texts: Sichuan, Tujia, Tosu, Nu, Bai, Baima, Pyen, Bisu, Phunoi, Mpi, Lahu). In Gengogaku daijiten, vol. 5, Hoi, Gengomei sakuinhen 補遺・言語名索引編 (Supplement and index), ed.Kamei Takeshi, Kōno Rokurō and Chino Eiichi, 146–50, 166–70, 194–95, 197–98, 225–30, 241–45, 263–80, 281–87, 293–301, 311–13, 313–22, 324–31, 362–66, 377–89. Tokyo: Sanseidō. 1993. Chibettozoku no kotowaza チベット族のことわざ (Tibetan proverbs). In Gakujutsu shinkō no susume 學術振興のすすめ (For the promotion of science), vol. 3, ed. Sawada Toshio 澤田敏男, 146–68.Tokyo: Nihon Gakujutsu Shinkōkai 日本學術振興會. 1994. Kan Zō gozoku kanken 漢藏語族管見 (Insights into Sino-Tibetan language family). Minpaku Tsūshin 民博通信 (National Museum of Ethnology newsletter) 65:2-25. 1994. A personal view of the Sino-Tibetan language family. In Current issues in Sino-Tibetan linguistics, ed.Kitamura Hajime, <mask> Tatsuo, and Nagano Yasuhiko, 1-22. Osaka: Organizing Committee of the 26th International Conference on Sino-Tibetan Languages and Linguistics. 1995. Shirukurōdo ‘Seika’ no kotowaza シルクロード＜西夏＞のことわざ (Silk Road


type: original

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 <Xixia> proverbs). In Sekai kotowaza daijiten 世界ことわざ大事典 (Encyclopedia of world proverbs), ed. Shibata Takshi 柴田武, Tanikawa Shuntarō 谷川俊太郎, and Yagawa Sumiko 矢川澄子, 1102–11. Tokyo: Taishūkan Sho-ten.1995. Rin Eiritsu cho “Kayaku “Sonshi Heihō” kenkyū" jrōsatsu gesatsu 林英津著『夏譯‹孫子兵法›研究』上冊・下冊 (Lin Ying-chin, Hsia I “Sun izǔ ping-fa” yen-chiu 1, 2). Tōyō Gakuhō 77, no. 1/2:35-44. (Review article)
1995. Shi Kinha, Kō Shinka, Jō kōon cho “Ruirin kenkyū” 史金波・黄振華・聶鴻音著『類林研究』 (Shih Chin-po, Huang Tsêng-hua, Nieh Hung-yin, Lei-lin yen-chiu). Tōyō Gakuhō 77, no.1/2:45-54. (Review article)
1996. Shigengo no fukugen to hyōki moji no kaidoku: Seikago to Seika moji no tokusei 死言語の復元と表意文字の解讀：西夏語と西夏文字の特性 (Reviving dead languages and deciphering ideographs: Characteristic features of the Xixia language and script). Gekkan Gengo 25, no. 8:28-36. 1996. Higashi Ajia no moji 東アジアの文字 (The writings of East Asia).Kokusai Bunka Kenshū 國際文化研修 (Journal of Japan Intercultural Academy of Municipalities) 3, no. 4:18-24. 1997. Kanji shūhen no moji to Seika moji


texts: 漢字周邊の文字と西夏文字 (Xixia script and other scripts in the ‘Chinese character’ periphery). In Sho no uchū 9: Kotoba to sho no sugata 書の宇宙9：言葉と書の姿 (Cosmos of the calligraphy: Language and forms of writing), ed. Ishikawa Kyūyō 石川九楊, 66–75. Tokyo: Nigensha.1997. Seika moji shinkō 西夏文字新考 (A new study of the Hsi-hsia writing system), In Tōhō Gakkai sōritsu 50 shūnen kinen Tōhōgaku ronshū 東方學會創立50周年記念東方學論集 (“Eastern Studies” fiftieth anniversary volume), ed. Tōhō Gakkai, 1335–48. Tokyo: Tōhv Gakkai. 1997. Seika moji: Kanji wo koeta hyōimoji no kessaku 西夏文字：漢字を超えた表意文字の傑作 (Xixia writing: Ideographic script par excellence, beyond Chinese script). Shinika しにか (Sinica) 8, no.6:18-27. 1997. Seika moji no tokusei to Seikago no fukugen 西夏文字の特性と西夏語の復元 (Characteristics of Xixia writing and reviving the Xixia language). In Asia cheminjok ǔi munka아시아諸民族의文字 (Writing of the Asian peoples), ed. Kugyŏl Hakhoe 口訣學會, 149–61. Seoul: T’aehaksa 太學社. (Korean transla-tion, Sŏha munja ŭi t’ŭksŏng kwa Sŏhaŏ ŭi pugwŏn 西夏文字의과西夏語의復元, 162–72.)1997. Chin Hoa cho “Ron gogen


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 sesshoku yo gogen renmei”: Gengo sesshoku ha saigen naku shakuyō wo motarashiuruka; Atarashii gengo renmeiron no teishō 陳保亜著『論語源接触興語源聯盟』：言語接触は際限なく借用をもたらしうるか；新しい言語連盟論の提唱 (On Chen Baoya's Treatise on language contact and language union: Does linguistic contact cause unlimited borrowing? A new approach to language union). Tōhō 東方 (Eastern book review) 198:40-44. (Review article)
1997. Guanyu Peng (hpun) yu zai Mianyuzhi zhong de diwei 關于捧 (hpun) 語在緬語支中的地位 (On the linguistic position of Hpun in Burmish languages). In Yi-Mianyu yanjiu彜緬語研究 (Studies on Yi-Burmese languages), ed.“Guoji Yi-Mianyu Xueshu Huiyi” Luwen Bianji Weiyuanhui〈國際彜緬語學術會議〉論文編集委員會, 574–88. Chengdu: Sichuan Minzu Chupanshe 四川民族出版社. 1998. Seikamoji no tokusei: Sono moji soshiki no shin kenkyū 西夏文字の特性：その文字組織の新研究 (Characteristics of Xixia script: New studies on the Xixia writing system). In Nicchū gōdō moji bunka kentōkai happyō ronbunshū 日中合同文字文化検討會發表論文集 (Proceedings of the Japan-China Joint Conference on Writing Culture), ed. Moji Bunka Kenkyūjo 文字文化研究所, 27–34. Kyoto: Moji


texts: Bunka Kenkyūjo.(Chinese translation, Xixia wenzi de texing: Xixia wenzi zucheng zhi xintan 西夏文字的特性：西夏文字組成之新探, 135–45.) 1998. Xixia wenzi de texing he Xixiayu de shengdiao bianhua: Xixia wenzi xinkao 西夏文字的特性和西夏語的聲調變化：西夏文字新考 (The characteristics of Xixia writing and Xixia tone change: A new approach). In Shoujie Xixiaxue guoji xueshu huiyi lunwenji 首届西夏學國際學術會議論文集 (Proceedings of the First International Conference of the Xixia Studies), ed. Li Fanwen 李範文, 386–92. Yinchuan 銀川: Ningxia Renmin Chubanshe 寧夏人民出版社. 1998.Chūgoku shōsū minzoku no henkei kanji 中國少數民族の變形漢字 (Variant Chinese characters in use among China's minorities). Kokusai Kōryū 國際交流 (International cultural exchange) 78:66-69. 1998. Mottomo jisū no ōi moji taikei: Moji soshiki to jisū 最も字數の多い文字體系：文字組織と字數 (The writing system with the largest amount of charac-ters: Structure and number of characters). Gekkan Gengo 27, no. 5:90-94. 1998.Seikamoji kaidoku no shindankai 西夏文字解讀の新段階 (A new stage in the decipherment of Xixia writing). Yuriika ユリイカ (Eureka) 30, no. 6:68-76. 1999. Seikago


texts: butten mokuroku hensanjō no shomondai 西夏語佛典目錄編纂上の諸問題 (Problems of compiling catalogues of Xixia Buddhist scriptures). In Каталог тангутских буддийских памятников, ed. <mask> Tatsuo, E. I. Kychanov, and Arakawa Shintarō, ix-xlix, Kyoto: Kyoto University.2001. I moji 彝文字 (Yi [Lolo] script), and 33 other items (Vai, Khamti, Kitai, Yi standard writing, White Tai, Goba, Sibe, Shapa, Jurchen, Sui, Hsi-hsia/Xi-xia, Tai Na, Tai Pong, Tai Lue, Daba, Chuang, Nakhi/Naxi, Nü shu/Women's script, Norā, Bai, Papai, Bmum, Petroglyphs in East Asia, Writing systems in East Asia, Pai-yi, Fraser, Pollard, Malimasa, Miao, Mende, Rarkho, Lisu syllabic script, Lepcha). In Gengogaku daijiten, additional vol., Sekai moji jiten 世界文字辭典 (Scripts and writing systems of the world), ed. Kōno Rokurō, Chino Eiichi, and Nishida Tatsuo, 83–91, 116–17, 248–50, 295–308, 308–12, 343–45, 434–36, 477–78, 480–82, 503–11, 523–26, 537–47, 569–73, 573–74, 574–79, 580–82, 605–9, 684–92, 706–10, 718–19, 721–22, 741–45, 751–52, 774–82, 782–99, 807–11, 879–81, 918–21, 946–47,


