Arts and Cultural Management in Asia - Literature review Example

Name: Tutor: Course: Date: Arts and Cultural Management in Asia Country Briefing Paper Introduction Chinese art is one of the most notable, renowned and revered visual arts in the world all over. It is depicted from both ancient and modern categorization, depending on the period of its utility and significance of its origin. The true base of Chinese art is reflected on the culture and heritage of the people as all the major relevance are obtained from the same (Brown and Hutton 17). The continuous tradition of Chinese art is in the oldest form around the world. It is reminiscent in equivalence to the collapse of Western and classical styles, with the latter receiving a gradual recovery. Some of the divisions responsible for art depiction include painting, sculpture, pottery and decorative arts, amongst others. The historical developments were marked by the empirical periods of Chinese history, each with distinct styles, material use and availability designs with the respective facilities for their propagation. The article will look and asses Chinese art with the appreciation of infrastructure, social, cultural, economic and political contexts within its placing. Dimensions Chinese culture has been signified with traditional painting with similar techniques as those of calligraphy. The form used is notable with the traditional brush, without any oil and is dipped in ink that is either colored or black. Bush and Murck (1) note that the main materials associated with the painting forms include silk and paper. The former is largely available within the local settings of any location while the requirements of the latter are synonymous. After the painting is delivered, the finished products can be mounted on the available scrolls like hanging and hand. The two major forms of paintings in the Chinese art are Gong- bi and the ink and wash kinds. The former is used to denote meticulous while the latter in Chinese can be loosely used for the brush or watercolor painting. The paintings have to denote the culture of the people be it in the material composition, depiction, content or delivery styles. The famous dynasties in Chinese history represented through the sculpture are Western Zhou and Shang. The art form of depiction hail from over a thousand years with the influence felt over to this day. The cast complex in their processing is through zoomorphic decorations, with majority of them taking the representation of human figures. With the native aspect of the Chinese, there is lack of representation of deities and the presented ones include the Buddhist origins (Cohen 411). The portraits sculptures are also a mainstay of the Chinese art through the models in between the fourth and fourteenth century. The approach used by the imperial tombs are reminiscent of the medieval China as they showed the quality of afterlife and its value placed by the people’s beliefs and cultural appreciations. They were all considered artistic with few recordings made of the artists. The ceramics of the Chinese art are remembered for their developmental basis of the application from pre- dynastic periods as some of the most significant, when considering their value and appreciation over time. During the Paleolithic era, the first ceramics were identified in the history of Chinese art. The richness in terms of the raw materials is clear to see as the country contains in abundance. Colson (17) argues that the main construction materials include tiles, bricks, and hand- built ensembles with the help of kilns, as well as the most sophisticated which hailed from the imperial court. Industrial scale was used in the production of the ceramics as they can be found in almost every part of the world. Very few of the painters or potters of the products are renowned to this day as the workshops were owned by the emperors and the rate of exports of them were high as gifts for trades. Decorative art was also an art form within the Chinese context, as it resonated around the display aspect. Much of the raw materials within the country and valuable level of their abundance was instrumental for delivering pf the skill used in decoration ranges. For example, the jade from China was associated with magical powers and it was practical in the stones and bronze ages (Graff 115). They were also developed as party of the every day tools and weapons for use. Specialized artists later took on the jade to make decorations out of ivory, Chinese silk, cloisonné enamel, rhinoceros horn, lacquer to mention just a few among other materials. An additional decorative art was that of the folding screen and used the availability of mythology and nature forms for effective representation. They were largely considered ornamental and affected the historical era of literature at the time. Infrastructure Chinese art has developed with the cultural intervention achieved through infrastructure and its subsequent improvement over time. The top quality nature of all various cultural infrastructures within the country has been testament to the growth and attraction of numerous visitors to the country. In the first dimension, cultural diversity in the country has ensured that the production of art forms is on a large scale as compared to any other country in the world (Guillain 22). For example, the Chinese population is over a billion people, and therefore the financial outlay of its infrastructure is developed in order to ensure all network systems like transport and communication avail the artistic impressions. The level of mega- projects injected into the cultural depiction has also contributed to the development and growth within the borders. Another of the distinct Chinese art dedication has been through the infrastructural growth through on projects aimed at marketing the same. For example, the increased participation of major projects in large cities like Beijing and Shanghai has put the country on the world map. Warehouses, grand theatres, auditoriums, as well as ultra-modern facilities are a major coup within the country in promoting the artistic efforts. Hu (19) points to the historical facilities like the auditoriums, archives centers and museums have all been positioned within the country to allow for authenticity and originality in locating of the unique landscapes of the products. Similarly, the infrastructure has boosted the ability to enhance the tourism demands of the visitors from the world all over in order to manage the progress of artistic deliveries. It has translated to the organized and cultured means all along with the growing demand on an annual basis. Cultural Context Chinese art is reliant on the cultural