implied beauty system of China—presenting the beauty in an implicit and subtle form. Implied beauty urges viewers to imagine the beauty that is between visibility and invisibility under the clothing, rather than to sense the beauty by directly seeing the body of the wearer through the eyes. The primary form in Chinese style clothing as a reflection of implied beauty is the flat form, meaning that the clothing is cut without any darts or seam lines to reduce the volume differences between the bust line, the waist line, and the hip line. The cutting hides body rather than reveals body. Finally, in spirit Chinese fashion reflects the core Chinese philosophy of harmony, which means being in tune with both the social and the natural environment.


Cultura ◽  
2020 ◽  
Vol 17 (1) ◽  
pp. 39-56
Author(s):  
Peina ZHUANG

Abstract: The participation of humanists, artists and social scientists has added much impetus to the study and story of the “anthropocene”. Zhao Defa, the contemporary Chinese writer, is one of the pacesetters in this regard. His inspiration from the concept of the “anthropocene” transforms the body narrative in the novel The Anthropocene. This article argues that the changed triad of body narrative, or more specifically, the highly encoded bodily metaphors, the function of body in narrative and the relation between nature and body, succeeds in modelling a body charged with ballooning desires in the “anthropocene”, which constitutes the humanity’s the existential basis and the very cause of the “anthropocene”, and if not hurdled, will bring fatal catastrophe to this planet.


2018 ◽  
Vol 17 (2) ◽  
pp. 177-197
Author(s):  
Matthew Brower

This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use affect to assert the human dignity of her subjects and make their presence visible in a culture that erases them. Dong’s photographic and video documentations of her mail-order bride performances use affect to disrupt and complicate the power relations her performances expose. By situating their works in the exhibition, the article investigates the issues raised by photographic affect for curatorial practice.


2020 ◽  
Vol 13 (2) ◽  
pp. 5-13
Author(s):  
Paweł Jędrzejko

The Americas offer a peculiar stage for translocal methodologies. If we agree that the products of Chinese American culture—which, in the course of the last 170 years of interaction, has evolved into a unique, American, phenomenon—can not be labeled as “Made in China,” then contemporary Chinese medicine in the Americas cannot legitimately be perceived solely as an ‘import.’ Beyond doubt, phenomena such as the emergence of the American College of Traditional Chinese Medicine at the California Institute of Integral Studies testify to the fact that the once ‘exotic’ forms of therapy are now being granted a status parallel to those developed throughout the history of Western medicine. Increasingly, as translocal, they are becoming recognized as non-foreign elements of the glocal culture. Similarly, the exploration of the physical world, which, to an experienced dancer of Bharatanatyam, Odissi, or any other of the dominant forms of the classical Indian dance is an obvious function of his or her own experience of the ‘body-in-the-world,’ has, translocally, opened up an altogether new space of profound understanding of ourselves in our environment. It is not about the fashionable, politically correct, ‘openness to other cultures’; it is about the opening up to a parallel meditative experience of the “bodymind,” which neither excludes nor isolates the sphere of emotions from the reality of what-is-being-experienced. Or, to express it in terms more easily comprehensible to a Western reader, dance may prove to be a methodology (not just a method) serving the purpose of a more profound understanding of the complexity and unity of the universe, and a language to express this understanding. Making the most of available traditions might produce much greater benefits than remaining locked within just one, Western, Anglonormative, library of concepts. In the context of the ongoing debate on transnational American Studies, the article offers an insight into how the worldwide studies of the Americas and translocality intersect, and how such a perspective may contribute to the multifaceted process of the decolonization, understood both literally and intellectually.


1999 ◽  
Vol 58 (4) ◽  
pp. 961-991 ◽  
Author(s):  
Jian Xu

Many asian cultures have rich traditions of self-cultivation that exercise mind and body through physical and meditational training. Research and scholarship with respect to those traditions have focused fruitfully on how the body is cultivated to serve as an agent of resistance against various forms of social control. Of these many writings on this subject, I will here name only a suggestive few: Joseph Alter's study of Indian wrestling (1993), for example, tracks the wrestlers' self-conscious reappropriation of their bodies from the power of the state through a regimented discipline aimed at resisting docility. John Donohue's study of the Japanese martial art karate (1993) explores how, in the West, karate's symbolic and ritual functions create a psychological dynamic that counters the prevalent fragmentation of urban life. Douglas Wile's research on Chinese taiji quart (1996) similarly reconstructs the cultural/historical context in which this martial art was created. He shows that what motivated nineteenth-century literati to create taiji quan was its representational function rather than its practical utility. That is, Taiji quan “may be seen as a psychological defense against Western cultural imperialism” (p. 26) insofar as it produced a secure sense of the national self that helped China adapt to a new international environment (p. 29). All of these studies place the body-in-cultivation in a specific historical context; they maintain that the individual, physical body both registers and reveals the national sociopolitical landscape.


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