Chinese works translated!

In the last post, I announced that our work making a collection of Chinese art available was complete. I am pleased to announce that due primarily to efforts by current students we now have more information to share about these works! This post contains individual images of the works, their translations, and details the students found on some of the artists. I will also add information to the works in the descriptions in the online Campus Art Collection.

Special thanks for providing English translations of these works go to
Dawn Mengheng Wang, Class of 2022;
Esther Siqi Yang, Class of 2023;
and Amber Ruofei Shuang, Class of 2025.

Dawn’s father, Yuhua Wang, who is a Professor of Chinese History, identified the traditional Chinese characters on the paintings.

Thanks also to Dr. Tom Lutze, IWU Professor of History, for finalizing the translations of the poetry. Dr. Lutze notes that, as with any attempt to translate poetry from one language to another, more improvements would be possible.

What follows is a gallery of six images that contain brief text about the works. Two pieces with poetry are shown individually below the gallery.
[Click on any image to enlarge.]

mountain and temple scroll

Artist: XU Shi
Date: Winter, 1987
Location: Suzhou

 

The waterfall cascades down from the rock,
the timbre of pine needles blends with the tenor of water–a chorus of nature
(万壑涛声巌下瀑)
The mountain rain gathers into clouds,
the billows envelop the house where the hermit lives
(千峰雨气屋头云)

 

 

 

 

 

 

For this last work, our students offer two possible translations.

Bamboo and Orchid

Title: Bamboo and Orchids Original ink wash artist: ZHENG Xie (commonly known as ZHENG Banqiao).             The Rongbaozhai workshop, located in Beijing, created this print.

Translation (#1) (written as the artist completed the painting):

Every day, I drink with my friend on the red bridge.
(日日红桥斗.酒)
Everywhere, peaches and plums present their beauty.
(家家桃李艳芳)
Yet only orchids and bamboo adorn my home
(闭门只是栽兰竹)
They mark my independence–I follow no trend to change my lifestyle.
(留得春光过四时)

Translation (#2):

Day after day, in the beauty of spring, I go to Hongqiao to drink with friends.
(日日红桥斗.酒卮),
House after house, everywhere I look, peach and plum trees blossom in beauty.
(家家桃李艳芳姿).
Yet in my yard I prefer to grow elegant orchids and bamboo.
(闭门只是栽兰竹).
I thereby stay true to myself, refusing to conform to the ways of the mainstream.
(留得春光过四时).

Our students also provided these additional details about the original artist and the printer of this work:

ZHENG was a significant figure in Chinese art history. Born in 1693 (Qing Dynasty), he was known for his love of bamboo, a central feature in many of his paintings. He also drew attention for his non-conformist anti-conservatism and was identified as one of the “Eight Eccentrics of Yangzhou.”

This painting is an original piece of Rongbaozhai’s woodblock watermark art. Woodblock watermark art is a centuries-old copying technique that itself is a skilled art form, involving painting, carving, and printing to create extremely high-quality reproductions of traditional Chinese paintings and calligraphy, both vivid and colorful. Rongbaozhai is an art workshop with a long history in Beijing, one of whose specialties is the preservation from generation to generation of the skills of producing woodblock watermark art.

Chinese works in the Campus Art collection

In recent years, Class of 1970 alumnus Mark Sheldon donated eight works of Chinese art that he acquired  over his 40 year career, mostly in the 1980s, while teaching at The Chinese University of Hong Kong and serving as Director of the Yale-China Association. Photographs and detailed descriptions for all eight are now part of the online Campus Art Collection.
[Click on any image in this post to enlarge.]

Mark Sheldon with Bamboo and Orchid

Mark Sheldon ’70 with one of the donated works

Six were originally in scroll format but one (pictured with Mark on the left) had to be removed due to the fragility of the backing. This is a ca.1958 woodblock print that he displayed in his Hong Kong flat. This work can be seen now in the Southwest hallway of the Center for Liberal Arts.

The five images in the gallery below are all paintings mounted on scrolls. Thanks to Physical Plant staff Roy Bailey and Randy Crow, who installed a special protective mounting system purchased by The Ames Library, two of these works are now hanging outside of the Social Justice & Diversity Room and the Ford Instruction Lab on the library’s entry level. The other scrolls will alternate from their storage location and into these mounts every six months in order to lessen the affects of light damage and other environmental impacts that may result from being in a busy campus building.

