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Essays on Paintings, Calligraphy, and Seals Collected by Sun Jialiang
This is a collection of essays on the artworks collected by my father Sun Jialiang and also some of his own art work and calligraphy. During the time my father lived in Hong Kong, from his escape from China in 1949 until his death in 1986, he collected a large number of paintings, calligraphy pieces, seals, and other artwork. He was not a collector in the conventional sense. Nearly all of these artworks came his way because he knew the artist or knew someone who knew the artist. All these artists were born between 1882 and 1923 and nearly all of them were well known for their work. Taken as a whole, my father's collection provides an insight into how artists of his generation were trying to revitalize traditional Chinese painting. Writing about these artworks has revealed an aspect of my father's life that I knew very little of.
Re-orienting Western Feminisms
The agenda of contemporary western feminism focuses on equal participation in work and education, reproductive rights, and sexual freedom. But what does feminism mean to the women of rural India who work someone else's fields, young Thai girls in the sex industry in Bangkok, or Filipino maids working for wealthy women in Hong Kong? In this 1998 book, Chilla Bulbeck presents a bold challenge to the hegemony of white, western feminism in this incisive and wide-ranging exploration of the lived experiences of 'women of colour'. She examines debates on human rights, family relationships, sexuality, and notions of the individual and community to show how their meanings and significance in different parts of the world contest the issues which preoccupy contemporary Anglophone feminists. She then turns the focus back on Anglo culture to illustrate how the theories and politics of western feminism are viewed by non-western women.
"I Am My Art; My Paintings are Me"
Abstract : Among the founding members of the New Ink Painting Movement in Hong Kong in the 1960s, Irene Chou (1924–2011) went the furthest in transcending the traditional boundaries of Chinese ink painting. One outstanding feature of Chou’s long career as an artist was that from the beginning of her career to the very end of her life, she continuously shifted from one style of painting to another. After painting sexually charged “landscape paintings”, she began painting line paintings. Just as she became known for her line paintings, Chou abruptly shifted to piled ink paintings. After she moved from Hong Kong to Brisbane, she shifted from painting on the traditional medium of xuan pa...
Southerly
Vols. for 1939-1944 include the Annual report of the Australian English Association; v. for 1945-1946 include the Annual report of the Sydney Branch of the English Association.
Dragon Seed in the Antipodes
Examination of autobiographical writings of Chinese Australians from 1866 to 1996. Explores the question of how the Chinese in Australia see themselves and their relation to mainstream Australian society. Demonstrates how Chinese immigrants in Australia and their descendants have seen and portrayed themselves. Authors of these accounts include 19th-century immigrants, those who arrived around the time of World War II, Australian-born Chinese, immigrants of Chinese descent from South-East Asian countires, and those who came recently from the People's Republic of China. Includes notes, bibliography and index. Author has published articles and book reviews in professional journals and newspapers and has contributed to academic publications such as 'Chinese-Australian Writing'.