texts: 999–1001, 1034–35, 1110, 1115–17, 1143–46. Tokyo: Sanseidō. 2002. Seikago yaku Hokenkyō nitsuite 西夏語譯法華經について (On the Xixia version of the Lotus Sutra).Tōyō Gakujitsu Kenkyū 41, no. 2:172-62. 2002. Seikago kenkyū no shinryōiki 西夏語研究の新領域 (New developments in the study of the Hsi-hsia Language). Tōhōgaku 104:1-20. 2002: Xixiayu wenfa xinkao 西夏語文法新考 (A new approach to Xixia grammar). Guojia Tushuguan Xuekan國家圖書館學刊 (Journal of the National Library of China), Xixia yanjiu zhuanmenhao 西夏研究専門號: 123–26.2003. Kan-Zō gengogaku zakkō 漢藏言語學雑考 (Thoughts on the study of Sino-Tibetan linguistics). Ekusu Oriente えくす・おりえんて (Ex Oriente) 8:267-87. Ōsaka Gaikokugo Daigaku Shakai Gengo Gakka 大阪外國語大學社會言語學會 (The Association for Integrated Studies in Language and Society, Osaka University of Foreign Studies). 2004. Seikago yaku 64 ke to shinkyūsho 西夏語譯六十四卦と鍼灸書 (The sixty-four hexagrams and manuals on acupuncture and moxibustion in Hsi-hsia translation). In Mikasanomiya denka beiju kinen ronshū 三笠宮殿下米壽記念論集 (Collected articles and essays in honour of His


texts: Imperial Highness Prince Mikasa on the occasion of his eighty-eighth birthday), ed.Mikasanomiya Denka Beiju Kinen Ronshū Kankōkai 三笠宮殿下米壽記念論集刊行會, 557–77. Tokyo: Tōsui Shobō 刀水書房. 2004. On the Xixia version of the Lotus Sutra. The Journal of Oriental Studies 14:133-45. 2004. Xixiayu wenfa xintan 西夏語文法新探 (New approach to Xixia grammar).In Han-Xangyu Yanjiu: Gong Huangeheng xiansheng qizhi shoujing Iunwenji 漢藏語研究：龔煌城先生七秩壽慶論文集 (Studies on Sino-Tibetan languages: Papers in honor of Professor Hwang-cherng Gong on his seventieth birthday), ed. Lin Ying-chin 林英津 et al., 353–81. Taipei: Zhongyang Yanjiuyuan Yuy-anxue Yanjiusuo 中央研究院語言學研究所. 2004. Kanji ha donoyōni shūi heto hirogatte ittanoka: Kanjikei mojigun no seiritsu 漢字はどのように周圍へ廣がっていったか：漢字系文字群の成立 (How far did Chinese writing spread? : The formation of the hanzi script cluster). Gek-kan Gengo 33, no.8:46-54. 2005. Kokushuijō shutsudo Seikago bunken nitsuite 黒水城出土西夏語文獻について (On the Xixia documents unearthed in Khara-khoto). Nihon Gakushiin Kiyō 日本學士院紀要 (Transactions of the Japan Academy) 60,


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 no. 1:1-17. 2005-6. Seikago kenkyū to Hokekyō 西夏語研究と法華經 (Xixia language stud-ies and the Lotus Sutra).4 pts. Tōyō Gakujutsu Kenkyū 44, no. 1 (2005): 208–36; 44, no. 2 (2005): 192–216; 45, no. 1 (2006): 232–72; 45, no. 2 (2006): 208–47. 2005-10.XIxia language studies and Lotus Sutra. 2pts. The Journal of Oriental Strudies 15 (2005): 170–99; 20 (2010): 222–51. 2005. Seihoku Dai 2 Minzoku Gakuin, Shanhai Koseki Shuppansha, Eikoku Kokka Toshokan hen “Eizō Kokusuijō Bunken 1” 西北第二民族學院・上海古籍出版社・英國國家圖書館編『英藏黒水城文獻○;1』(The British Library, The Second Northwest University for Nationality, Shanghai Chinese Classics Publishing House eds., Documents from Khara-Khoto in British Library, vol. 1). Tōyō Gakuhō 87, no.3:125-33. (Review article)
2007. Seihoku Dai 2 Minzoku Gakuin, Shanhai Koseki Shuppansha, Eikoku Kokka Toshokan hen “Eizō Kokusuijō Bunken 2, 3, 4” 西北第二民族學院・上海古籍出版社・英國國家圖書館編『英藏黒水城文獻○;2○;3○;4』(The British Library, The Second Northwest University for Nationality, Shanghai Chinese Classics Publishing House eds., Documents from Khara-Khoto in


texts:
 British Library, vol. 2, 3, 4). Tōyō Gakuhō 88, no. 4:33-43. (Review article)
2010.Zadankai gakumon no omoide: Nishida Tatsuo hakushi wo kakonde 座談會學問の思い出：西田龍雄博士を圍んで (Dr. <mask> Tatsuo reminisces on his life dedicated to the study of Hsi-hsia language and Sino-Tibetan languages). Tōhōgaku 119:208-50. (Repr., in Seikago kenkyū shinron, 2012.) 2011. Seihoku Dai 2 Minzoku Gakuin, Shanhai Koseki Shuppansha, Eikoku Kokka Toshokan hen “Eizō Kokusuijō Bunken 5” 西北第二民族學院・上海古籍出版社・英國國家圖書館編『英藏黒水城文獻○;5』(The British Library, The Second Northwest University for Nationality, Shanghai Chinese Classics Publishing House eds., Documents from Khara-Khoto in British Library, vol. 5). Tōyō Gakuhō 93, no.1:55-63. (Review article). References

Linguists from Japan
Tangutologists
People from Osaka
1928 births
2012 deaths
Kyoto University alumni
Kyoto University faculty
Buddhist studies


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<mask> (; born 9 November 1973) is a Greek former professional footballer who played as a forward for various teams in Greece and abroad, as well as for the Greece national team, with which he won the Euro 2004. After his retirement, he worked for PAOK as technical director, and for a brief period, took up the position of president, following Theodoros Zagorakis' resignation. On 16 August 2010, <mask> became the assistant coach of the Greece national team. Club career

Skoda Xanthi
Born in Kavala, <mask> started his football career at Skoda Xanthi where his talent attracted the interest of stronger domestic as well as foreign Clubs. PAOK
In 1996, <mask> was signed by PAOK FC, where he enjoyed great popularity among PAOK fans for his power, determination and devotion with which they describe his game and for scoring a handful of very important goals. The most significant memory of his career with PAOK FC occurred in the first round second leg of the 1997–98 UEFA Cup. It was the fantastic equaliser (1–1 on the night, 2–1 on aggregate) he scored in the 87th minute against Arsenal at Highbury, which resulted in a notable, historic qualification for PAOK against the English giants who managed to win the double in the Premier League that same season.Perugia
In 2000, while PAOK were struggling with endless financial problems due to the ineffective policy of debts and mismanagement of the main share-holder, consequently <mask> was sold to the Italian Serie A relegation battlers A.C. Perugia. In Perugia, he once again gained popularity among the local fans for his work-rate and immediate adjustment to the new environment, which proved to be a key-factor for Perugia's constant presence in the Serie A, under the management of Serse Cosmi. Fiorentina
His very positive performances with Perugia earned him a more lucrative contract at the once mighty Fiorentina in 2003, at that time struggling in Serie B; ironically, the Viola returned to Serie A at the expense of Perugia, through a two-legged playoff, as they had finished sixth in Serie B that season, while Perugia had finished at 15th place in Serie A. Loan to

