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This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general. / Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene. / With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School. / 徐麗莎. / 呈交日期: 2005年8月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. i-x (2nd group)). / Cheng jiao ri qi: 2005 nian 8 yue. / Advisers: Jao Tsung-i; Harold Mok Kar-leung. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355. / 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, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. i-x (2nd group)). / Xu Lisha.

Lai Hing Fun Sandy. / "Architecture Department, Chinese University of Hong Kong, Master of Architecture Programme 1996-97, design report." / INTRODUCTION / PROLOGUE START / INITIAL APPROACH SITE INFORMATION / Chapter a. --- MACRO-SCALE / location / zoning / existing access / Chapter b. --- MICRO-SCALE / topography / problems on slope / vegetation / STRUGGLING DESIGN PROCESS / Chapter a. --- DESIGN ISSUES / Chapter 1. --- "Criteria and options checklist 1,2 &3" / Chapter 2. --- concerns for circulation / Chapter b. --- PINPOINT BUILDING LOCATION / Chapter 1. --- path / Chapter 2. --- altitude / Chapter 3. --- latitude / Chapter c. --- SLOPE-CUTTING / Chapter 1. --- ways of cutting slope / Chapter 2. --- volume of space gained vs. Volume of earth dig out. / Chapter d. --- POTENTIAL ACCESS / Chapter 1. --- vehicle / Chapter e. --- SETTING OUT / Chapter f. --- GRID / Chapter g. --- TRUSS / Chapter 1. --- design concept / Chapter 2. --- dimensions-1 & 2 / Chapter 3. --- elevated height from slope / Chapter 4. --- Vertical fins of the truss match with the col. / Chapter 5. --- slab related with the truss / Chapter 6. --- bracing of the truss / Chapter h. --- SUPPORTING COLUMN / FINAL CONCEPT DESIGN ANALYSIS / Chapter a. --- SITE ACCESSIBILITY / Chapter 1. --- vehicle / Chapter 2. --- people / Chapter b. --- STRUCTURE / Chapter 1. --- supporting structure / Chapter 2. --- skin and material / Chapter 3. --- environmental consideration / Chapter c. --- ZONING / Chapter 1. --- space 1 & 2 / Chapter 2. --- circulation / building as a whole 9th segment / Chapter 1. --- building as a whole / Chapter 2. --- segment / Chapter d. --- SERVICE / Chapter 1. --- building as a whole / Chapter 2. --- 9th segment / Chapter e. --- SPACE QUALITY / Chapter 1. --- along the cultural path / Chapter 2. --- inside building complex / Chapter 3. --- space details / EVALUATION

The purposes of this thesis are probing into the change of Chinese Oil Painting in art market. By means of this study, we will able to understand the development processes of the art markets in China, on the other hand, to gather the data from the auction market of different age artists and analysis them. Furthermore, it¡¦s the way to clarify how strong the art market in China is, or just the strategy to sensationalize the whole market to get high attention. But, it¡¦s obvious to find out that the environment affects the artists¡¦ creation a lot, but the works in the art market will go by chance. Therefore, to conclude that the Chinese art market is immature because the position of Chinese oil paintings is not fixed by Chinese government, Chinese artists and Chinese art market, but the art market in the world. Consequently, the Chinese art market needs to connect with the international art market.

Six First Nations women artists tell their stories about learning their art and culture. Previous research has paid little attention to the learning experiences of First Nation women artists. Ethnographic research methods were used in this qualitative study. Field research included video and audio recorded intensive open-ended interviews with three Coastal Salish women from Sechelt, British Columbia, and three Cree women from Pukatawagan, Manitoba, as they tel l how essential learning and teaching, art and culture are to them, their children and their communities. This study shows that there is a need for curricular reform and teacher education reform so that the school experiences for First Nations students will reflect and be sensitive to their histories, traditions and overall cultural identities. From testimonies presented in this thesis, it is evident that effective teaching of relevant cultural art content that results in meaningful learning leads to increased self knowledge, confidence and pride.