Huang Shan

Pictured on the right is “Huang Shan (Yellow Mountain).” It was purchased in Changsha, Hunan, which is not far from Yellow Mountain. Mark gave this painting to his father Rev. Dr. Chester E. Sheldon, Class of 1943, and it hung over his desk in his study in Bloomington and then in Minneapolis for many years, until his death in 2015. It is on display outside of the Chaplain’s office in Evelyn Chapel.

The final work is hanging in the Center for Liberal Arts outside of room 300. Mark states that this “brush painting was a gift to me in the early 80s, by the artist, whose name I don’t recall. It was given when he painted it in bambooa master class for the International Asian Studies Program students at CUHK — and then given to me after the class. My given Chinese name is inscribed on it as ‘Tian Mao’ … as my full Chinese name is XIE Tianmao. It was displayed in my parents living room for many years, then donated to IWU.”

Harriet Stratis

Harriet Stratis, conservator, poses with five scrolls in a modified version of the traditional Japanese futomaki that was developed to roll and store the scrolls.

 

The scrolls all underwent conservation treatments (flattening and light cleaning) by Harriet Stratis and Mary Broadway of the Stratis Fine Art Conservation studio in Chicago. They removed the “Bamboo and Orchid” print from its scroll and had a special mat created for it. They also devised a safe storage system for the works when they are rolled to lessen the likelihood of damage when they are not on display.

 

A report on our Summer 2019 intern

Cynthia O’Neill standing ready to examine audiovisual media from the Arends Collection

Earlier this summer, University Librarian Scott Walter posted news on the start of Cynthia O’Neill’s graduate school internship.As Scott stated, we view the library as “the site for research, internships, and community projects that demonstrate our commitment to engaged learning, both for our undergraduate students and for graduate students working toward a future in library work.”

During her 150 hours in Tate Archives & Special Collections, Cynthia accomplished her internship goal of putting classroom experiences to work in a real-world environment.

Tulasi (left) and Cynthia stand in a row containing the Arends Collection at the completion of their work.

The largest project Cynthia undertook was conducting a preservation assessment of the media contained in the Leslie Arends Congressional Collection. She also created a framework of analysis for Special Collections Student Assistant Tulasi Jaladi (’20) as she conducted an assessment of the papers held in over 5,000 folders in this collection. Tulasi also re-boxed the collection, replacing from 80 records-storage boxes that had become acidic over time with the smaller document boxes you see on the left in their photo.

Throughout this work Cynthia and I discussed the kinds of preservation analysis resources available and how these sources could apply to the work at hand. The result of Cynthia and Tulasi’s work will guide me to the specific parts the collection, some of which is over 80 years old, that need preservation treatments. Most of the paper (the bulk of the collection) is in good condition, but the audiovisual content on older media (like 35mm film and reel-to-reel tapes) is quickly becoming inaccessible because the technology needed to play it is no longer widely available. Some of these recordings are also showing tangible signs of age-related damage. With these details, I will estimate costs of the preservation actions needed.

Cynthia’s experiences in both a museum and public library led us to interesting cross-institutional discussions about policy needs, patron types and research and staffing concerns. Her passion for material culture also resulted in a timely exhibition on the Apollo 11 moon landing. Cynthia proposed the idea based on her survey of the Congressman’s collection, which contains additional material on the Apollo program. She also reached out to a museum in the region to make a connection between us for a larger exhibition she knows they are doing in the fall. I appreciate having the opportunity to collaborate outside of academia!

The processing project Cynthia undertook for a recent donation by artist and alumna Marjorie Kouns (’79) was small enough—and had enough unique aspects to it—that we were able to dive into theory vs. practice discussions right away. There was so much variation in this personal “papers” type of collection that we could consider strategies for different types of arrangement.

Afterwards, Cynthia conducted a thorough assessment of materials and presented me with her observations and ideas about their organization and preservation needs. After I approved a final arrangement plan, I taught her how to use ArchivesSpace to make a record for the collection. To enhance our understanding of this artist’s work, Cynthia agreed to conduct an oral history interview with the donor.

One day I mentioned receiving a fairly typical-to-the-archives donation from a long-time staff member who just retired. I outlined how this would be a different collection from the artist’s. On her own initiative, Cynthia offered to assess and process this material. She readily made the transition from the concepts we discussed about arrangement for a personal collection to a professional one.

To enhance her understanding of book history, Cynthia capped off her experience by creating a tutorial on historical book construction techniques and their preservation needs. She used selections from Special Collections to provide examples of these works, and so we now have a resource to help prepare visitors about what they can expect to find in special collections, how book history relates to these specific items, and how they can interact with them to help preserve them for the future.