masks:
Zisis Vryzas
Vryzas
Vryzas
Vryzas
Vryzas


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 Celta Vigo
In 2004, the Greek striker joined Celta Vigo in a loan deal from Fiorentina with an option for the deal to become permanent. Torino
In January 2006 the Greek striker eventually departed again to join another popular Club of northern Italy, Torino F.C. until the end of his contract. Return to Skoda Xanthi
In the summer of 2006, <mask> returned to Greece and in particular to the club where he started his professional career, Skoda Xanthi.Return to PAOK
In June 2007, he finally decided to join the "club of his heart" and signed a two-year contract with PAOK FC. There he found his old companion and team-mate, at both PAOK and the Greek National Team during the 1990s, Theodoros Zagorakis – who had only just taken the reins of the club. <mask> stated upon his return that PAOK F.C. was an emotional choice for him, and the last stop in his career should only be in the club he loved and supported since childhood. On 6 January 2008, <mask> played his last game of his successful football career at the home game of PAOK FC against Larissa F.C. at the legendary ground of PAOK FC Toumba Stadium, a game which PAOK won 1–0, with a goal scored by Lazaros Christodoulopoulos, a goal which the scorer dedicated to <mask>. <mask>, actually came in as a substitution in the 82nd minute of the game to replace Christodoulopoulos and was honoured by the fans with a standing ovation and with a long singing of his name, which lasted until the end of the game as <mask> thanked them during his "goodbye round" of the stadium.International career
<mask> debuted for Greece in October 1994 in a home Euro 1996 qualifier against Finland, a 4–0 victory. He scored his first goal three months later, in a friendly against Cyprus in Larnaca, but had to wait until 2004 in Portugal to take part in a final stage of a tournament. Although not a very prolific scorer, <mask>' tenacious work ethic, his restless battles with the opposing defenders, his talent to create chances and open spaces for his attacking partners, in addition to his aerial ability and passing skills made him a valuable member of all the Clubs he played for, as

masks: Vryzas Vryzas Vryzas Vryzas Vryzas Vryzas Vryzas Vryzas


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 well as the Greek National Team with which he won the European Championship in 2004. He was a notable member of the starting eleven in Greece's victorious team and scored a tremendously important goal, a fine chip over the keeper, in Greece's 2–1 loss to Russia. That goal sent the tournament underdogs into the quarter-final, on a better goal average against contenders Spain. Post-playing career
On 8 January 2008, <mask> was officially appointed as the Technical Director of PAOK FC. He joined the club's board along with former team-mate and current chairman of the club, Theodoros Zagorakis.During his first steps in his new career he succeeded in bringing to PAOK Pablo Contreras, Zlatan Muslimović, Vieirinha, Lino and Pablo Garcia in 2008. He succeeded selling Lazaros Christodoulopoulos and Christos Melissis to Panathinaikos FC for €4,300,000 and Daniel Fernandes to VfL Bochum for €1,100,000. In July 2009, he continued and succeeded in bringing to PAOK Mirko Savini, Olivier Sorlin, Lucio Filomeno, Bruno Cirillo, Mohammed Abubakari and Vasilios Koutsianikoulis (a hot prospect of Greek football). On 9 October 2009, <mask> was appointed PAOK FC Chairman, following Zagorakis resignation for personal reasons. On 11 August 2010, <mask> resigned from the position of director of football from PAOK FC. Five days later, he became a colleague of Fernando Santos, the head coach of Greek national football team. In 2012 he returned to PAOK FC as president and from the summer of 2014 he became Technical Director.<mask> <mask> is a misunderstanding figure in the history of the club. On 2010 PAOK FC were on the verge of economic collapse. There was also the scenario of the collapse of the Association in lower categories, under the weight of debts. With smart moves created a low budget team coached by Giorgos Donis, which could cope economically keeping the prestige of the club up after playing in European competitions, namely the UEFA Europa League. Somewhere in mid summer of 2012, and while he had erected a Greek-Russian namely Ivan Savvides entered the club. What happened was considered as a movement from God,

masks: Vryzas Vryzas Vryzas Zisis Vryzas


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 after Savvides had several million euro in his pocket and intended to combine its presence in Greece with sporting activities and in particular with PAOK FC. Nevertheless, <mask>, managed and made smart moves by bringing all these years from different positions (President, Technical Director) international players who became a major asset for the club.On 18 February 2015, few days after the heavy defeat from Atromitos, <mask> <mask> was made available by Ivan Savvides his resignation from the post of technical director of PAOK. However, formal notice to terminate the cooperation did not exist. However, some time ago it became known through information that the club has completed all the nominal procedures for his withdrawal from the Board of Directors. He later joined Veria as technical director. On 7 May 2015, <mask> has been announced as the new Technical Football Director of Super League club Veria. On 4 July 2016, <mask> resigned from the position of director of football from Veria. On 9 December 2016, the Temporary Administrative Committee of Hellenic Football Federation stated that <mask> <mask> takes all responsibilities of the Directorate of Competition, which, among other things, is also responsible for the organization of the Greek Cup.On 7 November 2018, <mask> solved his contract with Hellenic Football Federation. Career statistics

Honours
Perugia
 Intertoto Cup: 2003

Greece
 UEFA European Football Championship: 2004

References

1973 births
Living people
People from Kavala
Greek Macedonians
Greek footballers
Greece international footballers
Association football forwards
Xanthi F.C. players
PAOK FC players
RC Celta de Vigo players
ACF Fiorentina players
La Liga players
A.C. Perugia Calcio players
Torino F.C. players
Greek expatriate footballers
Greek expatriate sportspeople in Italy
Greek expatriate sportspeople in Spain
Expatriate footballers in Italy
Expatriate footballers in Spain
Serie A players
Serie B players
UEFA Euro 2004 players
UEFA European Championship-winning players
2005 FIFA Confederations Cup players
Super League Greece players
PAOK FC non-playing staff
PAOK F.C.

masks: Vryzas Zisis Vryzas Vryzas Vryzas Zisis Vryzas Vryzas


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<mask> (born Evgeny Scheffer, 28 January 1954) is a German-Russian artist (painting, graphic art, installations) living in Berlin. He is considered the founder of Post-Historicism, an art movement that combines elements of traditional painting with aesthetic experiments and interprets current events in the form of a new mythology. Germany. Biography
<mask> was born in 1954 in Aktjubinsk, Kazakhstan, as Evgeny Scheffer. His father, Vladimir Scheffer, was a photojournalist in Moscow. During the World War II  he became a victim of Stalinist purges for political reasons and was banished to the Gulag in Kazakhstan. In 1961, five years after Nikita Khrushchev denounced Joseph Stalin's crimes in his Secret Speech at the Twentieth Party Congress, Vladimir Scheffer was granted permission for the family to return to Moscow.<mask> then studied from 1967 to 1971 at the Art School for Children in Moscow. He was later a student from 1972 to 1977 at Moscow Polygraphic Institute,  his  professors were Andrei Dmitrijewitsch Gontscharow (graphic art) and Dmitri Dmitrijewitsch Zhilinski (painting). <mask> <mask> received first prize for his M.A. diploma for his illustrations to Edgar Allan Poe. In 1985 <mask> moved to West Germany  and by invitation of Rudolf Hausner, he studied at the Academy of Fine Arts Vienna, Austria from 1988 to 1993. His professor was Arik Brauer. In 1993 the Academy awarded him its Master of Fine Arts degree, together with its Fueger Gold Prize.In 2017 Genia <mask> became Honorary Member of the Russian Academy of Arts. Artistic career
During his studies,

masks:
Genia Chef
Genia Chef
Chef
Genia
Chef
Chef
Chef


texts: Genia <mask> began working as an illustrator for the avant-garde magazine "Znanie-Sila", which provided a platform for nonconformist artists such as Yulo Sooster, who is considered a precursor of Moscow Conceptualism. Chief editor of the experimental magazine was Yuri Sobolev, a figure of the Moscow underground art scene and author of the animated films "Once upon a time there was a Kosyavin", "Butterfly" and "The Glass Harmonica". Evgeny Scheffer took the artist name <mask> <mask> when he began in the 1970s-80s to take part in exhibitions of the Moscow nonconformist artists in Malaya Gruzinskaya Street. Here he exhibited with artists like Viktor Pivovarov, Francisco Infante, Anatoly Zveryev, Andrei Roiter, Semyon Faibisovich and Konstantin Khudyakov. After studying at the Moscow Polygraphic Institute, Genia <mask> lived mainly from book illustrations, as did other nonconformist artists in the USSR of the time (e.g. Ilya Kabakov, Oleg Vassiliev or Erik Bulatov).He illustrated numerous books, including E.A.Poe and American Romantic Tales. During this period his nonconformist painting was influenced by modern Western art movements. After moving to the Federal Republic of Germany in 1985, the artist devoted himself entirely to painting. He spent much time in the Spanish artists' village of Cadaqués, where he developed his post-historical style (Manifesto of Post-Historicism, 1996). At that time <mask> <mask> created works in which he staged familiar figures from Russian history such as Leo Tolstoy, Maxim Gorky or V.I.Lenin in landscapes of the Spanish

masks: Chef Genia Chef Chef Genia Chef


texts: Mediterranean coast. Often historical figures like Lenin, Stalin, Hitler, Mussolini are depoliticized and portrayed as extras in world history. On the occasion of an exhibition in the former studio of Antonio Canova in Rome, <mask> <mask> wrote his Manifesto of Neo-Mythology entitled "Viva Canova!(1995). The mixture of post-historical and neo-mythological concepts characterizes his work of this period ( ex. "The Birth of Myths", 1993). A comprehensive solo exhibition at the State Russian Museum in St. Petersburg entitled "Glory of a New Century" in 2011 presents numerous key works from both creative periods. In 2013, <mask> <mask> is represented in the Official Programme of the 55th Venice Biennale (Palazzo Bembo, Collateral Events) with the multimedia installation "Dead House". Here, the artist thematizes the murder of the Russian Tsar's family, which remains an important aspect of his work (several museum exhibitions in Russia, 2017-2019). In 2015, <mask> <mask> and his friend, the writer Vladimir Sorokin, show the project "Pavilion Telluria" during the 56th Venice Biennale in Palazzo Rocca Contarini Corfù.Genia Chef's "Archive of Transitional Conditions" consists of more than 200 small-format works that form a kind of visual diary. In their performance on the occasion of the exhibition opening, both artists compete against each other: <mask> <mask> as knight with lance and shield, Vladimir Sorokin as Neanderthal with notebook and wooden stick. The confrontation symbolizes the clash of different historical epochs. In more recent times Genia Chef has been

masks: Genia Chef Genia Chef Genia Chef Genia Chef


texts:
 interested in the idea of the "New Renaissance Man", the creator who forms a symbiosis of scientist and artist. Inspired by the research of the Russian academician Vladimir Skulachev on "Life without Aging", <mask> <mask> and Skulachev's son Maxim have developed the concept of an "Academy of Immortality". Exhibitions (selection)

