Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an...
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https://www.riss.kr/link?id=A101952920
2016
Korean
KCI등재
학술저널
161-182(22쪽)
0
0
상세조회0
다운로드다국어 초록 (Multilingual Abstract)
Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an...
Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an educator, too, Ye succeeded Xu Beihong(徐悲鴻, 1895~1953) as the longestserving head of Chinese painting at National Beiping Art College, the predecessor of China Central Academy of Fine Arts.
Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s.
It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai.
The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.
목차 (Table of Contents)
참고문헌 (Reference)
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4 화메이, "복식" 대가 2008
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학술지 이력
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2027 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2021-01-01 | 평가 | 등재학술지 유지 (재인증) | |
2018-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2015-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2011-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2007-01-01 | 평가 | 등재 1차 FAIL (등재유지) | |
2004-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | |
2003-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | |
2002-01-01 | 평가 | 등재후보 1차 FAIL (등재후보1차) | |
2001-01-01 | 평가 | 등재후보학술지 선정 (신규평가) |
학술지 인용정보
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.64 | 0.64 | 0.61 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.65 | 0.63 | 0.82 | 0.07 |