Rare treats

October 22-24, 2014 marked a unique series of events for IWU students, staff, faculty and the wider community. With funding from the Mellon Foundation-sponsored series titled Re-centering the Humanities*, The Ames Library hosted a visit by University of Iowa professor Florence Boos and noted book collector Jack Walsdorf. The topic that brought them here was their shared interest in and knowledge of 19th-century English designer, writer, philosopher and founder of the Kelmscott Press. Walsdorf and Boos are current and past-presidents of The William Morris Society in the United States. Links to a press release and follow up story are included at the end of this post.

Overall,110 students in seven classes, 66 guests in three public campus events and 25 participants in an event held at the McLean County Museum of History were beneficiaries of the expertise our guests shared across our community.

In the classrooms, our students heard about Morris’s influences in design elements for architecture, clothing, home furnishings and more. Our guests addressed these topics in a frame that conveyed the stark conditions of life for people in Victorian Era England, with all the excesses and blight brought on by the Industrial Age, and drew a line to contemporary issues. Environmentalism, labor issues, equity of speech and free expression of ideas are concerns in society today and were issues that Morris and his peers engaged with in their society.

Mr. Walsdorf loaned us more than 60 items from his personal collection on Morris. Some were used by students during the classroom visits and many more were displayed in the library, in varying combinations, from October 17-November 14. One class also made a follow up visit to Tate Archives & Special Collections where they were able to view selected Morris works up-close and to handle Kelmscott proof sheets loaned by Walsdorf.

The library exhibit carried the title “Boundless Spirit: The Words, Works and Legacy of William Morris.” This image gallery contains selections from the class visits, campus and community events.

* Other campus events in this series can be viewed at https://www.iwu.edu/grants/recenteringhumanities.html. On campus viewers will also be able to access the original grant proposal on this page.

On October 13, University Communications’ distributed a press release that is available at https://www.iwu.edu/news/2014/events/10-william-morris.html.
[Note: The permanent IWU News archives is located http://digitalcommons.iwu.edu/news/. Stories are harvested and collected there annually to prevent loss of information due to website changes.]

Anna Lowenthal’s Argus story about these events was published on October 31, 2014 and is available at http://collections.carli.illinois.edu/u?/iwu_argus,38360

More Pembroke windows (sort of)

pembroke lamp2_croppedTerry Garbe of Touch of Glass recently created a lampshade that is now available for use — or just admiring up close — in Tate Archives & Special Collections’ Reading Room.

Mr. Garbe and his staff were responsible for the restoration of the Pembroke Windows that accent the library’s 4th floor rotunda. Pieces left over from that restoration still remain, but pembroke lamponly enough for one complete shade containing many of the windows’ motifs were available.

Stop by, have a seat, enjoy the new shade and the view; and you can also ask about the other treasures hidden in Tate Archives & Special Collections!

Digital Commons

The Ames Library’s Digital Initiatives Team launched IWU’s electronic record storage and access system in fall 2008. Digital Commons serves as the central location for outstanding student work, faculty scholarship, University records, and campus history. It holds 3,552 works to date. To launch this repository, the archives supplied research honors theses and scores dating back to the 1960s, as well as peer-reviewed student journals.

 

Our goals are to:

  • Promote and disseminate academic and creative achievements of students and faculty
  • Ensure preservation of and persistent access to said work
  • Increase discovery of IWU scholarship and artistic expressions
  • Foster scholarly collaborations with colleagues
  • Document and record IWU’s history and progress

If you create or control documents related to University history and have been wondering how to store them electronically, leave me a comment below and I will walk you through what DC @ IWU can do for you. If you are interested in getting faculty or staff members’ scholarly or creative works into DC, or wish to recommend outstanding student scholarship from your department, contact our Scholarly Communications Librarians Stephanie Davis-Kahl: sdaviska {at} iwu.edu.

Powell and the American West

Special Collections has four collections of material for researchers interested in John Wesley Powell and the western U.S. 

  • a manuscript collection of correspondence and articles written by researchers who have contacted IWU for information on Powell over the years,
  •  a collection of books by and about Powell and the American West,
  • a wide range of material collected by Marcia Thomas during two years of research for the award-winning volume John Wesley Powell: An Annotated Bibliography, and
  • a web-based collection of images providing access to the John Wesley Powell Collection of Pueblo Pottery.  The physical collection is located on the first floor of the library.

Anyone interested in using these collections is welcome to contact me or visit the archives.