Li hong zhang biography of michael
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Self-Strengthening Movement
1861–1895 modernization and reform period in Qing China
The Self-Strengthening Movement, also known as the Westernization[1] or Western Affairs Movement[2] (c. 1861–1895), was a period of radical institutional reforms initiated in China during the late Qing dynasty following the military disasters of the Opium Wars.
The British and French burning of the Old Summer Palace in 1860 as Taiping rebel armies marched north, forced the imperial court to acknowledge the crisis. In 1861, Prince Gong and Grand Councilor Wen Xiang proposed establishing an office to direct foreign affairs.[3]Prince Gong was made regent, Grand Councilor, and head of the newly formed Zongli Yamen (a de facto foreign affairs ministry). Local Han Chinese officials such as Zeng Guofan established private westernized militias in prosecuting the war against the rebels. Zeng and his armies eventually defeated the rebels and prosecuted efforts to import Western military technology and to translate Western scientific knowledge. They established successful arsenals, schools, and munitions factories.
In the 1870s and 1880s, their successors used their positions as provincial officials to build shipping, telegraph lines, and railways. China
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Gallery of Chinese Painting
The installation 'World in Miniature' presents works on the theme of the garden by two artists: 17th-century Chinese artist Zhang Hong and living artist Michael Lee. Despite their art's very different appearance, what the two artists have in common is their documentary approach and quest for new ways to depict the subject.
In China, landscape gardening is a fine art. Deeply rooted in the art of painting, calligraphy, and poetry, the garden is not only an expression of the emotional life of its owner, but also the coherence and harmony between man and nature. The garden is seen as a world in miniature.
Zhang Hong
Zhang Hong (born 1577, died after 1652) was a professional painter of the city of Suzhou and was famous for his topographical landscape paintings. His work represents a markedly new stylistic direction in 17th-century Chinese painting. Instead of creatively recycling, to a greater or lesser extent, the conventional forms and styles of the old masters, as was customary of his day, Zhang Hong sought to create a faithful depiction of nature in many of his works. Pivotal to this development was his masterpiece album of the Zhi Garden (Garden of Repose), which depicts the scenery of a typical literati garden and demonstrates his unique ar