Thesis (M.Arch.)--University of Hong Kong, 2002. / Includes bibliographical references. Also available in print.

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M.Tech. (Fine Art) / In this thesis I attempt to show that it is possible to resolve 'difference' most effectively in non-verbal ways. One method is in making art. To demonstrate this, I first describe my own thought system and belief structure, as part of western culture. I try to show the impasse this has reached. I then offer art-making, particularly within Post-modern premises, as a potent means of resolving 'difference'. I use my own and Barbara L 'Angie's work to show that this is possible, not only for black artists with Western influences, but also white artists with African influence on their largely European-based outlook.

自清代吳大澂《古玉圖考》以來，中國玉器研究便與社會、禮制等相關聯，隨著20世紀下半葉良渚文化、紅山文化、興隆窪文化等遺址史前精美玉器的發現，玉器研究也逐漸從傳統金石學轉向考古學研究的方向，集中於聚落或墓葬研究。 / 源於石器研究領域的操作鏈方法為玉器技術研究提供了新的方向和視角。它注重動態性、持續性和完整性，將靜態遺存轉變為動態過程，還原某一特定的生產流程，通過比較不同群體的技術系統還原其背後社會、認知層面的異同。 / 操作鏈方法應用於玉器研究主要可以從聚落和作坊遺址兩個角度展開，本文以後者為重，選取環珠江口地區的白芒遺址個案分析，將操作鏈概念應用於玉石飾物作坊研究中，並進而尋找環珠江口地區不同遺址之間存在的生產消費關係，以及環珠江口地區作坊遺址所代表的技術與文化特徵。 / Since Wu Da-zheng’s Catalogue of Ancient Jades (Gu yu tu kao) in the Qing Period, research of Chinese jades has largely focused on analyses of their social and ritual significances. In latter half of the 20th century, excavations in Liangzhu, Hongshan, and Xinglongwa culture sites discovered many prehistoric jades. These important discoveries gradually shifted ancient jade studies to an archaeological approach, focusing on the settlement and burial contexts of the jades. / The use of the Chaîne Opératoire (French for "operational sequence") method in lithic studies has provided us a new research perspective and direction in the study of jades. This method pays attention to the full life history of the jades, from production to consumption and abandonment, which is treated as a dynamic and continuous process. Furthermore, it allows us to analyze the social and cognitive dimensions of the jade users through comparisons of the jades’ production technologies and use wear. / This paper applies the chaîne opératoire method to study jades by analyzing related settlements and lapidary workshops, especially the latter. Using the lapidary workshop at Pak Mong site on Lantau Island as the main case study, this study will examine the production and consumption of the Pearl River Delta region, and discuss the technological and cultural characteristics that these lapidary workshops represent. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 温雅棣. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 77-88). / Abstracts in English and Chinese. / Wen ya di.

林曉東. / 呈交日期"一九九八年十二月". / 論文 (藝術碩士)--香港中文大學, 1999. / 參考文獻 (leaves 36-37). / 附中英文摘要. / Cheng jiao ri qi "Yi jiu jiu ba nian shi er yue". / Lin Xiaodong. / Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 36-37). / Fu Zhong Ying wen zhai yao. / 目錄 --- p.1 / 前言 --- p.3 / 提要 --- p.4 / Abstract --- p.5 / Chapter 第一章 --- 現代藝術的起始與界定 --- p.6 / 現代藝術是甚麼 --- p.6 / 現代藝術起始之歧見 --- p.7 / 現代藝術之本文界定 --- p.8 / Chapter 第二章 --- 藝術媒介的界定 --- p.11 / 傳統藝術品的功能指涉´ؤ´ؤ服務對象與之帶來的標準 --- p.11 / 藝術品的功能指涉之轉向與新媒體的出現´ؤ´ؤ媒介分劃的再界定 --- p.13 / Chapter 第三章 --- 圖像的承繼與流傳一攝影術 --- p.18 / 圖象的特質與文字的關係 --- p.18 / 攝影術中的原物與複本 --- p.24 / Chapter 第四章 --- 從一件藝術作品的完成：反思藝術媒介的本質 --- p.26 / Chapter 1. --- 社會文化 --- p.28 / Chapter 2. --- 作者 --- p.28 / Chapter 3. --- 意念 --- p.28 / Chapter 4. --- 製作 --- p.29 / Chapter 5. --- 成品 --- p.30 / Chapter 6. --- 命題 --- p.30 / Chapter 7. --- 觀眾 --- p.31 / Chapter 8. --- 觀賞 --- p.31 / Chapter 9. --- 討論 --- p.32 / Chapter 10. --- 紀錄 --- p.32 / Chapter 11. --- 流傳 --- p.32 / Chapter 12. --- 時間性 --- p.33 / Chapter 第五章 --- 總結 --- p.34 / 參考書目 --- p.36 / 附圖 --- p.38

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 79-81). Also available via the World Wide Web.

Thesis (Ph. D.)--University of Toronto, 1996. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 439-493).

Thesis (Ph. D.)--University of Toronto, 1996. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 439-493).

Achaemenid Persian art is an area of ancient Near Eastern art that has received little art historical attention in recent years. In earlier scholarship dating from before the 1979 Iranian revolution, an overwhelming scholarly interest had focused on identifying ethnic origins and foreign influences behind its formation. These studies depended on an implicit assumption that the arts of the Achaemenid Empire may be understood as indices for human agents and imperial power, without giving much thought to those objects per se. Considering issues of style, historiography, and art historical categorization, this dissertation examines how scholars have “invented” a history of Achaemenid art, and proposes new methods for interpreting that corpus, looking beyond anthropocentric theories of empire still dominant in the field. Taking into account more recent theoretical approaches, such as object biographies, the ontology of images, and issues of space and place, my study reexamines these ancient works, looking into the ways that monuments were made and functioned in the ancient Neat East. I focus especially on site-specific “official” monuments including architectural sculpture and rock relief, and temporally limit my study to early monuments produced under Cyrus and Darius before Persepolis, to question an assumed teleology of Achaemenid style.

Despite the fact that there has been an enormous amount of jades excavated from the Western Han tombs of Chu Princes, Xuzhou in Jiangsu province, little scholarly literature has been focused on these artefacts. Based on archaeological findings, this thesis selects some significant jade objects as the focus of attention, including jade pendants, jade vessels, jade weapons, jade suites and other burial jades. As the role and value of jade is varied in the hierarchy of material within different cultural and historical context, the changes in its functions and meanings, to some extent reflects the changes in politics, economy, and society. Through tracing their origins, the identity of the owners and examining the changes in material and society, this study attempts to reveal the cultural and social value embedded in these objects, and in doing so to reconstruct the changes in material concepts and aesthetic ideologies in the Han periods. / On the basis of the achievements have hitherto in Han jade study, the present study is expected to shed light on our understanding of tomb culture and its relation to the society from a broader and more comprehensive perspective. Aside from placing specific types of jade into an accurate period or investigating their functions and sources, this study will read the object by cross reference to ancient textual material. / Using jade, a particular category of art objects, as the point of entry, this study seeks to explore and question the issue of materiality and identity within the context of tomb art, and the wider issue of cultural and social practices in the Han Dynasty. / 林巧羚. / Submitted: 2010年11月. / Submitted: 2010 nian 11 yue. / Adviser: Jenny F. So. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 355-396). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Lin Qiaoling.