M.Tech. (Fine Art) / Please refer to full text to view abstract

鄭淑宜. / "2009年8月". / "2009 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 45-47). / Abstracts in Chinese and English. / Zheng Shuyi. / Chapter (一） --- 前言：物品的定 義 --- p.1 / Chapter (二） --- 看的習慣與物品意義的關 係 --- p.3 / Chapter 2.1. --- 個人化的注視 / Chapter 2.2. --- 多角度的視覺總合 / Chapter 2.3. --- 看得見的緣份 / Chapter (三） --- 觀物篇：物品的 美 --- p.9 / Chapter 3.1. --- 造型的美 / Chapter 3.2. --- 功能的美 / Chapter 3.3. --- 機器的美 / Chapter 3.4. --- 使用的美 / Chapter 3.5. --- 戀物情意結 / Chapter (四） --- 造物篇：藝術物品呈現的社會現象及作 用 --- p.18 / Chapter 4.1. --- 挪用現成物 / Chapter 4.1.1. --- 媚俗文化的出現 / Chapter 4.1.2. --- 商品雕塑 / Chapter 4.1.3. --- 價値取向的轉變 / Chapter 4.1.4. --- 品牌效應 / Chapter 4.2. --- 模擬物品 / Chapter 4.2.1. --- 模擬世界符號 / Chapter 4.2.2. --- 藝術商品 / Chapter 4.2.3. --- 生產技術和工人協作 / Chapter 4.3. --- 重新創造物品 / Chapter 4.3.1. --- 藝術設計品 / Chapter 4.3.2. --- 親身體驗的世界 / Chapter (五） --- 總結一創作超越真實的物品 --- p.38 / Chapter 5.1. --- 物品是記錄儀 / Chapter 5.2. --- 物品是自身和社會的觀照 / Chapter 5.3. --- 創作物品的成效 / 參考書目 --- p.45 / 附錄 --- p.48

