asian art

Manifestation of a strong influence by Western techniques and their use of color marked the first generation of artists to emerge from this school. Thematically, their work was closer to their homeland. It embodied a strong Asian thematic essence, especially the freedom and generosity of an Asian soul. A gradual exposure to the international market took this hitherto provincial form of Asian art to a global audience. It spawned such great, and now immortal names in Vietnamese modem art as To Ngoc Van, Nguyen Phan Chanh, Nguyen Gia Tri, Bui Xuan Phai, Le Pho, Tran Van Can, Nguyen Do Cung, Nguyen 'I'ien Chung, Nguyen Tu Nghiem, Duong Bich Lien, and so on.

Vietnamese art took a new direction during the country’s struggles with colonialists and the U.S. imperialists. Differences cam to be noticed in the art works of North and South Vietnam. The fierce struggles and people's fighting spirits were reflected on the one hand in the North whereas realism-criticism, romanticism, and escapism into the dream of peace pervaded the art landscape of the occupied South.

Since then, however, Vietnamese fine art has undergone a successful merging in style and theme and has only grown from strength to strength with every passing year. A closer look at this phenomenon reveals that it is not just the profile and status of the nation's art and artists that have grown in strength. The change is also evident in the quality of the art and in the scope of its representation through local, regional, and international galleries and museums. Instrumental to this have been such significant events as the exchanges between the Queensland College of Art, Brisbane, and the University of Fine Art, Ha Noi, and the visionary Indochina Arts Projects spearheaded by David Thomas in the United States.

Local galleries and museums have a major role to play in the growing popularity of Vietnamese fine art. They are the main driving factor behind the increasing popular enthusiasm and the commercial success of fine art in Vietnam. Such galleries are virtually countless in cities such as Hanoi, Ho Chi Minh City, and Hue. Some are nothing more than mere shops selling paintings. In the major cities, about 50 galleries can be deemed professional. They deal in a wide variety of local art, ranging from highly popular landscape and figurative work to abstract and experimental work in lacquer and other mediums.

Vietnam has been significantly instrumental in finding Asian art a truly global audience and a more widespread awareness and recognition. It has broken free from its provincial shackles and has emancipated itself for an international presence. It has ushered in a new wave of interest in Asian art and will continue to remain a major force in the art world that will continue to grow in strength over the coming years.

The growth of interest and the rise in popular enthusiasm about Vietnamese fine art have been truly phenomenal in the past few years. The last decade, especially, has witnessed a dramatic growth in the number of people world-wide taking an enormous deal of interest in Vietnamese fine art. It is safe to assume now that Vietnamese fine art has finally come of age and is ready to go truly international.

The contemporary art scene of Vietnam is buzzing with activity, and is vibrant like never before. This is to be attributed not only to strong commercial considerations, but also to the commitment of artists and dealers to create and promote quality work. One cannot help but wonder in awe when one looks upon the radical metamorphosis of Vietnamese art over the last few years. Less than a decade ago, contemporary Vietnamese fine art and artists had negligible presence in their own country and virtually none on the international art scene. Yet, in 1993, eminent art critic and accomplished painter Ca Le Thang wrote in the popular art journal My Thuat, "In 1992 a total of 130 groups and one man exhibitions were opened in Ho Chi Minh City, featuring works by local (Vietnamese) artists... and even (artists) from overseas. Over 5,500 works created by more than 200 artists were exhibited in 25 different locations; attendance numbers rose to over 400,000."

Vietnamese fine art, since then, has only grown from strength to strength with every passing year. A closer look at this phenomenon reveals that it is not just the profile and status of the nation's art and artists that have grown in strength. The change is also evident in the quality of the art and in the scope of its representation through local, regional and international galleries and museums.

Compared to other Asian countries, and according to several art commentators, Vietnam was the earliest to merge into the mainstream of modern art, as defined by the West, in both form and content. Such a fact can be easily seen with the coming into existence of Ecole Des Beaux Arts (Indochina's School of Fine Art) in the early 1930s, with the presence of professors from France.

