Born in Penglai,Shandong Province in 1942,Jiang Baolin is currently working as a doctoral supervisor at the Chinese National Academy of Arts.He’s also a committee member and researcher at the China National Academy o...Born in Penglai,Shandong Province in 1942,Jiang Baolin is currently working as a doctoral supervisor at the Chinese National Academy of Arts.He’s also a committee member and researcher at the China National Academy of Painting.He graduated from Zhejiang Academy of Fine Arts(now China Academy of Art),studying under such masters as Lu Yanshao and Gu Kunbo,and later pursued his master’s degree at the Central Academy of Fine Arts,sitting at the feet of masters like Li Keran.展开更多
In the eighteenth and nineteenth centuries,ornithology,based on shooting and skin collection,was regarded as an unsuitable pursuit for women.Simultaneously,colonial expansion was a dominantly masculine enterprise.From...In the eighteenth and nineteenth centuries,ornithology,based on shooting and skin collection,was regarded as an unsuitable pursuit for women.Simultaneously,colonial expansion was a dominantly masculine enterprise.From postcolonial and gendered perspectives,we can rediscover severely marginalized and overshadowed roles of women within the network of colonial ornithology,a particularly masculine and patriarchal branch of imperial science.This paper highlights the contributions of three skilled women artists:Sarah Stone,Elizabeth Gwillim,and Elizabeth Gould.As embodiments of the Victorian ideal of the"angel in the house",these women also functioned as metaphorical angels within colonial ornithology.They provided unwavering support to the male-dominated scientific and imperial endeavors,which,in turn,enabled their travel to colonial territories and access to exotic avifauna.Their work holds enduring value in both scientific and artistic contexts,while simultaneously revealing women's entanglement in and contribution to the imperial agenda.Beyond illustration,women also engaged in observation,documentation,collection,and trade of birds in colonial contexts,with some even commemorated in bird nomenclature.展开更多
文摘Born in Penglai,Shandong Province in 1942,Jiang Baolin is currently working as a doctoral supervisor at the Chinese National Academy of Arts.He’s also a committee member and researcher at the China National Academy of Painting.He graduated from Zhejiang Academy of Fine Arts(now China Academy of Art),studying under such masters as Lu Yanshao and Gu Kunbo,and later pursued his master’s degree at the Central Academy of Fine Arts,sitting at the feet of masters like Li Keran.
文摘In the eighteenth and nineteenth centuries,ornithology,based on shooting and skin collection,was regarded as an unsuitable pursuit for women.Simultaneously,colonial expansion was a dominantly masculine enterprise.From postcolonial and gendered perspectives,we can rediscover severely marginalized and overshadowed roles of women within the network of colonial ornithology,a particularly masculine and patriarchal branch of imperial science.This paper highlights the contributions of three skilled women artists:Sarah Stone,Elizabeth Gwillim,and Elizabeth Gould.As embodiments of the Victorian ideal of the"angel in the house",these women also functioned as metaphorical angels within colonial ornithology.They provided unwavering support to the male-dominated scientific and imperial endeavors,which,in turn,enabled their travel to colonial territories and access to exotic avifauna.Their work holds enduring value in both scientific and artistic contexts,while simultaneously revealing women's entanglement in and contribution to the imperial agenda.Beyond illustration,women also engaged in observation,documentation,collection,and trade of birds in colonial contexts,with some even commemorated in bird nomenclature.