Six First Nations women artists tell their stories about learning their art and culture. Previous research has paid little attention to the learning experiences of First Nation women artists. Ethnographic research methods were used in this qualitative study. Field research included video and audio recorded intensive open-ended interviews with three Coastal Salish women from Sechelt, British Columbia, and three Cree women from Pukatawagan, Manitoba, as they tel l how essential learning and teaching, art and culture are to them, their children and their communities. This study shows that there is a need for curricular reform and teacher education reform so that the school experiences for First Nations students will reflect and be sensitive to their histories, traditions and overall cultural identities. From testimonies presented in this thesis, it is evident that effective teaching of relevant cultural art content that results in meaningful learning leads to increased self knowledge, confidence and pride. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Submitted in fulfilment of the requirements for the Degree of Master’s in Graphic Design, Durban University of Technology, Durban, South Africa, 2015. / The primary objective of this study was to find out how practising graphic designers maintain creativity in a digital environment. The study also investigated three factors that may positively influence their creativity. First, whether practising creative experimentation outside commercial constraints positively impacts a designer's ability to produce creative design. Second, how drawing assists original design. Third, whether enriching sensory stimulation helps graphic designers maintain creativity. An action research method was used. The project reviewed current literature and gathered empirical data through qualitative interviews and a workshop. In addition, a practical component was developed that consisted of drawings made from observation, drawings as concept experiments and examples of a commercial design and illustration. Results proved that creativity is a multifaceted phenomenon, and it plays a pivotal role in contemporary graphic design. The three factors, practising creative experimentation, drawing, and sensory enrichment, proved to be beneficial to the creative abilities of graphic designers. The study concluded by acknowledging the challenges of the digital era within the field, and the importance for practising graphic designers to maintain creativity.

This project focused on the integration of metal and book forms. Each piece addressed infertility and how this condition affects a couple, both physically and socially. The seven projects are connected through content interest and metal-smithing skills. The techniques used include: casting, sheet construction, enameling, hinge construction, resin insets, xerography and silver etching with Image-On. In additional to the metal-based artworks, this creative project also includes six large-scale photographs to illuminate the experiences of infertile individuals and couples. Three contemporary techniques - de-enameling, Image-On transfers, and Xerography - were used for the creation of Based on a True Story. This was the first usage of Image-On transfers and de-enameling during a creative project at Ball State University. / Department of Art

This thesis is based on an empirical study of forty-three contemporary women artists. The aim of this research was to explore how a number of factors impact on these women’s construction of their identity as artists. The women were selected through the East Midlands Arts register of artists, and therefore targeted women who had already identified themselves as practitioners. Although they all registered themselves as painters, their use of such terms as painter and artist, as my research revealed, was fluid, being dependent on changing perceptions of self. The research was conducted in line with feminist theories, which privilege gender as a defining characteristic of people’s experience. This is not to sanction notions of essentialism and therefore the research does not seek to universalise the position “woman”, but rather attempts to gain an understanding of the diversity of women’s experiences. To that end, the research data were collected through the use of both questionnaires and in-depth, semi-structured interviews. Five main categories emerged from the interviews, which formed the basis of the data analysis and interpretation. These were: issues concerning the conventional image of the artist and the limited availability of role models this provides for women artists; the relationship between women’s sense of their identity as females and its impact on their ability to combine that with an artist identity; the role of higher art education in constructing images of the artist; the part played by women artists’ social relations, including their relationships and roles within the family; and the models and realities of working practices, including the implications of the site of production and forms of dissemination. Two patterns emerged in my sample group regarding the various ways of constructing an artist identity. They largely reflected the impact of socialisation which, it would appear, requires women to adopt either a traditional female role around which the artist identity somehow has to be worked, or a traditional artist role which still challenges the adoption of a certain kind of female identity. The women in my sample group, however, showed signs of attempting to negotiate their own pathways towards complex and multiple identities; a process made more intricate for women with an additional identity of mother

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