Western style in technique and the use of color was what the first student generation trained in this school obtained. The techniques however were employed by the graduate artists to depict the aesthetic essence of Viet-narn, especially the freedom and generosity of an Asian soul. Such a fundamental beginning had laid the foundation for the younger generations to follow and again led to their success.

Local galleries and museums have a major role to play in the growing popularity of Vietnamese fine art. They are the main driving factor behind the increasing popular enthusiasm and the commercial success of fine art in Vietnam. Such galleries are virtually countless in cities such as Hanoi, Ho Chi Minh City, and Hue. Some are nothing more than mere shops selling paintings.

In the major cities, about 50 of these galleries can be deemed professional. They deal in a wide variety of local art, ranging from highly popular landscape and figurative work to abstract and experimental work in lacquer and other mediums. The range of variety to be noticed in Vietnamese fine art by gazing upon these paintings is truly amazing.

Wain Roy is an internet marketing professional expert in various industries like real estate, web design, finance, medical tourism, pharmacy drug and Vietnamese paintings.

Firstly allow me to clear the misconception of Asian definition when it comes to food. If there is such a thing as American cheesecake or British bread pudding, or Australian Carrot Cake, there is indeed no such thing as Asian Dessert anything. There are however a multitude of desserts across different ethnic groups in Asia.

So you can imagine how rich the Asian food culture is, if you collectively identify them as Chinese, Malay, Japanese, Indian, Korean, Thai, Vietnamese, Burmese, Indonesian, Arabic, Philippines etc. Each culture carries with it a totally different tradition and heritage and this is reflected in their desserts as well.

One particular "Asian" dessert that is little known amongst Westerners are the traditional Malay kuihs. These are delightful chewy and rich desserts that are made from natural ingredients like tapioca flour, sweet potato flour, bananas, palm sugar, coconut milk, glutinous rice etc. There are more than 100 different types of Malay kuihs and these recipes emerged and came from the Indonesian and Malay villages. I grew up with these kuihs and used to watch my grandmother lovingly prepared her goodies over the stove and delighted in feeding us those delectables. She too learned the skill from her homeland in Sumatera Indonesia before she migrated to Singapore.

In those days, the womenfolk discovered resourceful ways to make their desserts and snacks from natural ingredients or whatever they grew in their garden and grew on trees. These kuihs were steamed mostly, sometimes grilled - baking was nonexistent because they not only did not have any oven, electricity was scarce. Besides sweets, there are also savoury version which is often eaten or served during tea time.

Today kuihs are such popular desserts in Southeast Asia mainly inSingapore, Indonesia, Malaysia and Thailand. Yet very few people know the secrets of making kuihs as many recipe books are written in English. Some recipes are available on the internet. I know of many Western friends or those living in the west, who would regularly request for translated version from me. In this part of the world, it is quite easy to find these desserts from the wet market to hotels and restaurants. Many of the recipes have been simplified and subsitutes are introduced for eg fullcream milk is used instead of coconut milk.

Many locals make their living from selling these kuihs as there are more people willing to eat than to learn the art of making these traditional and delicious desserts. The Malays knew the secrets to make these kuihs differently from other desserts through the use of banana and pandan leaves for fragrance and colour, through use of combined flour to give contrasting tastes and use of palm sugar melted like cheese to heighten the eating sensation.

If you love baking and cooking, you will enjoy learning the art of making this "Asian" dessert which belongs to the Malay or Indonesian ethnic group. While Asians are familiar with western desserts, and enjoying a wonderful choice of desserts, the westerners are yet to discover a whole new world of desserts which can be quickly learned and easily made. Not to mention, to impress the entire neighbourhood!

Another main focus of Asian décor is room dividers that are called Shoji screens. Shoji screens are traditionally made of white rice paper with art symbols of Asian traditions that are attached to bamboo or other types of woods. Room dividers are a main focus because the floor plans of Asian décor are minimal, meaning there is not a lot going on or a lot of clutter. Shoji Screens offer decoration in front of a window or an ugly wall, or can divide a room into more functional and personal spaces. Shoji screens will allow light to diffuse through them, often, making a tranquil space. Using Shoji screens with other Asian influences will give a truly authentic feel to the space.