aspect of its people for the maintenance, depiction and growth throughout history. In the country, there are fifty-six recognized ethnic groupings in the country with the diverse nature of their cultural depictions. Thus, it shows that the language, art, architecture and ensembles of the people show various artistic representations according to the respective basing (Jung 1). The coverage of the regional and local representations also has an influence in the way art is maintained amongst the people. One of the major instances for cultural influence of art is through the dressing. The fashion sense and choice of attire as per the cultural demand like occasions, rituals, and expectations have propelled the maintenance of the artistic norms within the communities. In addition, the fabric and materials used in the process have to be generated with specific designs and styles with proper artistic impressions. Music and dance are also common avenues for the cultural context on preservation and influence of art through the Chinese peoples. Latourette (12) is of the idea that the existence of the music has been earmarked from the Chinese civilization dawn to present day artifacts. The various dance routines amongst the cultural requirements and occasions have had a significant placing on the understanding of Chinese art within the same confines. Ritual music for example within the yayue extracts have been known to contain the dances, which have artistic intonations, styles and contemporary periods of their significance. The attributes have been shared on the influences that art has on the people over time, as generations have been kin on the dynasty involvement and the instrumentation. The art forms have been preserved from word telling to eventual authentication fop the materials and processes involved. Chinese art culture promotes art in different mechanisms. For example, the fine art, folk art, and performance art are managed in different scenarios across the country. Each of the periodical inferences is associated with the development of each art form and the significance it has attached to the culture of the people throughout. The different dynasties are also responsible for the influences recorded from each of the books’ determination and the relevance to the cultural people (Li 19). In addition, the level of instrumentation used to accompany the art and its derivatives cannot be underestimated and are well progressed for the Chinese people over different generations. The painting forms and enablement of the different depictions throughout history were also used for the same purpose of the relevance of culture in diversity according to the ethnic groups and histories. Art in the cultural context of the Chinese people also takes the form of the literature through language and development of the calligraphy. According to Mrazek and Pitelka (27), reference to the Zhou Dynasty, the development of cultural concepts used the calligraphy measures to exponential heights and participating in the Chinese history. The presentation connected to the range of subjects includes astrology, calendar, astronomy, and poetry. With the pre- imperial periods of development and attenuation to concepts, the cultural literature and language enabled understanding of the processes with ease. Music and dance as an instrumental aspect of the Chinese culture are common to the cause of depicting the heritage of the people. They are artistic forms of expression, which have been maintained by the people over ages and generations. The uniqueness and identity of the cultural diversity amongst the people is represented by the theorized ad practical dimensions of the art representation. Social Context Various social derivatives of the Chinese people are responsible for the promotion of art and its maintenance throughout the history. The Chinese people are renowned for their strict sense of ownership to the social values and traits. The reflection of the social values is strengthened by the depiction of art through the choice of dressing and attires for various occasions (Rosker and Suhadolnik 16). They are both influential and preservative for the functionalities for upholding the values as a national identity and need to the Asian culture. The creative and innovative depictions by the people are occasioned with the type of attires made for each relevant occasion. Apart from the necessity of covering up due to the temperature requirements and decency, the attached values of social living are expressed through the choice of clothing. It is symbolic of the communicated and passed down richness in culture. The social context of hospitality amongst the Asians, more especially with the Chinese homes, is a renowned facet of the artistic communication and expression. From the traditional and ancient times, the Chinese add value to the receptiveness and home- making ability to visitors despite their nature, origin, background, race, ethnicity and personality differences. Thus, by welcoming and being hospitable, they display the nature of artistic expression of their cultural richness. Wang (380) states that numerous visitors to the country have been met with the ensembles of Chinese culture over the years, as the demand grows. Through the display of the songs, dances, languages, folk forms, scenery displays and general acceptance of diversity, the artistic nature is maintained and used to market the country. It is also a form of tourism venture as the communicated artistic forms are revered from one part of the world to the other with historical significance. Another context of the social dimension is the education forms according to the generational periods. It is a known fact that the Chinese cultures are maintained and expressed from one generation to another through education forms. Some of the utilities used to teach the younger children about them are the use of songs, dances, and visible formalities that are rendered through the ages as well as performed during the occasions. The composers and occasional performers of the art ensembles are skilled as well as experienced members of the society with respected values and utility for the educational needs (Wang 550). The art scenes are recreated to show an improved form of culture in the context of historical derivations. It is the duty of the generational facilitators to keep the modality an ongoing process within the society of Chinese. Communication of the socialist values within Chinese culture has necessitated the need to appreciate the art in society. From the historical furthering and reflection of the people’s organization and communication, the expressed form of art is through the representation. For