 1976: First Exhibition of the Avantgard Artists. Gorkom of Graphic Artists,  Malaya Gruzinskaya, Moscow
 1976-85: Exhibitions of the Nonconformist Artists, Moscow
 1987: Don Quijote.Municipal Museum Olot, Spain
 1988: Triennale. Municipal Museum Ulm, Germany
 1989: Galeria Maria Salvat, Barcelona, Spain (solo show)
 1991: House of Latin America, Monte Carlo, Monaco solo show (Patronage of Prince Louis de Polignac)
 1993: Monumental Propaganda. (Curators Komar und Melamid), World Financial Center, New York
 1994: Old Symbols, New Icons in Russian Contemporary Art. Stuart Levy Fine Art, New York, USA                                                                                Ideal Landscapes: Artists from the Former Soviet Union. de Saisset Museum, Santa Clara/California, USA
 1994-95: Neo-Mythology and Regressive Projects. Stuart Levy Fine Art, New York (solo show)
 1997: Promenaden in Arkadien. Italian Cultural Institute, Berlin (solo show)
 1998: Neo-Academism and Electronic Art.New Academy, St. Petersburg, Russia
 1998-99: It's the Real Thing: Soviet and Post-Soviet Sots Art and American Pop Art. Weisman Art Museum, Minneapolis, USA
 1999: Play and Passion. Staatl. Russisches Museum, St.Petersburg

masks: Genia Chef


texts:
                                                                                A 25 Year Retrospective on Non-Conformist Russian Art. Kolodzei Art Foundation, Kennan Institute, Washington, D.C., USA
 2000: The Hurricane of Time: Art of the 1960s through 2000. Kolodzei Art Foundation, Villa Ormond, San Remo, Italy                                                                           L’Age d’Or. Museum-Center Luis Buñuel, Calanda, Spain
 2000-2001: Jesus Christ in Christian Art and Culture 14th to 20th Centuries.State Russian Museum, St.Petersburg and Monasterio di Santa Chiara, San Marino
 2001: Between Earth and Heaven. P.M.M.K Museum of Modern Art, Ostende, Belgium                                                                                The Sum is Greater Than the Parts: Collage & Assemblage in the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union. Zimmerli Art Museum, Rutgers University, New Brunswick, USA
 2002: Shock and Show. Festival of International Contemporary Art, Trieste, Italy                                                                                Artists of the Ideal.Palazzo Forti, Verona, Italy
 2003: Remembrance: Russian Post-Modern Nostalgia. Yeshiva University Museum, New York                                                                                Foreign Visions. Stiftung Starke, Berlin and Museum of


texts:
 Contemporary Art, Skopje, Northern Macedonia (solo show)                                                                               M°A°I°S V. Paradies, Bunker under Alexanderplatz, Berlin
 2004: HA KYPOPT! Russische Kunst Heute!Kunsthalle Baden-Baden, Germany and Novy Manezh, Moscow                                                                                Gods Becoming Men. Frissiras Museum, Athens, Greece                                                                                Danses de la Mort. White Space Gallery, London (solo show)
 2005: Glory of a New Century. Experimental Art Foundation, Adelaide, Australia (solo show)                                                                                Western Biennale. John Natsoulas Art Center, Davis/California, USA                                                                                Finding Freedom: 40 Years of Soviet and Russian Art. Kolodzei Art Foundation, Leepa-Rattner Museum of Art, Tarpon Springs, USA
 2006: Times of Change. The Art of 1960-85 in the Soviet Union.State Russian Museum, St.Petersburg                                                                                Meditazione sulla Realta. Palazzo della Ragione, Mantova, Italy
 2007: I Believe. II Moscow Biennale, Installation "My Personal Temple". Vinsavod, Moscow
 2008: Power of Water. State Russian


texts:
 Museum, St.Petersburg
 2009: Born in the USSR - Russian Art from Germany. Ministry of Foreign Affairs, Berlin
 2010: Shattered Utopia. Russian Art of the Soviet and Post-Soviet Periods from the Wayne F.Yakes, M.D.Collection.Fort Collins Museum of Art, USA                      The Sky in Art. State Russian Museum, St.Petersburg
 2011: Glory of a New Century. State Russian Museum, St.Petersburg (solo show)                                                                                Points of View. Art Museum, Boulder, USA
 2013: Installation Dead House, part of Personal Structures. Palazzo Bembo, Collateral Events, 55th Venice Biennale                                                            Russisches Berlin, as part of the Festival White Nights, Central Exhibition Hall, Perm, Russia
 2014: Genia <mask>, Ilya Kabakov, Oleg Vassiliev. The Blinding Light of History. University of New Mexico Art Museum, Albuquerque, USA
 2015: Pavillon Telluria (in cooperation witt Wladimir Sorokin), Palazzo Rocca Contarini Corfu, during the 56th Venice Biennale
 2017: Installation "Desintegration of the Black Square".APS Mdina Cathedral Contemporary Art Biennale, Malta
 2018-2019: Family Album, Museum of Fine Arts Kaluga, Russia and later travelling exhibition through museums of the Moscow region (solo show)
 2019: Masters of Russian Realism: Oleg Vassiliev - Genia Chef - Komar and Melamid. Columbus State University, Georgia, USA
 2019/2020: On the Edge of the World. Zur Archäologie "abendländischer" Globalisierung, Verlag


texts:
 Koenigshausen Neumann, 2001 (book cover), . Michael Lederer, The Great Game, PalmArt Press, Berlin 2012, (book cover). Женя Шеф о себе, о кризисе авангардизма и о новом Ренессансе, Литературная Газета, Москва, 11/1998
 J.M.Cadena, Las revoluciones olvidadas de Genia Chef, El Periodico, Barcelona, 6/1999
 F.Miralles, Imaginativo Genia Chef – las dictaturas, la historiay el ordenador, La Vanguardia, Barcelona, 7/1999
 The International Who's Who 2000, Europa Publ., London , Library of Congress Catalog Card number 35-10257
 Edward Lucie-Smith, The Glory of Angels, Harper Design Pub., London, 2000,
 Edward Lucie-Smith, Art Tomorrow, Terrail ed., Paris, 2002
 Edward Lucie-Smith, Visions of Hellfire, Critic's Diary, London, ArtReview, September 2002
 Blumen aus Niemandsland, hrsg. von Präsident des Abgeordnetenhauses Berlin, Berlin 2003
 M°A°I°S 5 – Paradies (Ausstellungskatalog), hrsg. von Torsten und Nina Römer, Berlin 2004, .HA KYPOPT! Russische Kunst Heute, hrsg. von Mathias Winzen und Georgy Nikitsch, Wienand Verlag, Köln 2004,
 Lexikon der phantastischen Künstler. Hrsg. Gerhard Habarta, Wien, 2010
 Genia Chef, Glory of a New Century, Palace Ed., St.Petersburg, 2011, (Katalog zur Ausstellung im Russischen Museum St. Petersburg)
 Genia Chef, On the Edge of the World, Novosibirsk, 2019,
 Стародубцева З.Б. Русские художники за рубежом. 1970-2010-е годы, изд.Женя Шеф о себе, о кризисе авангардизма и о новом Ренессансе, Литературная Газета, Москва, 11/1998
 J.M.Cadena, Las revoluciones olvidadas de Genia Chef, El Periodico, Barcelona, 6/1999
 F.Miralles,


texts:
 Imaginativo Genia Chef – las dictaturas, la historiay el ordenador, La Vanguardia, Barcelona, 7/1999
 The International Who's Who 2000, Europa Publ., London , Library of Congress Catalog Card number 35-10257
 Edward Lucie-Smith: . Harper Design Pub., London 2000,  (English). Edward Lucie-Smith, Art Tomorrow, Terrail ed., Paris, 2002
 Edward Lucie-Smith, Visions of Hellfire, Critic's Diary, London, ArtReview, September 2002
 Blumen aus Niemandsland, hrsg. von Präsident des Abgeordnetenhauses Berlin, Berlin 2003
 M°A°I°S 5 – Paradies (Ausstellungskatalog), hrsg. von Torsten und Nina Römer, Berlin 2004, . HA KYPOPT! Russische Kunst Heute, hrsg.von Mathias Winzen und Georgy Nikitsch, Wienand Verlag, Köln 2004,
 Lexikon der phantastischen Künstler. Hrsg. Gerhard Habarta, Wien, 2010
 Genia Chef, Glory of a New Century, Palace Ed., St.Petersburg, 2011,  (Katalog zur Ausstellung im Russischen Museum St. Petersburg)
 Genia Chef, On the Edge of the World, Novosibirsk, 2019,
 Стародубцева З.Б. Русские художники за рубежом. 1970-2010-е годы, изд. БуксМАрт, Москва 2020, . External links
 www.geniachef.de