Window treatments may be as important as Shoji Screens in Asian décor. Window treatments are meant to balance the room, there fore they should be colorful and patterned if the room has a neutral tone, but, the window treatments should be simple if the color palate of the room is colorful. Window treatments could be something as simple as bamboo blinds or textured fabrics with tassels. Also, a Shoji screen can serve as a window treatment if placed correctly, sense this screen allows light to come through.

Along with Shoji screens as room dividers or decoration, Asian décor also uses natural elements to enhance tranquility and energy. Bonsai trees and bamboo is a common in Asian décor. One might also consider adding a rock garden or a water structure, like a water fall or still water with fish. Nature adheres to the simple and tranquil design of Asian décor. Furniture in these rooms should have a multi function, like a futon being a bed and a couch, and should draw out the colors of floor coverings. Asian décor uses anything from mats to wool rugs that have the chosen colors of the walls in them.

It is important to remember not to overdo it in Asian décor. This is a very minimal form of art and a few well chosen pieces will go a long way. Buddhism also has a strong standing in Asian décor, so, a Buddha statue can be just as important as a Shoji Screen. Asian décor focuses on balancing the home, making it calming and tranquil, and encouraging the feelings of peace and serenity. Staying in tune with nature and focusing on staying simple is the key to Asian décor.

About the Author:
Mike Zamora writes articles about room dividers and shoji screens. Other information and articles published by the writer on the topic of shoji screens can be obtained on the web.

The delicate and timeless beauty of Asian furniture is currently experiencing an unparalleled popularity in American interior design.

An Overview of Asian Furniture

The name “Asian Furniture” is a general term, describing all home dÈcor products - including art and furniture – from the countries of China, Korea, the Philippines, Taiwan, Japan, Burma, Indonesia, Malaysia, Singapore, Thailand, and often India. It also includes the (now antique) items crafted during the British occupation, mostly of furniture from India and Burma, including contemporary reproductions in this style.

Although very similar in basic design, each of these countries produces furniture and art that is specific to its own culture. For instance, while the Shoji screen originated in China, it was then reinvented in Japan and is now considered a wholly Japanese export. Feng Shui design philosophy is singularly Chinese, while Southeast Asian furniture often displays Hindu-influenced carvings over very dark wood.

Origins of The Oriental Style

Also known as “Oriental Furniture”, Asian-styled furniture is very often crafted from teak wood, and is usually based on the Buddhist principles of living simply and in harmony with one’s surroundings. Asian furniture is a blend of form and function, where art and design are intended to be both beautiful and purposeful. In the interest of blending Western and Eastern styles, it is increasingly popular to find Shoji screens that reflect traditional Western tastes. More colors are becoming available, and designers have begun to take liberties in creating more daring and expressive fusion pieces.

Perhaps the most famous Asian dÈcor item is the Shoji screen. Made from latticed wood and rice paper, it is becoming increasingly common to see Shoji doors, Shoji lamps, and Shoji room dividers, even in traditionally Western homes and offices. Other popular Asian furniture items are cabinets and accessories, typically ornamented with striking mother-of-pearl inlay.

Asian Furniture Today

Today the largest markets and manufacturers of Oriental furniture are Korea and Taiwan, although much is also manufactured in the US, Europe and Australia. The top importers of Asian furniture and home dÈcor are the United States, Germany, France, the United Kingdom, Japan and Canada.

Whether you are creating your very own “Dojo”, crafting an intentional meditative space, or if you are simply drawn to the beauty and craftsmanship of Asian furniture, you are certain to find inspiration in the timelessness and transportive qualities of this truly dazzling style.


