Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material cu...Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material culture, mental state, and physical body. Photography is the extension of human vision, the appearance of which has changed the way in which people see the world, molded the subject identity of modernity, and participated in the social construction of visual modernity. To witness the history is not the only purpose of studying on photograph-based pictorials in the republican period, for which it is more important to provide visual reference for the construction of China＇s modernization, and to witness the multiplicity, mobility, and inner-diversity of modernity.展开更多
This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of“a...This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of“architect.”Using architectural drawing as both its subject and its method,this research interrogates how a representative figure-Liu Jipiao employed the power of drawing to establish the identity of the modern Chinese architect.This paper argues that architectural drawing,in establishing the identity of the Chinese architect,faced the requirement to build an affinity between the architect and the artist.The entangled history of these two professions offers up Liu as the representative figure of the artistic architect.Liu’s artistic drawing fulfilled the previously mentioned requirement and earned the architects the artistic power that distinguished them from their counterparts-the engineers.Under the perspective of multiple modernities,the paper challenges the contemporary misreading of Liu Jipiao as an irrelevant individual intellectual and of his practice as a minor failure.Furthermore,this article invites further reflection on the modernity of Chinese architectural drawing,and shows how such drawing made more attempts to convey subjectivity rather than to transmit modern technique per se.展开更多
文摘Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material culture, mental state, and physical body. Photography is the extension of human vision, the appearance of which has changed the way in which people see the world, molded the subject identity of modernity, and participated in the social construction of visual modernity. To witness the history is not the only purpose of studying on photograph-based pictorials in the republican period, for which it is more important to provide visual reference for the construction of China＇s modernization, and to witness the multiplicity, mobility, and inner-diversity of modernity.
基金This article is part of the PhD research,sponsored by Chinese Scholarship Council,The Bartlett Architecture Research Fund,and The Society of Architectural Historians of Great Britain(SAHGB)Research Grant.
文摘This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of“architect.”Using architectural drawing as both its subject and its method,this research interrogates how a representative figure-Liu Jipiao employed the power of drawing to establish the identity of the modern Chinese architect.This paper argues that architectural drawing,in establishing the identity of the Chinese architect,faced the requirement to build an affinity between the architect and the artist.The entangled history of these two professions offers up Liu as the representative figure of the artistic architect.Liu’s artistic drawing fulfilled the previously mentioned requirement and earned the architects the artistic power that distinguished them from their counterparts-the engineers.Under the perspective of multiple modernities,the paper challenges the contemporary misreading of Liu Jipiao as an irrelevant individual intellectual and of his practice as a minor failure.Furthermore,this article invites further reflection on the modernity of Chinese architectural drawing,and shows how such drawing made more attempts to convey subjectivity rather than to transmit modern technique per se.