Living people
1954 births
Artists from Moscow
Academy of Fine Arts Vienna alumni
Russian expatriates in


texts:
<mask> (9 October 1921 – 24 April 2014) was a Polish poet, playwright, writer, and translator. <mask> was in the first generation of Polish writers born after Poland regained its independence in 1918, following the century of foreign partitions. He was born in Radomsko, near Łódź, in 1921. He first published his poetry in 1938. During World War II, he served in the Polish underground Home Army. His elder brother, Janusz, also a poet, was executed by the Gestapo in 1944 for serving in the Polish resistance movement. His younger brother, Stanisław, became a noted film director and screenwriter.Biography and career
<mask> <mask> was the son of Władysław and Stefania <mask> (née Gelbard, a Jewish convert to Catholicism). After finishing high school, <mask> enrolled at Jagiellonian University in Kraków. He then served in World War II. After the war, he moved to Gliwice, where he lived for the following two years. In 1968, he moved to Wrocław, where he lived for the rest of his life. <mask> wrote and published fifteen volumes of poetry between 1944 and 1960. Czesław Miłosz wrote a poem dedicated to <mask> and his poetry in 1948.<mask>'s debut as a playwright was in 1960, with The Card Index (Kartoteka). He wrote over a dozen plays and several screenplays. His dramaturgical work continued to be accompanied by volumes of poetry and prose. Some of <mask>'s best known plays, other than The Card Index, include: The Interrupted Act (Akt przerywany, 1970), Birth Certificate (Świadectwo urodzenia, screenplay to an award-winning film by the same title, 1961), Left Home (Wyszedł z domu, 1965), and The White Wedding (Białe małżeństwo, 1975). His New Poems collection was nominated for the National Book Critics Circle Award in 2008. Różewicz's works have been translated into nearly all major languages. Two of his plays

masks:
Tadeusz Różewicz
Różewicz
Tadeusz
Różewicz
Różewicz
Różewicz
Różewicz
Różewicz
Różewicz
Różewicz


texts: were translated into English and produced at La MaMa Experimental Theatre Club in New York City during the 1960s and 1970s.In 1965, Karen Cross and Johan Holm directed a series of <mask>'s three short plays, collectively titled The Witnesses. A Village Voice review of the production reads: The first play, the most abstract, is a string of metaphors meant... to convey a view of man's condition... The second play presents a young married couple at breakfast planning their day. They work very hard at it, as if a night of sleep cuts them off drastically from life and contact must be reestablished. By means of a forced calm, a dedicated attention to trivia, and a patronizing attitude toward other people, they organize the day's activity... The key to the piece is the husband's matter-of-fact account, as he watches at the window, or two children tormenting and then destroying a kitten... The children quite coldly mutilate and murder the animal and the husband blandly but not indifferently reports the event to his wife who isn't listening.In the third play two men facing in opposite directions have a conversation of sorts. Constantly demanding attention of each other, they deliver up monologues of self-revelation which reveal next to nothing and on top of it are not being listened to. Through it all an injured dog suffers an elaborate death agony at the feet of one of the men, whose only response is to intersperse his fatuous self-revelations with bulletins on the progress of the dog's demise." In 1972, Mavis Taylor directed a production of <mask>'s The Old Woman Broods. The piece was partially funded by the New York State Council on the Arts and was performed at the College of White Plains, Hudson River Museum, and Community Action Program in Mamaroneck in addition to La MaMa's theatre in the East Village,

masks: Różewicz Różewicz


texts:
 Manhattan. <mask> has been regarded as "one of the most versatile and creative continuators of the Polish and international avant-garde". He was a member of the Polish Writers' Union and was nominated multiple times for the Nobel Prize in Literature.In 1987, he received the Golden Wreath at the Struga Poetry Evenings festival in Struga, Macedonia. In 2000, <mask> received Poland's top literary prize, the Nike Award, for his book Matka odchodzi (Mother Is Leaving). <mask> died in Wrocław from natural causes on 24 April 2014 from. He was 92. Awards and decorations
 1948 – Army Medal for War 1939-45
 1955 – Gold Cross of Merit
 1955 – State Prize, 2nd class
 1966 – State Prize, 1st class
 1974 – Home Army Cross
 1974 – Polish Army Medal
 1977 – Order of the Banner of Work, 2nd class; for his entire literary work
 1981 – Operation Tempest medal
 1982 – Austrian State Prize for European Literature
 1987 – Struga Poetry Evenings Golden Wreath
 1991 – Honorary degree from the University of Wroclaw
 1996 – Grand Cross of the Order of Polonia Restituta
 1997 – Golden Ball award
 1997 – Polish PEN Club award (Jan Parandowski)
 1999 – Honorary degree from the University of Silesia
 2000 – Order Ecce Homo: Polish church decoration awarded by the Chapter of the Order of the Ecce Homo, "by exploring the dark side of a world full of chaos and divisions, the hope of beating the assessment everyday, seemingly impassive gray, for coming to terms with the inevitability and consistency in the pursuit of the truth about man, even worst"; for poetry that "touches the hearts and stuff". 2000 – Honorary doctorate from the University of Opole
 2000 – Honorary degree from the Jagiellonian University
 2000 – Nike Award (Polish literary award)
 2001 – Honorary degree from the University of Warsaw
 2006 – Honorary doctorate from

masks: Różewicz Różewicz Różewicz


texts:
 the University of Gdansk
 2006 – Golden Sceptre award
 2007 – Honorary degree from the Academy of Fine Arts in Wroclaw
 2007 – European Prize for Literature
 2008 – Laurel Award in poetry
 2009 – Medal for Merit to Culture – Gloria Artis
 2009 – Honorary degree from the Jan Kochanowski University in Kielce
 2011 – Policy Wizard special Culture 2010 award – "Award for the fidelity of poetry and themselves. Certificate data for several subsequent epochs and questions that included the Polish literature and theater in the European debate on the most important experiences of modern man".Recycling ("Always a Fragment: Recycling"), Wrocław: Wydawnictwo Dolnośląskie
 1999: Matka odchodzi ("Mother Departs"), Wrocław: Wydawnictwo Dolnośląskie
 2001: Nożyk profesora ("The Professor's Knife"), Wrocław: Wydawnictwo Dolnośląskie
 2002: Szara strefa ("Gray Zone"), Wrocław: Wydawnictwo Dolnośląskie
 2004: Wyjście ("Exit"), Wrocław: Wydawnictwo Dolnośląskie
 2007: Nauka chodzenia, Wrocław: Biuro Literackie
 2008: Kup kota w worku, Wrocław: Biuro Literackie

In pop culture
Slovenian punk band Niet used parts of Rozewicz's poem Pierwsza miłość and recreated it in their 1984 punk balade Lep dan za smrt (A Nice Day for Death). Filmmaker Werner Herzog paraphrased a line from Rozewicz's "Draft of a Modern Love Poem" in his 2007 film Encounters at the End of the World, observing that "For me, the best description of hunger is a description of bread. A poet said that once, I think." In 2008, mainstream Slovenian band Dan D remade the Niet's song for what was to become one of the 2008 top hits on Slovenian radio stations. References