本論文的目的是確定中國新石器時代至青銅時代大型玉料開料片切割技術。玉是一種堅硬的石頭，在礦物學上只有軟玉和硬玉才是真正的玉。其他所有看似玉的珍貴石料由於包含不同的化學成分，故此只能被稱為美石。玉石工藝源於石器製作技術，當中包括打製和磨製技術。本論文集中於研究摩擦技術。片切割的運作是通過摩擦作用從而磨掉玉料的一部分。玉器上的三個常見的切割技術包含片切割，柔性線切割和旋轉切割（陀切割和鑽孔）。這些技術都應用在玉石和珍貴的美石 。中國考古出土大量的大型長薄片狀的玉器和珍貴的美石製品。這些成品，半成品和廢品都開展示出證據不同的切割技術的表現。然而，如何進行大型開料的片鋸切技術至今仍然沒有具系統性的說法。考古學家和科學家們都各自提出了不同的見解。 本文通過實驗考古片切割大型蛇紋石以及其他切割實驗比較與文獻研究，探討不同種類的切割技術。實驗結果與考古出土文物會進行比較和分析。此外，解玉砂和水在鋸切過程中發揮著重要的作用。提高工件的切割的效率，而水同時發揮降溫作用看到，以防止由不斷摩擦產生的過熱引起破損。這項研究還包括研究選定的帶有片切割跡的三星堆玉器標本。這些文物提供了一個很好的線索來比較從實驗考古所產生的切割痕跡。 / The purpose of this thesis is to determine how large-scale blade sawing on jade was performed during the Neolithic Period till the Bronze Age in China. Jade is an ornamental hard stone that specifically applied to nephrite and jadeite, the metamorphic rocks. Those look-a-like jade and other gemstones can only be called precious hard stones due to their different chemical components. Jade work originated from flint knapping techniques, which included percussion and rubbing of the lithic technology. This research concentrates particularly rubbing techniques. Blade sawing is an abrasive motion that through rubbing (polishing) which leads to part of workpiece being worn away. The three common sawing techniques on jade are blade cutting, string cutting and rotary cutting (wheel cutting and drilling). These techniques are applied to both jade and precious hard stones. The Chinese archaeological field works unearthed numerous of large-long-flat-thin shaped jade and precious hard stone artifacts. These finished artifacts, semi-finished items and debitages indicate the strong evidence of different sawing technique performances. However, how blade-sawing technique was performed still uncertain. Archaeologists and scientists suggested different methods. In order to examine large scale-blade sawing technique, this thesis through experimental archaeology on sawing serpentine to simulate the operation of large scale blade sawing along with literature review of other sawing experiments. Experiment results along with the archaeological context and distribution of artifacts are analyzed. Furthermore, sand, an abrasive agent, and water play important roles in the sawing process. Abrasives increase the effectiveness of sawing on workpiece, while water cool down the saw itself to prevent breakage caused by over heat from continuous rubbing. This research also includes studying the selected specimens from Sanxingdui Site with blade sawing evidence. These artifacts provide a good clue to compare the cut marks from the experimental object. / Detailed summary in vernacular field only. / Cheung, Yu Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 96-103). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese. / Abstract --- p.ii / Abstract (Chinese version) --- p.iii / Acknowledgments --- p.iv / Table of Contents --- p.v / List of Tables --- p.vii / List of Figures --- p.viii / Chapter Chapter 1 --- : Jade Sawing --- p.1 / Chapter 1.0 --- Introduction / Chapter 1.1 --- Definition of jade --- p.2 / Chapter 1.1.1 --- Nephrite --- p.3 / Chapter 1.1.2 --- Jadeite --- p.4 / Chapter 1.1.3 --- Serpentine / Chapter 1.2 --- Sawing and jade sawing --- p.5 / Chapter 1.3 --- Abrasives --- p.7 / Chapter 1.4 --- A brief history of the studies of Chinese jades --- p.9 / Chapter 1.4.1 --- The first stage --- p.10 / Chapter 1.4.2 --- The second stage --- p.11 / Chapter 1.4.3 --- The third stage --- p.12 / Chapter 1.5 --- The previous studies of the Chinese jade works --- p.13 / Chapter 1.5.1 --- Mou YougKang / Chapter 1.5.2 --- Zhang JingGuo and Chen QiXian --- p.15 / Chapter 1.5.3 --- Tang Chung --- p.18 / Chapter 1.6 --- The previous studies of jade/stone works in rest of the world --- p.20 / Chapter 1.6.1 --- Asia-Pacific / Chapter 1.6.1.1 --- Indian / Chapter 1.6.1.2 --- Maoris --- p.21 / Chapter 1.6.2 --- Americas / Chapter 1.6.2.1 --- Aztecan --- p.22 / Chapter 1.6.2.2 --- Mayan / Chapter 1.6.2.3 --- Costa Rican --- p.23 / Chapter 1.6.2.4 --- Incan / Chapter 1.6.3 --- Middle East --- p.24 / Chapter 1.6.3.1 --- Mesopotamian / Chapter 1.6.3.2 --- Egyptian --- p.25 / Chapter 1.7 --- Methodology --- p.26 / Chapter 1.8 --- Thesis organization --- p.29 / Chapter Chapter 2 --- : Blade Sawing Experiment on Serpentine --- p.31 / Chapter 2.0 --- Introduction / Chapter 2.1 --- Tested objects and equipment / Chapter 2.2 --- Experiment procedure --- p.38 / Chapter 2.2.1 --- The first cut / Chapter 2.2.2 --- The second cut --- p.43 / Chapter 2.3 --- Detachment and tested objects observation --- p.48 / Chapter 2.4 --- Experiment procedure (cont.) --- p.53 / Chapter 2.4.1 --- The third cut / Chapter 2.4.2 --- The fourth cut --- p.55 / Chapter 2.5 --- Results --- p.57 / Chapter Chapter 3 --- : Studies of Jade Artifacts from Sanxingdui Site --- p.60 / Chapter 3.0 --- Introduction / Chapter 3.1 --- Assemblage --- p.61 / Chapter 3.1.1 --- Specimen from Pit 1 / Chapter 3.1.2 --- Specimen from Pit 2 --- p.79 / Chapter 3.2 --- Statistical Presentation --- p.87 / Chapter 3.2.1 --- Length of specimens / Chapter 3.2.2 --- Width of specimens --- p.88 / Chapter 3.2.3 --- Thickness of specimens --- p.89 / Chapter 3.2.4 --- Relationship between length and width --- p.90 / Chapter 3.2.5 --- Relationship between length, width, and thickness --- p.91 / Chapter 3.3 --- Analysis and Discussion --- p.92 / Chapter Chapter 4 --- : Conclusion --- p.93 / Chapter 4.0 --- Discussion and Conclusion / Bibliography --- p.96 / Bibliography of Chinese Text --- p.100 / Bibliography of Online Text --- p.102 / Chapter Appendix 1 --- Dimensions of Assemblages --- p.103

