Monday Online Presentation Session 2

Cultural Studies/Chinese Studies

Session Chair: Meng Li

13:30-13:55

70827 | Semiotic Analysis of the Auspicious Images of Jade Objects from the Han Dynasty, China

Miao Su, Universiti Putra Malaysia, Malaysia

Velu Perumal, Universiti Putra Malaysia, Malaysia

Irwan Syah Md. Yusoff, Universiti Putra Malaysia, Malaysia

Abdul Rohim Tualeka, Universitas Airlangga, Indonesia

The Han Dynasty was a flourishing period in China's jade development history. Han Jade's artistic style and connotation were rich and colorful, profoundly influencing later generations. The extant literature documents Han Dynasty jade as a vehicle for recording the nation's history and religious, cultural, and ideological development. However, it does not provide a theoretical framework for using semiotics to analyze auspicious images of Han dynasty jade. The present study adopted applied semiotic theory to interpret the functional and psychological aspects of auspicious images of Han Dynasty jade. 102 image samples were collected and analyzed using the KJ method. The findings show that Chinese cosmology, philosophical beliefs, federal convictions, and traditions have significantly influenced Han Dynasty jade. The future of sustainable jade design should be based on a traditional cultural understanding of China. These results provide new insights into developing effective design strategies to enhance the auspicious jade design.

13:55-14:20

68579 | The

Identity of the Artist, the Acceptance of External Requirements, and the Artistic Creation in Ming and Qing China

Yuqing Sun, Charles University, Czech Republic

During the Ming and Qing periods in China, the effect of economic forces on artistic creation grew progressively, and artists of varied identities absorbed such forces differently. There was no concept of “the artist” in Chinese art history, and the painter and calligrapher, or more precisely the person who produces paintings and calligraphy, encompasses a wide range of social identities, such as the craftsman, the professional painter who lives on paintings, and the literati with or without the identity of official. As art historian James Cahill has suggested, artists tend to conform to certain social expectations in which they grew up with regard to the choice of creative subject and art style; artists with diverse identities dictated varying acceptances of external requirements in the painting trade. Because traditional China was an identity-oriented society, and artists’ behavior would be regulated by some potential norms derived from their long-term life practices. This article will concentrate on how traditional Chinese artists with various identities accepted the demands for their work that arise from transactions, and whether artists with particular identities-literati- intentionally distance themselves from their identity as painters. My hope is that this study will not only provide a perspective on interpreting the artistic creation through the artist’s identity, but will also suggest a direction for further research on the commercial impact on traditional Chinese art.

14:20-14:45

69462 | Chinese Calligraphy Image Symbolism: The Meaning Behind Longmen Twenty Statues Inscriptions

Li Meng, Universiti Putra Malaysia, Malaysia

Velu Perumal, Universiti Putra Malaysia, Malaysia

Ng Chwee Fang, Universiti Putra Malaysia, Malaysia

Sazrinee Zainal Abidin, Universiti Putra Malaysia, Malaysia

Zhang Ling, Universiti Putra Malaysia, Malaysia

Abdul Rohim Tualeka, Universitas Airlangga, Indonesia

Longmen Twenty Statues Inscriptions are excellent representative works of Chinese Weibei calligraphy. Longmen Twenty Statues Inscriptions are in the Longmen Grottoes Scenic area of Luoyang City, Henan Province, China. However, some visitors today do not fully understand the symbolic meaning of the Longmen Twenty Statues Inscriptions image, thus ignoring this cultural heritage to some extent. Therefore, it is necessary to study the history, social background, and cultural value of Weibei calligraphy, identify the Longmen Twenty Statues Inscriptions image symbolism, and analyze the cultural perception of visitors, to improve the situation. The research through the integrated literature sorted out the evolution process of each section of Weibei calligraphy in history. Based on previous studies, this research summarizes the symbolic meaning of the Longmen Twenty Statues Inscriptions. To sum up, the research analyzes the characteristics of the Weibei calligraphy, summarizes the image symbolism of the Longmen Twenty Statues Inscriptions, and combines the cultural perception of Chinese visitors to focus on the meaning behind Longmen Twenty Statues Inscriptions.