Sources
 Wojciech Browarny: Tadeusz Różewicz and Modern Identity in Poland since the Second World War (transl. by P. Zazula, Wrocław 2019). Stanisław Burkot: Tadeusz Różewicz.Warszawa:


texts:
 Wydawnictwa Szkolne i Pedagogiczne, 1987; . Robert Cieślak: "Oko poety". Poezja <mask> Różewicza wobec sztuk wizualnych. Gdańsk: słowo-obraz terytoria, 1999. Ewangelia odrzuconego. Szkice w 90. rocznicę urodzin <mask> <mask>a, red. J.M.Ruszar, Narodowe Centrum Kultury, Warszawa 2011. Halina Filipowicz, A Laboratory of Impure Forms: The Plays of <mask> <mask>, Greenwood Publishing Group, Incorporated, 1991. Grażyna Sztukiecka, Umrę cały? Rozmowy w cieniu śmierci. Senilna poezja Czesława Miłosza, <mask> <mask>a, Zbigniewa Herberta i Jarosława Marka Rymkiewicza, Narodowe Centrum Kultury, Warszawa 2011. Kazimierz Wyka: Różewicz parokrotnie. Warszawa: PIW, 1977.OCLC 14677617
 Katarzyna Zechenter, 'Poet and dramatist haunted by the second world war and the suffering of Poland. <mask> Różewicz's obituary'. The Guardian, 4 May 2014, www.theguardian.com/books/2014/may/04/tadeusz-rozewicz

External links

 Instytut Książki ("Books Institute") website on Różewicz (in English)
 <mask> <mask> at culture.pl
 Kannada translations of five <mask> Rozewicz poems by S. Jayasrinivasa Rao at avadhimag.in
 Search results: <mask> Różewicz. Selection of articles. The Polish Book Institute 2013, (in English)
 Różewicz's page on La MaMa Archives Digital Collections

1921 births
2014 deaths
People from Radomsko
Polish resistance members of World War II
Nike Award winners
Recipients of the Gold Cross of Merit (Poland)
Recipients of the Armia Krajowa Cross
Recipients of the Polish Army Medal
Recipients of the Order of the Banner of Work
Grand Crosses of the Order of Polonia Restituta
Struga Poetry Evenings Golden Wreath laureates
Recipients of the Medal for Merit to Culture – Gloria Artis
20th-century Polish poets
20th-century Polish male writers
Polish atheists
Polish people of Jewish descent
Recipients of the State Award Badge

masks: Tadeusza Tadeusza Różewicz Tadeusz Różewicz Tadeusza Różewicz Tadeusz Tadeusz Różewicz Tadeusz Tadeusz


texts:
<mask> (谭力勤 born 1957) is a Chinese-born American digital artist, animator, researcher and educator who has taught in China, Canada, Singapore and the United States. Biography

<mask> is a full professor and co-director of art program at Rutgers University-Camden. He has served as a board member of the Digital Art Committee, SIGGRAPH and as a juror for the digital art gallery at SIGGRAPH. He was also one of the activists during the ’85 art trend of China. In addition, he has previously worked as an art director, animator, graphic designer and executive art editor in local and board industries. Since transferring to the field of digital art, he has pioneered the "Digital-Primitive” and “Digital Nature” concepts, which has won great acclaim and a number of awards from both American and international art scenes. His artwork has been exhibited nationally and internationally in both solo and group shows.Such as SIGGRAPH (‘02-’07), Electronics Alive IV, iDMAa04-08, the National Art Museum of China, Moscow Int’l Festival of Animation & Media Art, the Beijing World Art Museum, the Vancouver Art Gallery, the Shanghai DuoLun Museum of Modern Art, the National Centre for Computer Animation in UK, the Centre D’Art Contemporaine in Montreal, the Singapore Art Museum, the LaSalle Univ. Art Museum, the Noyes Museum of Art, the Jiangsu Art Gallery, Beijing Song Zhuang Art Museum and the Guang Dong Art Museum, amongst others.,

<mask>'s art research since 2000 has focused mainly on the merging of conceptual animation, animation installation, interactive animation, and digital prints on rigid materials. His resulting work was awarded first place from the 5th Digital Art and Computer Animation Competition by the Beecher Center for Art and Technology, the "Best of Show" at iDEAa. He has also been awarded first place, as well as the excellence prize from the China

masks:
LiQin Tan
Tan
Tan


texts:
 Academy Awards., the Award of Excellence by the International Digital IV, the Award of Excellence at the Global Media Competition from gallery international etc. In recent years, he has concentrated on exploring the relationship between technological singularity and art, and how this interface will change the creative force and provide a blueprint for future art expansion, which has conducted experiments with major art advances in technology such as strong AI-art, interactive art, bio-art, nanoart, VR-art, 4D printing and any other new technological art forms combined. His publications include a number of articles regarding technological singularity art, contemporary art, art criticism, art education, and animation. In addition to these articles are his books and catalogues, such as Singularity Art: How Technological Singularity Will Impact Art, Singularity: Subversive BioArt,Digital Natural Art, Digital Artwork Collection II, Character Animation & Rigging, and Tan On Art/Art On <mask>.His in-progress books are: Singularity: Invisible Art and Singularity: Strong A.I. Art. Early life
1957: Born in Hengshan County, Hunan, China into an educators’ family. Father: high school principal, Mother: elementary school teacher. 1966-1968: Joined the “Little Red Guards” during the Cultural Revolution and learned Chinese through writing "3-Character Classic” posters. School often closed, with teachers’ families tucked into a sealed library to read - his favorites were comics and popular science books. 1969-1970: Moved from the city to father's old farm-house in the countryside.1971-1972: Enrolled at the Hengdong 5th High School and won several math competition awards with the guidance of Math teacher Xie. 1973-1975: Was An instructor at Dapu Town Elemental School and participated in country art activities. 1975-1976: Well-known artists Zhong Zhengya and


texts: Mr. Liao Xianwu became his masters; Drawings, sketches, watercolors were on his training curriculum, and transportation stations, ferry docks, and flea markets were the best sites for his sketch practicing. 1976-1977: Hired as the design-artist at the Headquarter of the Hengdong Yangtong Hydra Station; Responsibilities included large posters, giant propaganda paintings, giant banners and endless rostrum design for more audiences in the tens of thousands. The boiling popular site was the best materials for his art and his first large site sketch was published by Hengyang Daily. 1977-1978: Hired as design-artist at Hengdong Radio Equipment Factory. 1978-1981: Admitted to fine arts department of the Hengyang Normal University and won provincial and city art awards.By "Talent Study" impacts, drilled into a cold research on "art education and psychology" with encouragement from famous aesthetician Hong Yiran, read books on aesthetics, education and psychology, and the first article was published in the Hengyang Teachers' College Magazine. 1981-1982: Stayed on school as a faculty to taught Chinese figure painting, human anatomy; Studied at School of Fine Arts at Hunan Normal University. Education Research published two art education articles, and participated in Hunan Minorities Art Exhibition and Hunan ‘81 Art Exhibition with 2nd place award. 1982-1984: Studied at the Art History Department of the Central Academy of Fine Arts and Learned Chinese and Western art history thoroughly. The concepts of contemporary Western art changed his way of thinking completely and won 2nd place from Student Art Competition at Central Academy of Fine Arts. 1984: Married Ms. Dong in the summer, in Changsha City; She was a high school Chinese teacher at the time. Returned to Hengyang Normal University as faculty and taught Chinese art history and Chinese figure


texts: painting.Works were entered into the 6th National Art Exhibition and Hunan award-winner exhibition; Won a number of awards. Participated in a number of theoretical seminars for 6th National Art Exhibition in Nanjing and raised a few strong concepts sharply against the prevailing conservative viewpoint. Attended National Aesthetic Seminar at Zhangjiajie, Hunan. 1985-1987: As an art editor at Hunan Fine Arts Publishing House, founded an avant-garde art magazine Painter with others. Actively participated in the ‘85 Art Trend, such as seminars, exhibitions and group activities, and first spotted and strongly recommended Gu Wenda’s art with large layout publications; Later recommendations include: Huang Yongping, Wang Guangyi, Shu Qun, Tian Liming, Zhang Jianjun, Li Shan, Wang Chuan, Cao Li, Cha Li, etc. ; Middle-aged artist included Liu Kuo-Sung, Xiao Qin, Li Shinan, Shi Hu, etc. Participated twice at the Hubei Art Critic Seminars; Worked as a contributing editor for Art Trend; Met many famous art critics.Invited by Wang Guangyi, participated in Zhuhai Seminar and worked as a juror for ‘85 Slides Art Tour Exhibition. When slide show tour arrived in Changsha, Dao Minglu, Zhu Qingsheng, Wang Xiaojiang and he swam across the Xiangjiang river. Participated in the HunanYoung Artists Art Exhibition in National Art Museum and other art exhibitions, and completed “Retrieved to Original" installation series, and "Lady and Square" futuristic Chinese painting and won a number of art awards. Proposed a "Future Leads Today” and "Reversed Returning" concepts; Article "The Future Vision of Chinese Art Concepts" was published by Art Trend (first issue) and won an award of excellence. Received strong response letters from young artists nationally and welcomed visitors around country soon after. Painter published his articles "Bud of the North" (recommended North


texts:
 group such as Wang Guanyi and Shu Qun), "On Shi Hu’s Art Works: Running with Bound Foot” and “On Wood Carving: A Multi-Level, Dynamic Contextual Dimension"; Art Trend published "Gender Harmony & Yin-Yang Perfection"; Modern Photography published "Generation Gap & Generation Symbiosis." Modern Art Theory book collected his two articles: "Art Criticism Approaches: A Scattered Senses Theory" and "Black and White - I, Huang Yong Ping and Huang Yong Ping's work."Art reviewed his "Retrieved to Original" work on the December 1986 issue by famous art critic Su Xiaohua (Shu Qun), Zhou Yan etc. Youth has a special report "Tan LiQin’s World," author Xie Yong in the June 1987 issue. Art Work

