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Zheng Chongbin: Revealing the Immeas...
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Yang, Celia.
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Zheng Chongbin: Revealing the Immeasurable Truth of Seeing.
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Zheng Chongbin: Revealing the Immeasurable Truth of Seeing./
作者:
Yang, Celia.
出版者:
Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:
68 p.
附註:
Source: Masters Abstracts International, Volume: 82-11.
Contained By:
Masters Abstracts International82-11.
標題:
Art history. -
電子資源:
https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28492578
ISBN:
9798738619892
Zheng Chongbin: Revealing the Immeasurable Truth of Seeing.
Yang, Celia.
Zheng Chongbin: Revealing the Immeasurable Truth of Seeing.
- Ann Arbor : ProQuest Dissertations & Theses, 2021 - 68 p.
Source: Masters Abstracts International, Volume: 82-11.
Thesis (M.A.)--Arizona State University, 2021.
This item must not be sold to any third party vendors.
"I want something that will show what is truth itself."-Zheng ChongbinFor artist Zheng Chongbin, truth is visualized through elegant, frenetic dances of blacks, whites, and grays on paper and sculptural transformations of divine spaces. Beginning with the vehicle of ink and its materiality, Zheng explores the potentialities of phenomenological realities in his artworks. His pieces are portraits and scenes of cosmic links and structures intended to question preconditioned biases and awaken human perception of elemental forms and the unnoticed beauty in our environment. This paper follows the evolution of Zheng's visual philosophy by tracing the thread of influences, spanning disciplines, cultures, and time, behind Zheng's artistic endeavors. While a body of literature on Zheng's practice exists, mainly written by art historians with a specialty in contemporary Chinese art, much of it is largely concerned with establishing his position as a revolutionary artist revitalizing and transforming the Chinese ink painting tradition. Interpretative essays and critical writings about Zheng's artwork most often attempt to fit them within the Chinese artistic canon or are surface aesthetic comparisons to Western post-war artists. However, little to no scholarly research has comprehensively addressed Zheng's inclination towards transdisciplinary and transhistorical schools of thought and how those ideas are integrated into his methodology. By revealing the rich philosophical constructs behind Zheng's practice, the paper opens up pathways for new approaches to his artworks. Ultimately, this challenges the narrow categorization of Zheng's practice as definitively Chinese contemporary art, and instead facilitates the understanding that his artworks demonstrate a convergence of multiple artistic hereditary lines and global discourses.
ISBN: 9798738619892Subjects--Topical Terms:
2122701
Art history.
Subjects--Index Terms:
Chinese diaspora
Zheng Chongbin: Revealing the Immeasurable Truth of Seeing.
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"I want something that will show what is truth itself."-Zheng ChongbinFor artist Zheng Chongbin, truth is visualized through elegant, frenetic dances of blacks, whites, and grays on paper and sculptural transformations of divine spaces. Beginning with the vehicle of ink and its materiality, Zheng explores the potentialities of phenomenological realities in his artworks. His pieces are portraits and scenes of cosmic links and structures intended to question preconditioned biases and awaken human perception of elemental forms and the unnoticed beauty in our environment. This paper follows the evolution of Zheng's visual philosophy by tracing the thread of influences, spanning disciplines, cultures, and time, behind Zheng's artistic endeavors. While a body of literature on Zheng's practice exists, mainly written by art historians with a specialty in contemporary Chinese art, much of it is largely concerned with establishing his position as a revolutionary artist revitalizing and transforming the Chinese ink painting tradition. Interpretative essays and critical writings about Zheng's artwork most often attempt to fit them within the Chinese artistic canon or are surface aesthetic comparisons to Western post-war artists. However, little to no scholarly research has comprehensively addressed Zheng's inclination towards transdisciplinary and transhistorical schools of thought and how those ideas are integrated into his methodology. By revealing the rich philosophical constructs behind Zheng's practice, the paper opens up pathways for new approaches to his artworks. Ultimately, this challenges the narrow categorization of Zheng's practice as definitively Chinese contemporary art, and instead facilitates the understanding that his artworks demonstrate a convergence of multiple artistic hereditary lines and global discourses.
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