How is the banner of CCPN website associated with the award winner of an animated version Along The River During Ching Ming Festival?
A new edition of the banner of CCPN at LSE (until March 2013)
The banner of China in Comparative Perspective Network (CCPN) website has attracted many readers since it was launched in 2008. According to Dr Xiangqun Chang, founder of the CCPN, China in comparative perspective means to use China as a comparator to compare it with other countries and regions globally, as well as through studies of transformation of Chinese society historically. Methodologically, the essentially epistemological difference between Chinese social science and its Western counterpart can be understood from understanding of a Chinese painting. She explained this in her book Guanxi or Li shang wanglai? Reciprocity, Social Support Networks, & Social Creativity in a Chinese Village (Scholarly Publishing Business, Airiti Press Inc. 2010):
‘In 2005 there was an exhibition of “China: Three Emperors (1662–1795)”. David Hockney, the Academician of The Royal Academy of Arts, commented that the Chinese paintings deployed multiple perspective points in a single painting, which is different from the single perspective point in Western painting. For him, Western history of art has long neglected the beauty and sophistication of the Chinese scroll painting (A typical example is the Qingming Riverside Painting, which was selected as the homepage background for CCPN, see the above picture)'. From Hockney's point of view, the scroll painting 'bears close resemblance to cinema pictures by offering a sense of pleasure at being part of the painting. As the Chinese painting has no vanishing point, its viewer has to assume a participatory approach, rather than a static posture, through which to engage him or herself, including eyes, body and psyche into the story-telling and moving with the scroll part by part" (David Hockney, “A Difference of Perspective”, in “Three Emperors, 1662–1795”, RA Magazine, Winter, 2005).
Chang believes that western social science is more focused on a detailed analysis of specific issues, while the Chinese way is to offer a combined approach to several issues together. Her 'book is an attempt to present to its readers a huge scroll painting of the complicated relationships in the everyday life of a Chinese village. It is nonetheless not totally Chinese, just as sometimes in the West a few miniatures can be presented on one big wall. In this case they are embedded in the Chinese scroll. Hockney’s prescription of how to appreciate Chinese painting might be helpful for readers in their approach to this book’ (Chang, 2010, p42-43).
Along The River During Qingming Festival is a panoramic painting by Zhang Zeduan (1085–1145), the Song Dynasty artist. It captures the daily life of people in the Song period in the then capital, Bianjing, today's Kaifeng, in Henan Province.
Chinese is a high context language. The painting Along the River During the Qingming Festival (清明上河图 Qīngmíng Shànghé Tú) has been translated into English in many ways, such as:
This page contains a collection of different types of presentations of the painting. Please click each picture on the right column to see videos. All the videos come from Youtube.
CCPN Global's banner based on the original design at LSE from April to May 2013
The scroll painting Along the River During the ingming Festival
Click the picture see more info
Save/download the painting for viewing
The Award winner of an animated version Along The River During Ching Ming Festival in for Shanghai 2010 Expo (English) – click picture see video
The exhabition, entitled ‘River of Wisdom, held at Asia World-Expo, Hong Kong November, 2010
A TV programme about the Hong Kong exhibition (Cantonese with Chinese subtitle)
Qingming Riverside Painting and Chinese Civilizarion Part I
Qingming Riverside Painting and Chinese Civilizarion Part II
A basic animated version of the painting
A DVD with detailed explanations of the panting (in Chinese)
A film on the painting, named A City of Cathay (English narration) 1/3
A paper cut team from Jiayi, Taiwan, presented a special 2.5D paper cut of the painting (in Chinese)
‘英国皇家美术学院院士大卫·霍克尼（David Hockney）在评论《中国：三个皇帝（1662—1795）》展览中的中国画时指出，与西方的油画所提供的单视点（a single perspective point）不同，中国的绘画在一幅作品中通常同时表现等距的多视点（mutiple perspective points）。他认为，西方艺术史一直忽视了美丽而精致的中国卷轴画(典型的此类画如“清明上河图”，中国比较研究网站选中此画作为首页的主题之一，有表现这种思维方式的寓意，见上面的标幅。 在霍克尼看来，'中国的卷轴画有点像电影，给观赏者一种参与绘画作品的快感。进而解释道，由于中国的绘画没有消失点（a vanishing point），与其说是站着不动地欣赏西方的油画，赏画者在欣赏中国画时则必须变成画中的这个消失点。因此，在欣赏中国画时要成为画的一部分，其眼睛、身体，甚至心理等都要参与到故事情节中去，并随着画面的滚动从一部分移动到另一个部分(David Hockney, "A Difference of Perspective", in "Three Emperors, 1662—1795", RA Magazine, Winter, 2005.)。’
常向群认为，‘粗线条来看，“西方”的社会科学的研究比较注重于对某一个问题的深入细致地分析，而中国式的研究则比较注重于把几个问题综合在一起来概括和 描述。本书所提供给读者的是一幅用文字表达的反映江村村民生活极其复杂的关系的巨幅卷轴画。但它不完全是中式的做法，有点像西方的将若干小幅的油画挂在一 面墙上的展示法，不过在此不是挂在墙上，而是镶拼在中式的卷轴画里。借助于霍克尼建议的欣赏中国画的方法也许会有助于读者耐心地读完此书。’ （常：2009年，第15页；2010年，第39页）
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