Primitive Level-Signals ( 2012 )
Digital Prints Installation w/ Signal Devices
Applies spirit levels as a signal to describe a natural phenomenon in humans, where human brain development is an equalized procedure. The competing concepts of the brain—whether the battle of the brain's size versus its intellectual capacity, or of its technological versus its spiritual side—are always kept in equilibrium. Refractive Brain Therapy Series ( 2010 )
Animation Installation w/ Digital Prints, Water & Glass

The project consists of a few large digital-brain prints on metal, which are placed into later, water-filled vats. This series shows a unique understanding of refractivity in both natural phenomena and social truth. These prints are placed alongside other animation installations and LCD monitors.Agricultural Implements Series  ( 2008 )
Interactive Animation w/ Agricultural Implements

This large animation installation emphasizes “cultural-revelation” and “great-leap-forward” content, and the conflict between industrialization and agriculture. It does so interactively, through ancient Chinese agricultural implements, such as a normal winnower, a middle-sized grindstone, and


texts:
 a Chinese scale. Digitally Bloodless Series  ( 2008 )
Installation in Kind w/ Digital Prints

This series explores the paradox of state that humans inhabit—physically passionate, yet technologically bloodless; though technologically advanced, we still operate off our primitive urges—an obvious and ongoing contradiction of state. Rusty Faces Series ( 2006-2007 )

Animation Installation w/ Digital Prints & LCD TVs

This series consists of three, large digital prints on copper, and four rust animations displayed on seven LCD TVs. Our work ethic and life attitude determine the degree to which we rust. With digital animation technology, "Rusty-Faces" presents a contemporary artistic interpretation of the deterioration of mind, body, and spirit by harmful and self-destructive human behaviors. BurlHair Series and LavaBody Series  ( 2005-2006 )
Animation Installation w/ Digital Rock Prints, Mirrors & LCD TVs

3D lava body/hair images are printed on a rock surface, a procedure that involves using printing technology on exotic materials.Each of my rock prints is the result of extensive research in terms of color consistency and material experimentation. The Matrox multi-display system allows the synchronized flow of animation among the six displays. The convex index, image shape, and dimension of the mirror generate an accurate virtual reflection of the lava animation. The convex index determines the size of the reflected lava animation, while the image shape determines the distance. Burl + 4 Series  ( 2004-2005 )
Animation Installation w/ Digital Wood-prints & LCD TVs

Includes various 3D images of different species, including human bodies and plants that are textured and formed by burl. These images are printed on various natural wood surfaces. The “Burl+4” series includes “BurlNuts+4,” “BurlBody+4,” “BurlFlower+4,” “BurlStampArm+4,” and “BurlHead +


texts:
 4,” each of which is a group of pieces.Natural wood shapes, human bodies, and primitive, folk, and contemporary art inspired the innovation of these 3D images. Related animation is screened alongside the prints on four LCD TVs. “Digital Nature” is the main theme in this art exploration. Rawhide Series  ( 2000-2004 )

Digital Rawhide Prints & Animation Projection
3D animation/modeling tribal-images are printed onto a rawhide surface using a digital inkjet printer. The rawhides are, in turn, stretched out by aluminum clamps and cotton strings, which are fastened to a naturally textured cedar wood frame. Various rawhides sizes and irregular shapes can be stretched using different lengths of strings at various angles. All frames are made from 4” x 4” cedar wood, and stand at 60” wide and 72” high.By incorporating the LCD TVs, the 3D animations associated with the 3D images play in synchronization beside or above the rawhide prints. Animation through Rawhide Projections
3D animation is projected onto both sides of the rawhides simultaneously. Due to the rawhides’ semi-transparency and roughly textured surface, the effects on the rawhides are spectacular, with both sides illuminated and in motion. This projection creates an illusion that the animation is permeating through the rawhides. The audience has the ability to admire the work from any angle. References

External links
 <mask>'s website
 LiQin <mask>, "Digital-Primitive Art Research: Animation Permeates Centuries-old Rawhides", IV, 2004, Proceedings. Eighth International Conference on Information Visualisation, Proceedings.Eighth International Conference on Information Visualisation 2004, pp. 959–962, doi:10.1109/IV.2004.1320257

People from Hengshan County
American digital artists
Rutgers University faculty
Chinese emigrants to the United States
Chinese art educators
1957 births
Living

masks: Tan Tan


texts: <mask>  (1800 – 10 June 1869) was an English portrait and historical painter. <mask> was born in London in 1800, the eldest son by his second marriage of Thomas Y<mask>, one of the proprietors of The Morning Chronicle (his great-uncle, Richard Hurleston, was a student of Joseph Wright of Derby). He began life in the office of his father's journal, but, while still very young, became a pupil of Sir William Beechey, afterwards studying under Sir Thomas Lawrence, and Benjamin Haydon. His first paid work was an altar-piece, painted in 1816, for which he received 20 pounds. In 1820 he was admitted as a student of the Royal Academy, where in 1822 he gained the silver medal for the best copy made in the school of painting, and in 1823 the gold medal for historical painting, the subject being The Contention between the Archangel Michael and Satan for the Body of Moses. He first exhibited in 1821, sending to the Royal Academy Le Malade Imaginaire and to the British Institution a View near Windsor. These were followed at the Academy in 1822 by The Return of the Prodigal Son and a portrait, in 1823 by five portraits, and in 1824 by his Archangel Michael and some more portraits.One of his best early works was A Venetian Page with a Parrot, exhibited at the British Institution in 1824. In 1824 also he contributed The Bandit Chief to the first exhibition of the Society of British Artists. He continued to send portraits to the Royal Academy until 1830, but in 1831 he was elected a member of the Society of British Artists, after which he seldom exhibited elsewhere. He was chosen president in 1835, and

masks:
Frederick Yeates Hurlstone
Life Hurlstone
. Hurlstone


texts: again in 1840, retaining the office until his death. He contributed to the society's exhibitions upwards of three hundred portraits and other works, among them being The Enchantress Armida, exhibited in 1831; Haidee aroused from her Trance by the sound of Music, 1834; Eros, 1836; Italian Boys playing at the National Game of Mora and the Prisoner of Chillon, 1837; The Scene in St. Peter's, Rome, from Byron's Deformed Transformed, 1839; The Convent of St. Isidore: the Monks giving away provisions, 1841; and a Scene in a Spanish Posada in Andalusia, 1843. In 1844 and, for the last time, in 1845 he again sent portraits to the Academy. His subsequent works at the Society of British Artists included The Sons of Jacob bringing the blood-stained garment of Joseph to their Father, 1844; Salute, Signore, 1845; A Girl of Sorrento at a Well, 1847; Inhabitants of the Palace of the Cæsars—Rome in the Nineteenth Century, 1850; Columbus asking Alms at the Convent of La Rabida, 1853; The Last Sigh of the Moor (or Boabdil el Chico, mourning over the Fall of Granada, reproached by his Mother), 1854; and Margaret of Anjou and Edward, Prince of Wales, in the wood on their flight after the Battle of Hexham, 1860.Besides these may be noted The Eve of the Land which is still Paradise and Constance and Prince Arthur. His later works, consisted mainly of Spanish and Italian rustic subjects, the outcome of several visits to Italy, Spain, and Morocco, made between 1835 and 1854. "His best pictures date from this period." "In the year 1836, in consequence of visiting Italy, Mr. Hurlstone in a great measure


texts: discontinued a style which had been attended with great success, and took to painting works in what Spaniards call the 'picaresco' style – a style which includes beggar-boys and vagabonds of Murillo and Velasquez. In his groups of Italian boys and girls, Mr. Hurlstone has given representations of an uncluttered life; often of that beauty which is united with wilderness, and this without the vulgarity with which such subjects are too often treated. In 1841, and again in 1852, he somewhat varied his subjects, by drawing his resources from Spain, which country he visited those years; but his style of treatment remained essentially the same. In the year 1854 the painter visited Morocco, and while in that semi-bararous locality, he painted several pictures, of which the principle on was a subject from the History of the Moors in Spain, entitled, Bobadil el Chico (the last king) Mourning over the Fall of Grenada, reproached by his Mother, which, together with his Italian Boys Playing the National Game of Mora, and his Constance and Arthur formed Mr. <mask>'s contributions to the Exposition Universelle in Paris in 1855, when he received from the Emperor a gold medal of honour."Eleven of his best works were re-exhibited at the Society of British Artists in 1870. <mask> was also a successful portrait painter, one of his best heads being that of Richard, seventh earl of Cavan, exhibited at the Society of British Artists in 1833, and again, together with that of General Sir John MacLeod, at the National Portrait Exhibition of 1868. He was always much opposed to the constitution and management of

masks: Hurlstone Hurlstone


texts:
 the Royal Academy, and gave evidence before at the Parliamentary enquiry into the constitution of the Royal Academy in 1835 and again in 1836 to the select committee of the House of Commons. <mask> never became a member of the Royal Academy. He was elected president of the Royal Society of British Artists in 1835 and held the office until his death sending 326 works to their exhibitions. <mask> died at 9 Chester Street, Belgravia, London, on 10 June 1869, in his sixty-ninth year, and was buried in Norwood cemetery. Family and descendants