example, the Chinese alphabet respected across all national and international boundaries is a symbol of the social context of the national through art. It has also been used in various countries to representing authentic measures like individuals who prefer tattoos and labels. The generated interest with authentic art is used as a form of co temporal export through the different and broader reason of progression (Yu 19). Communication through the appearance and engagement of the different people also denotes art as symbolic intonations and iconography of Chinese culture. It creates a sense of pride and patriotic reference to the people. Political Context China enjoys a relatively peaceful and ambient political climate, which ensures there is derivation of art and its progression throughout the time. The country is a renowned jurisdiction under the communist form of government. All the decree enabled through regulation and legislation is akin to the central form of governance. After the death of Chairman Mao, the consolidation of proper governance structures ensured that the Chinese people have maintained the communist practices to this day (Guillain 22). Thus, the peace and coexistence has ensured that art in the country and Asia by extension is propagated with the required formalities and room for growth. The appreciation of the art and cultural depiction has been identified through nationalistic involvement in the issues regarding the country, through music, dance, language and representative of leaders. Major architectural and art forms are symbols of the political legislation and government of the land through their locations and uses throughout history. The different policies aimed at regulating all forms of expression and representation of art in the Chinese society is meted out by the political divide. Policies in the country aimed at increasing the propagation of Chinese art and cultural heritage are matters of national concern. They are therefore issued, debated and analyzed through the political will and respective bodies of legislation within the required timeframes. Thus, all concerns surrounding art and its preservation are given the importance it deserves (Jung 1). Another dimension of the political context that enables Chinese art thrive is formulation of restrictions that limit the external importance of derivative art, which is not Chinese. In addition, the government is particular in devising ways of promoting the Chinese art as opposed to the influences from western regions and abroad. The marketing legislations are all centered towards the promotion of local and art and encouraging the nation on ways to value, the representative forms. Economy Context Chinese society has one of the most stable and growing economical climates in the world. The Chinese Yuan has been referred over time when the international concessions of standards, especially when the markets have been faced with difficult times like recession and escalation of price to calm the variations of the currencies. Due to the rich historical inferences of the Chinese culture, majority of the proceeds to the country have ensured that all levels of governmental functions and allocations create a progressive society. Colson (17) argues communism has also strengthened the resolve amongst the people in different economical levels into a unified force. Thus, the largest consumers of the art, its forms and resultant derivativeness are the Chinese people themselves. The level of spending power and ease of promotion of cultural forms has made the economical front a positive outlook throughout time. The population itself provides an economical boost as per their tradition of spending power. Economical utility in Chinese society has been instrumental in promoting art and culture throughout Asia as well as the world. Chinese art through sculpture, porcelain, ceramics, language, architecture and other derivatives are consumed to a large scale by the local people. They help derive the economic impetus to the artisans involved in their production as well as attendance to the performances that is staged in across the country. In addition, the tourism export within the national borders from visitors across the world helps strengthen the economical windfall of all cultural heritage and art deliveries. Bush and Murck (1) note that with the intensity based on infrastructure, the diverse artistic ensembles from all over the country are able to provide for the interests amongst the visitors and locals alike. In addition, the scope of the various shows, auditoriums, presentations and performances of all categories are a mainstay with the Chinese art throughout the annual periods. Works Cited Brown, Rebecca M, and Deborah S Hutton. Asian Art. Malden, MA: Blackwell Pub., 2006. Print. Bush, Susan, and Christian F. Murck. "Artists and Traditions: Uses of the Past in Chinese Culture". The Art Bulletin 62.3 (1980): 505. Web. Cohen, Warren I. "Art Collecting As International Relations: Chinese Art And American Culture". Journal of American-East Asian Relations 1.4 (1992): 409-434. Web. Colson, Mary. Chinese Culture. Chicago, Ill.: Heinemann Library, 2013. Print. Graff, David A. "China between Empires: The Northern and Southern Dynasties". The Chinese Historical Review 17.1 (2010): 114-117. Web. Guillain, Charlotte. Chinese Culture. Chicago, Ill.: Heinemann Library, 2008. Print. Hu, Zhifan. "Art Education in Chinese Primary and Secondary Schools: Meeting the Challenge of Visual Culture". International Journal of Education through Art 2.1 (2006): 17-25. Web. Jung, Kwang Chul. "A Study on Korean Culture Contents' Best Strategy to China Market - Focusing On Chinese Culture Industry Issue Survey and the Interviews with Chinese Culture Experts". KOREA SCIENCE & ART FORUM 16 (2014): 387. Web. Latourette, Kenneth Scott. The Chinese, Their History and Culture. New York: Macmillan, 1964. Print. Li, Huishu. Empresses, Art, & Agency in Song Dynasty China. Seattle: University of Washington Press, 2010. Print. Mrázek, Jan, and Morgan Pitelka. What is The Use of Art? Honolulu: University of Hawaii Press, 2008. Print. Rošker, Jana, and Nataša Vampelj Suhadolnik. Yields of Transition. Newcastle upon Tyne: Cambridge Scholars Publishing, 2011. Print. Wang, Cheng-Hua. "A Global Perspective on Eighteenth-Century Chinese Art and Visual Culture". The Art Bulletin 96.4 (2014): 379-394. Web. Wang, Yongping. "Rupture and Continuity: Scholar-Official Clan Culture in the Six Dynasties and the Legacy of Chinese Civilization". Frontiers of History in China 5.4 (2010): 549-575. Web. Yu, Dong, Zhong Fang, and Lin Xiaoling. Chinese Culture. Beijing, China: Foreign Language Press, 2004. Print. Read More

