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Context

The Qiang Between Han and Tibetan

In my research on social groups from the first unit until now, the book "The Qiang Between Han and Tibetan" has significant relevance to my theme. Through studying the Qiang people in this book, I have understood the crucial importance of self-awareness for an independent group. Additionally, by examining the relationships between groups as described in the book, I can draw parallels to the groups I have observed, including their interactions with the outside world and their internal connections.

This book tells the story of a small ethnic group, the Qiang, who are situated between two major ethnic groups. The Qiang people have a strong sense of group identity. Through extensive field research and long-term data collection in Qiang villages, the author documents the steadfastness and changes in the Qiang's self-identity under the influence of two distinct cultures.

History and Modernity, Tradition and Change

The Qiang have undergone multiple migrations in response to changes in their natural and social environments, eventually settling in today's clustered village structures.

Regarding the Han Chinese, the Qiang maintain economic and social exchanges, benefiting from resources such as healthcare and education. However, they also fear that modernization and Han cultural influences might lead to the gradual loss of their language, customs, and beliefs.

Regarding the Tibetans, the Qiang respect Tibetan Buddhism and participate in Tibetan traditional activities, believing they share common ancestors and cultural heritage with the Tibetans. However, competition for resources like grasslands and water has led to conflicts. Furthermore, the Qiang's polytheistic beliefs differ significantly from Tibetan Buddhism, leading some Qiang to reject certain Buddhist dogmas as incompatible with their traditions.

Conclusion

The Qiang's views on their neighboring major ethnic groups are complex and multifaceted, involving both cooperation and conflict. These interactions have made the Qiang acutely aware of the importance of their cultural independence. In response, they exhibit strong self-protection and selective acceptance of external influences and cultures. The external pressures they face have fostered internal cohesion and solidarity. By protecting their culture, enhancing internal cooperation, and selectively adopting external cultural elements and support, the Qiang have successfully maintained their social cohesion and cultural distinctiveness to this day. These choices are not only responses to external pressures but also strategies for preserving their identity and seeking self-recognition in a multicultural context.

Alberto Giacometti: The Depth of Emotion and Psychological Space

​Alberto Giacometti, Diego

​Alberto Giacometti, Caroline

​Alberto Giacometti, Woman

Alberto Giacometti's work is renowned for its elongated figures. The sense of solitude and silence that emerges from his creations still holds a unique place in modern sculpture today.

Paintings

Firstly, I would like to discuss some of his early paintings. His works are almost exclusively portraits, featuring figures constructed from intricate lines set against backgrounds composed of just a few lines. In the three portraits I have chosen, the faces of the figures blur into the background color blocks, deepening the sense of distance in the background space. The faces he paints are always indistinct, with a profusion of lines blurring the facial details, resulting in an almost unseeable effect. His portraits often appear unfinished, but I believe this serves as an evocation for the viewer, especially with the simplified background represented by a few lines. 

By reducing the background to lines and retaining only their shallow framework. He draws most of his portraits from live models. However, these lines give me the impression of memories, as if recalling scenes from the depths of one's mind, where only parts of the scene flicker in the interplay of light and shadow.

​Alberto Giacometti, The Forest

​Alberto Giacometti, The piazza,1958

Sculptures

Next, let's discuss his sculptures. When people nowadays display his large-scale works, they tend to arrange them very sparsely. Perhaps this also contributes to the first impression his sculptures give: a sense of loneliness. I chose two of his smaller works, both featuring many figures standing on the same base. Despite their slender appearances, the figures in these two pieces seem to occupy a very distant social space, with weak interactions between them. Although there are many figures, there is a sense of alienation.

In my envisioned group, not everyone is closely connected; there are always marginalized individuals. Therefore, such a social space serves as a reference for the feeling of loneliness for me. Connecting this to his paintings, both have indistinct facial features, which might be his way of expressing his own sense of alienation from others, a reluctance to clearly remember or see others.

Francis Bacon and Space

TRIPTYCH INSPIRED BY THE ORESTEIA OF AESCHYLUS 1981

The spatial forms and their combinations in architecture encompass two aspects: one is the relationship between the various elements that make up the architectural space, and the other is the expressive power of the architectural space itself. Architectural space is generally divided into internal space and external space. Internal space is the space enclosed from nature using certain materials and technical means, and it has the closest relationship with people. Accordingly, Wright believed, "The internal space of a building is its soul." -- Introduction to Art

Although this passage is used to describe space art, I think the rules in this sentence can also be applied when space appears in the picture. Of course, when the focus is on the interior of the space.

 

In my critical reflection, I have already explored the meaning and visual effects of the cages in Bacon's paintings. In this part of my study on spatial structure, I intend to examine some of his other paintings.

In his paintings, the cage symbolizes isolation and concealment, protecting the inner unease of the characters. However, since these cages are transparent, this protection is merely psychological, suggesting that it does not actually exist. Conversely, the space he depicts reflects another aspect. The space in his paintings is always vast, expansive, with little else besides the main figures. The few decorations serve to enhance and showcase, acting as a 'stage' around the characters.

This presentation of the stage carries significant implications, as it aggressively displays the characters curled up and tense on the stage to the audience. This stands in stark contrast to the protective function of the cages, exposing the figures in a malicious manner, akin to forcibly exposing soft appendages from a shell and leaving them exposed to the sun.

Thus, this space is both expansive and insecure. Just like in terms of feng shui, if a bed, as a piece of furniture, is placed in a spacious area without being against a wall, it may bring nightmares and fear to the person sleeping on it.

Therefore, the size of the space brings completely different effects when compared with or set off by the number of portraits.

IMG_8782_edited.jpg

THREE FIGURES AND PORTRAIT 1975

​Bibliography

Alberto Giacometti. sculpture, paintings, drawings (2014) Alberto Giacometti. Sculpture, Paintings, Drawings | The Tretyakov Gallery Magazine. Available at: https://www.tretyakovgallerymagazine.com/articles/switzerland%E2%80%93russia-crossroads-cultures/alberto-giacometti-sculpture-paintings (Accessed: 21 May 2024). 

Juno, 黃 怡貓 (2022) 攝影與雕塑共鳴,才型塑了它的完整:當孤瘦與詩意交融,空白也會與情欲共存 - Wonder 覺誌・wonder 覺誌, WONDER 覺誌. Available at: https://wonder.am/2022/06/23/alberto-giacometti/ (Accessed: 21 May 2024). 

Loneliness is the reality and the ultimate achievement: Alberto Giacometti retrospective|孤獨是現實也成就極致:阿爾伯托·賈柯梅蒂回顧展 (2023) SUAVEART. Available at: https://itssuaveart.wordpress.com/2016/05/18/loneliness-is-a-reality-and-an-extreme-achievement-alberto-giacometti-retrospective/ (Accessed: 21 May 2024). 

Tate (1970) Alberto Giacometti 1901–1966, Tate. Available at: https://www.tate.org.uk/art/artists/alberto-giacometti-1159 (Accessed: 21 May 2024). 

Three figures and portrait: Francis Bacon Three Figures and Portrait | Francis Bacon. Available at: https://www.francis-bacon.com/artworks/paintings/three-figures-and-portrait (Accessed: 21 May 2024). 

Wang,Mingke (2022) Qiang zai Han Zang Zhi Jian: Chuan Xi Qiang zu de Li Shi Ren Lei Xue Yan Jiu. Shanghai: Shang hai ren min chu ban she. 

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