Article Source: http://www.emassive.com/Asian_Furniture.htm

Qi is defined as “vital energy.” It is the life force which flows through human beings via pathways called meridians. These are the same meridians which are employed in acupuncture and Qigong therapies. Qi was first observed, identified, and defined by holy men in China ca. 3500-3000 BC. It became the basis of the Chinese philosophy of Daoism (Taoism), and was eventually passed on to the Yellow Emperor who was named Huangdi and is said to have ruled between 2697 BC and 2597 BC. Feng Shui was a later addition which employs the concept of qi in relation to inanimate objects and the arrangements of these objects and their corresponding spaces in the material world. Qi has recently entered the realm of Western research and scientific method. Studies have successfully revealed the presence and attributes of qi. In 2005 biophotonics in the infrared spectral range, following the acupoint herbal-smoke treatment technique called moxibustion, clearly showed the meridian paths down which the moxbustion smoke traveled. Qi is now being identified and quantified and is no longer an enigma. It is a bioenergetic force.

The more we understand about qi, now quantitatively identified and measured, the more potency we can have in health, strength, and equanimity.

The article was produced by the writer of masterpapers.com. Sharon White has many years of a vast experience in psychology term paper and philosophy term paper writing consulting. Get free samples of essays, coursework and learnoutline for research paper tips.

My spouse happens to be non-Asian, so I find the terms Asian Fetish/Yellow Fever disagreeable if not insulting. I'd rather believe that my husband asked me to marry him because I had exhibited some desirable qualities to him during our courtship, and not because he needed an Asian woman to fulfill a fetish of his. If a term must be used to label this type of romance, I would be okay with “preference.” Having a “preference” for Asian women does not sound negative. But as an added bonus for me personally, my husband didn't even have a preference for Asians when we first met.

I met John in the late 1980's as Freshman in College. He came from Denver, and can vaguely remember two Asian kids in his entire High School. His only association with anything Chinese was white rice and Hot & Sour soup, which he dislikes even to this day.

His best friend in College on the other hand had a definite preference for Asian girls, and quickly attached himself to my Asian college roommate. So, naturally John and I became the third and fourth wheels in my roommate's and John's best friend's turbulent 3-year-long relationship. John was in love with his high school sweetheart at the time and carried on a long distance relationship with her during our freshman year. This allowed us to develop a pure friendship without those awkward boy-girl moments. His relationship fell apart in our second year, and I served as his shoulder to cry on as he spent an entire quarter getting over her. He then promptly asked me to be his girlfriend. But the previous few sobbing months with him were too gloomy for me. I preferred to spend my free time with happy people. So I turned him down in favor of going to parties with my bubbly girlfriends. To my surprise, John took the blow as hard as his recent breakup. But nevertheless, for the rest of our college years, we carried on a sometimes caring and sometimes bitter friendship.

We spent little time together in our Senior year, as my roommate and his best friend finally ended their drama-filled relationship for real. I was also in a relationship in my senior year, and John didn't waste anytime bragging to me about his new girlfriend who adored him and was a model for a local jewelry company, a Lutheran like himself, and a freshman.

Shortly after graduation, we moved to different cities, and both of our respective relationships had ended. He came to me again with another offer to be his girlfriend. I turned him down again. This time I planed to travel and work overseas. I packed my bags and left the country at the end of that summer.

After spending two years overseas, I returned ready to get my career started. John was happy that I came back and often flew to the city where I was living to visit me. He declared his love for me again for the third time, and this time produced a positive response. I was ready to settle down.

We dated for the next four years, and were happy. I admire the passion he has for his work, and learned that while he is a frugal person, he was always generous with me and others. And he learned that it is better to let me win our fights.

John and I have now been married for 9 years. While occasionally I will complain about his hours, I still support and admire his work ethics. At home, John is not great about taking the initiative on chores, but he always performs all the tasks I assign to him without complaining. I have become an efficient task assigner. We hardly even argue now, as John tolerates my quick temper better than anyone I know. He also came to the conclusion that there is no point in arguing, since I still have to win in the end.

It is understandable that the world sees us as an Asian-white couple, but to me, he is my husband, who happens to be white. Once, on a rare occasion when our different races were in my thoughts, I asked my husband if he has now developed an “Asian Fetish” since he has been with an Asian woman for so long. Without looking up, he shot back, “Guys with Asian Fetishes want an obedient and submissive Asian woman, YOU are a tyrant”.

This article is printed with permission from AsianParent.com -- Offering a large selection of Chinese children's Books and DVDs for 0-12 year olds.