Thesis--Københavns universitet. / "Dansk resume": p. 107-[114]. Bibliography: p. 131-[139].

My research project explores conventions in art-making and viewing via the notion of the performative art object. The performative (derived from J.L. Austin and Judith Butler’s formulations of the word) is here used predominantly as a term to denote a generative, experiential and iterative process (in this case outlined by art theorist Barbara Bolt) in which intuitive or playful actions of both artist and spectator dictate the route of research. The project, following an A/r/tographical cycle of theoriapraxis-poesis (or theory/research - doing/learning - art/making) as defined by Rita Irwin, thus investigates the relations inherent between artists, spectators or viewers, and objects, and how these may change according to the spaces they are conceived in; from art gallery to urban “non-art” environments. It deals with the inclusion of process or performativity within, or in relation to the art object and how this take on the traditionally static object may have the capacity to change how artworks are envisaged, and more significantly, how they are received, in terms of the effects they (in combination with the viewer) have on the world around them. Blurred in the context of performativity, the art object may become a means of documenting process and in a sense may act as a ‘prop’ for artistic research. This enquiry has involved the study of process and play, as related to creative practice, via a series of object-based events or interventions (including gallery exhibitions and other “non-art” events initiated by the artist outside of conventional art-related space) which have been documented and included in the theoretical research as a means of providing a first-hand narrative of theoretical ideas put into practice. Here Diana Taylor’s understanding of interrelated modes of storing and enacting knowledge as posed in the notion of the archive and repertoire has been utilised as a means of collecting and collating performative and ephemeral research. These events/interventions have further served as a means of gauging viewer interaction and participation, thus actively involving the viewer in the creative act. Jacques Rancière’s notion of the emancipated spectator is here utilised to activate the role of the viewer. In this regard, Martin Heidegger’s concept of handiness or handling serves as a means of “emancipating” spectators by encouraging tactile viewership. It is my intent to open up or reveal new modes of thinking or doing within the viewer when he or she enters a state of performative play within these events. Here the status of the art object is challenged and in this way has the potential to subvert or confront problematic repetitions, both in the identity of the viewer and the space occupied in each event.

Thesis (doctoral)--University of Glasgow, 2004. / BLDSC reference no.: DX242270.

Thesis (Ph. D.)--University of Hong Kong, 2000. / Includes bibliographical references (457-472).

Thesis (Ph.D.)--University of Hong Kong, 2000. / Includes bibliographical references (457-472) Also available in print.

Thesis (Ph.D.)--University of Minnesota, 1989. / Includes bibliographical references.

Thesis (M.A.)?--Zhong guo wen hua xue yuan. / Cover title. Reproduced from typescript. Includes bibliographical references (p. 88-89).