Tianshuang Liang 梁天爽
MA (SOAS), MA (CSM)
My doctoral thesis examines how the concept of zhezhong (namely, the artistic syncretism between China and the West) has been visually constructed and conceptually shaped in the art historiography of early twentieth century China. Drawing on interdisciplinary approaches from art history, anthropology and sinological studies, it not only traces the development of zhezhong in the multivalent artistic, aesthetic, social and political sphere in the modern Chinese art world but also shows how zhezhong had been advocated and utilized by modern Chinese painters across different media, genre, art movements and localities.
Tianshuang Liang 梁天爽, ‘Beilou linDong yu Guohua fuhuo yundong「北樓臨董」與國畫復活運動’. [Revival of the Tradition: A Painting Album by Jin Cheng (1878-1926) After Old Masters] In Guangdong Zhongguohua yu Guohua fuhuo yundong 廣東中國畫與國畫復活運動 [Revival of National-Style Painting and Chinese Painting in Guangdong]. (In Chinese.) Guangzhou: Lingnan meishu chubanshe, Spring 2015 (In Press).
NOV 2014 “In the Name of the Nation: Art, Politics and Space in Early Twentieth Century China,” [in Chinese] Image and Time: the Fifth International Graduate Symposium of Art History at Peking University, Peking University, China, November 22-23.
OCT 2014 “Forging a Commemorative Space: Art, Nation and Politics in the Nanjing Decade (1928-37),” Between Region and Discipline: National Taiwan University and SOAS postgraduate conference, SOAS, University of London, 13 October.
SEP 2014 “From Connoisseurship to Art History, From Art History to Connoisseurship: A Case Study of Early Twentieth Century Painting Practice in China,” the Summer School (Art-) Forgery – Cultural, Social, Economic and Juristic Aspects in a Transcultural Perspective, University of Heidelberg, Germany, 14-22 September.
JUL 2014 “Elegant Gathering: Art, Networks and Societies in 1910s China,” European Association for Chinese Studies 2014 Biennial Conference (EACS), Braga, Coimbra, Portugal, 22-26 July.
MAY 2014 “From Artistic Concept to Painting Genre: Aesthetical Innovation in Republican Period,” Themes In Modern Chinese Culture: a Master-class with David Der-Wei Wang, University of Cambridge, 16 May.
APR 2014 “A True Record: the Interplay of Local, Regional and World Art in 1910s Shanghai,” Berkeley-Stanford Graduate Student Conference in Modern Chinese Humanities, U.C. Berkeley, United States, 18-19 April.
MAR 2014 “Repositioning the Lingnan School: Aesthetic Innovations on the Global Stage,” Association for Asian Studies (AAS) Annual Conference, Philadelphia, PA, United States, 27-30 March. (I am also the organizer of this panel on “Conceptual and Practical Innovations in Chinese Art of the Republican Period”)
DEC 2013 “Beilou linDong yu Guohua fuhuo yundong「北樓臨董」與國畫復活運動,” [in Chinese] [Revival of the Tradition: A Painting Album by Jin Cheng (1878-1926) After Old Masters] at “Guangdong Zhongguohua yu Guohua fuhuo yundong 廣東中國畫與國畫復活運動,” [Revival of National-Style Painting and Chinese Painting in Guangdong] , Memorial Museum of the Lingnan School of Painting, Guangzhou, China, 11-13 December.
JUN 2013 “The Meeting Space of Shanghai, Canton and World Art in the New Republic — A Case Study of Zhenxiang huabao (The True Record),” at International Conference — Global goes Local: Visualizing Regional Cultures in the Arts of Greater China, Academy of Visual Arts, Hong Kong Baptist University, Hong Kong, 27-29 June.
JUN 2013 “A New Aesthetic Concept in Modern Chinese Art: Syncretism and Gao Qifeng,” at “China’s Art History: a Global Field,” History of Art Department, National Taiwan University, Taiwan, 16 June.
JUN 2012 “The Agency of Syncretism in Modern Chinese Art,” at “UCL Postgraduate Symposium in History of Art and Visual Culture 2012,” History of Art Department, University College London (UCL), London, 11 June.