Exploring and Expanding
Cantonese Collectors in Shanghai (1870-1950): A Case Study of Late Qing Official Pei Jingfu's Art Collection Activities
Paper Presentation in a Themed Session Ni Na Camellia Ng
This research explores the fascinating history of Cantonese art collection from 1870 to 1950, a period of significant cultural evolution. Many Cantonese officials and businessmen, seeking new opportunities, found themselves in the vibrant city of Shanghai during this era. One such individual was Pei Jingfu, who greatly influenced Shanghai's flourishing art scene. The escalating art prices and the growing fame of Wu Changshuo from the Shanghai School were largely due to Pei's substantial investments and increasing interest. Therefore, it can be inferred that Wu's unique style, which is widely acclaimed today, was significantly nurtured and shaped by Pei's momentum. The proposed presentation aims to delve into the intricate relationship between the formation of Wu Changshuo’s painting style and Cantonese collector Pei Jingfu. It will investigate the reciprocal influence between art collectors and artists, emphasizing the crucial role this relationship played in the wider art and cultural scene. Additionally, the paper offers a historical overview, tracing the evolution of this relationship and examining key figures and events that had significant roles. Through this, we aim to provide an all-encompassing understanding of the subject matter.
Islamic Geometric Pattern Art and Anthropocene Aesthetics View Digital Media
Paper Presentation in a Themed Session Lankyung Kim
The study explores the integration of Islamic Geometric Patterns (IGP) within the context of Anthropocene aesthetics, a concept emphasizing human impact on the environment and its reflection in art. It discusses how IGP transcends traditional environmental themes, aligning with Theodor W. Adorno's aesthetic theory. Adorno's ideas on art's transformative role in society and its ability to challenge societal norms through autonomy are central to this analysis. The essay examines IGP's role in representing the intricate relationship between humanity and nature, showing how these patterns embody a sacred geography that bridges the earthly and the divine. It also delves into the role of IGP in contemporary visual arts, highlighting its influence and reinterpretation in the Anthropocene era. The study positions IGP as a medium that offers a unique perspective on environmental concerns, promoting a holistic view of the human-nature relationship.
Whose Art Is Architecture? – Redefining Architectural Painting as a Form of Public Art and Cultural Heritage: The Politics of Chromophobia View Digital Media
Paper Presentation in a Themed Session Claudia Valge
Architecture – the art of building – is the most prevalent form of public art, therefore, architectural painting is the most widespread and influential mode of painting. However, since architecture is not commonly perceived as art, architectural painting is relegated to a utilitarian role, as proven by my decade-long empirical research in this field. This paradigm ignores that humans receive 90% of information visually, hence, color in its monolithic architectural expanse has a profound effect on our psychology and aesthetics. Historically, painter-decorators hand-mixed and -painted buildings, while murals were an interdisciplinary link between fine arts and architecture, lending architectural painting an essential role in the development of local visual culture and nation-building. The purpose of this paper is thus to redefine architectural painting as a form of public art, cultural heritage, and conveyor of collective memory and national visual identity, which has quickly begun to vanish due to globalization. For this, I researched the building regulations of over 30 countries to assess how architectural color is approached in urban planning, ranging from no regulations to local administrations determining the colorways of entire cities according to research-determined traditional color schemes. To further understand why architectural color is undervalued, I studied the current politics and history of chromophobia, as well as architects’ preference of form over color and anti-artistic market interests creating palatably monochromatic architecture. These findings suggest we need more political and community intervention to return to human-centered design and revive architectural color as public art which enlivens our communal spaces.