During the Paleolithic era, the first ceramics were identified in the history of Chinese art. The richness in terms of the raw materials is clear to see as the country contains in abundance. Colson (17) argues that the main construction materials include tiles, bricks, and hand- built ensembles with the help of kilns, as well as the most sophisticated which hailed from the imperial court. Industrial scale was used in the production of the ceramics as they can be found in almost every part of the world.

Very few of the painters or potters of the products are renowned to this day as the workshops were owned by the emperors and the rate of exports of them were high as gifts for trades. Decorative art was also an art form within the Chinese context, as it resonated around the display aspect. Much of the raw materials within the country and valuable level of their abundance was instrumental for delivering pf the skill used in decoration ranges. For example, the jade from China was associated with magical powers and it was practical in the stones and bronze ages (Graff 115).

They were also developed as party of the every day tools and weapons for use. Specialized artists later took on the jade to make decorations out of ivory, Chinese silk, cloisonné enamel, rhinoceros horn, lacquer to mention just a few among other materials. An additional decorative art was that of the folding screen and used the availability of mythology and nature forms for effective representation. They were largely considered ornamental and affected the historical era of literature at the time.

Infrastructure Chinese art has developed with the cultural intervention achieved through infrastructure and its subsequent improvement over time. The top quality nature of all various cultural infrastructures within the country has been testament to the growth and attraction of numerous visitors to the country. In the first dimension, cultural diversity in the country has ensured that the production of art forms is on a large scale as compared to any other country in the world (Guillain 22).

For example, the Chinese population is over a billion people, and therefore the financial outlay of its infrastructure is developed in order to ensure all network systems like transport and communication avail the artistic impressions. The level of mega- projects injected into the cultural depiction has also contributed to the development and growth within the borders. Another of the distinct Chinese art dedication has been through the infrastructural growth through on projects aimed at marketing the same.

For example, the increased participation of major projects in large cities like Beijing and Shanghai has put the country on the world map. Warehouses, grand theatres, auditoriums, as well as ultra-modern facilities are a major coup within the country in promoting the artistic efforts. Hu (19) points to the historical facilities like the auditoriums, archives centers and museums have all been positioned within the country to allow for authenticity and originality in locating of the unique landscapes of the products.

Similarly, the infrastructure has boosted the ability to enhance the tourism demands of the visitors from the world all over in order to manage the progress of artistic deliveries. It has translated to the organized and cultured means all along with the growing demand on an annual basis. Cultural Context Chinese art is reliant on the cultural aspect of its people for the maintenance, depiction and growth throughout history. In the country, there are fifty-six recognized ethnic groupings in the country with the diverse nature of their cultural depictions.

Thus, it shows that the language, art, architecture and ensembles of the people show various artistic representations according to the respective basing (Jung 1). The coverage of the regional and local representations also has an influence in the way art is maintained amongst the people.

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