In 1836 Hurlstone married fellow artist Jane Coral who exhibited some watercolour drawings and portraits at the Royal Academy and the Society of British Artists between 1846 and 1850, but from 1850 to 1856 she contributed to the latter exhibition only fancy subjects in oil-colours.She died on 2 Oct. 1858, leaving issue two sons, one of whom was also an artist. <mask>'s grandson, William Martin <mask> <mask>, became a moderately well-known composer. Some representative Works

A Venetian Page (1824)
The Enchantress Armida (1831)
Eros (1836)
Prisoner of Chillon (1837)
The Peasant Girl of Sorrento (1847)
A Boy of Venice (1853)
Boabdil (1854)
Portrait of the 7th Earl of Cavan (1833)

Notes

References
Attribution

External links
Hurlstone online (ArtCyclopedia)
Sancho Panza Attended by his State Physician from the Tate Gallery
Self Portrait at the National Portrait Gallery, London

1800 births
1869 deaths
19th-century English painters
English male painters
19th-century painters of historical subjects
English portrait painters
Members of the Royal Society of

masks: Hurlstone Hurlstone Hurlstone Yeates Hurlstone


texts:
<mask> (born 3 March 1956), known professionally as <mask>, is an Argentine record producer, musician and songwriter. Born in Buenos Aires, Argentina, he enrolled in various musical ensembles, including Zas and Los Abuelos de la Nada. <mask> has worked with several artists producing their albums, including Caifanes, Stephanie Salas, Andrés Calamaro, Paulina Rubio, Diego Torres and Miranda!. <mask> also was the executive producer of the tribute album for the English band Queen in 1997. His work has been recognized with two Latin Grammy Awards for Producer of the Year in 2006 and 2009, out of four consecutive nominations, and a Grammy Award for producing Limón y Sal by Julieta Venegas. Early life and career beginnings
<mask> attended Belgrano Day School and played rugby on his youth. During one training someone gave him the nickname "Cachorro" because of his height and clumsiness.<mask> lived in London during the 1970s, where he was part of the reggae band Jah Warrior, "Ibiza was the mecca, but not as a center of Raves and disco, but more pleasant," <mask> said. In 1979, <mask> returned to Argentina to renew his passport and after notice an interesting rock movement, he joined the new lineup of the rock band Los Abuelos de la Nada playing bass guitar. "There I met Miguel Abuelo, then there was a hitch and he took me to dinner at his girlfriend home and we were playing all night long. After that I went away with a reggae band on Bristol." He also played with the Bristol band Lola, featuring noted guitarist Steve Warrilow and legendary session drummer, Bill "Bilbo" Birks <mask> began his career as a record producer, when Los Abuelos de la Nada traveled to Ibiza to record Himno de Mi Corazón with English producer Robin Black, and the band manager, Daniel Grinbank, asked the band to behave and that one member should work as

masks:
Gerardo Horacio López von Linden
Cachorro López
López
López
Gerardo López
López
López
López
López


texts:
 a liaison between them and the producer, the band decided that <mask> should do it, since he and Andrés Calamaro were already working as producers for Los Abuelos de la Nada on the past albums. At the same time he was devoted to the artistic production of musicians such as Divina Gloria and David Lebon. <mask> produced Gloria since he thought she was "a very interesting character" and he wanted to work with a woman.In 1982, <mask> was invited by Charly García for the live performance Yendo de la Cama al Living and in 1986 joined Miguel Mateos on the band Zas. Production work

While in Mexico working with Mateos, <mask> produced the first album for Mexican rock band Caifanes and also worked on their second album, El diablito, along Gustavo Santaolalla. <mask> produced in 1993 Ave María for Mexican singer Stephanie Salas. The album earned a Gold certification in Mexico. In 1997, Lopez was the executive producer for the album Tributo a Queen, a tribute disc to British band Queen, that featured Spanish-language versions of songs such as "We Are the Champions", "Save Me", "Some Day One Day" and "These Are the Days of Our Lives", performed by Soda Stereo, Fito Páez and Illya Kuryaki and the Valderramas. The project became highly successful in Latin America. About the album, <mask> said: "The 'Tribute' was very interesting because it put me in contact with a vast diversity of musicians from different countries and styles."The album included his favorite work as a producer: Molotov's "Bohemian Rhapsody/Rap, Soda y Bohemia". In 1998, along with artists such as Molotov, Cafe Tacuba, Julieta Venegas, Moenia, Beto Cuevas, and Aleks Syntek, he worked in another tribute, this time to José José in the successful album Un Tributo. In Argentina, <mask> worked with Argentinean singer songwriter Diego Torres. Their first collaboration,

masks: López López López López López López López


texts: Tratar de Estar Mejor (1994), sold 700,000 units worldwide. <mask> also produced Tal Cual Es (1999) and Un Mundo Diferente (2001) for Torres, the latter included the song "Color Esperanza", written by Torres, Coti Sorokin and <mask>, which became an anthem of hope in Argentina, since it was released in the midst of the political and economical crisis in the country. The track was performed by children at most elementary schools back to back with the national anthem. Un Mundo Diferente became the best-selling album of 2002 in Argentina, selling 160,000 units and earned a Grammy Award nomination.<mask> produced Sí for Mexican singer-songwriter Julieta Venegas. The album became very successful and Venegas managed to combine commercial success with the critical acclaim that had always adorned her solo career. The album received the Latin Grammy Award for Best Rock Solo Vocal Album in 2004. In 2006, <mask> and Venegas worked together again for Limón y Sal, an album of "well-crafted pop songs that demand adoration." The album was awarded the Grammy Award for Best Latin Pop Album and the Latin Grammy Award for Best Alternative Music Album. <mask> earned the Latin Grammy Award for Producer of the Year for his work on the albums Limón y Sal, Días Felices by Cristian Castro, the self-titled debut of Vanessa Colaiutta, and Belanova's, Dulce Beat. According to the Allmusic review of the album Dulce Beat, <mask> brought a "key sense of vibrancy to these songs".<mask> and Belanova worked together again in 2008 for Fantasía Pop. The album received the Latin Grammy Award for Best Pop Vocal Album, Duo or Group and peaked at number-one in Mexico. In 2008, <mask> produced La Lengua Popular for his longtime friend Andrés Calamaro and received four Latin Grammy Award nominations, winning for Best Rock Solo Vocal Album. <mask> received his

masks: López López López López López López López López López


texts:
 second award as Producer of the Year at the 10th Latin Grammy Awards for his work with Alex Ubago, Los Pericos, Los Amigos Invisibles, Miranda!, Reik, Manuel Carrasco and Paulina Rubio. <mask> produced Ananda (2006) and Gran City Pop (2009) for Paulina Rubio, and received Latin Grammy nominations for songs included on both albums. He has recently worked with singer Debi Nova on her second studio album Soy and produced Hasta la Raíz by Natalia Lafourcade in 2015, which earned him Latin Grammy Award nominations for Album of the Year and Record of the Year. Musical style
<mask> defines his musical style as eclectic."Los Abuelos were an eclectic group... I feel totally responsible for the musical direction of an album, but sometimes I have to write songs, play bass, arrange songs, so I don't have problems working with very different artists." He has two different approaches when writing his music, "many times I collaborate with the artists who I am producing. When we are choosing songs to include on the discs, I sometimes sit with them, as happened with Julieta, Andres Calamaro and Belanova." Also recognizes that when writing a song, "I don't write lyrics, I just write the music, I start with a riff or a simple melodic structure and build from that," changing his system according to the musical style he is working on. About the "Cachorro <mask> sound", he stated that he works on every album as something individual, trying not to repeat the formula on different artist, in order to avoid being boring and repetitive. References

1956 births
Living people
Argentine record producers
Argentine people of German descent
Argentine people of Spanish descent
Latin Grammy Award for Producer of the Year
Grammy Award winners
Argentine multi-instrumentalists
Latin Grammy Award winners
Latin music record producers
Latin music

masks: López López López


texts:
<mask> () (September 10, 1896 – April 8, 1946), born in Huiyang, Guangdong, was a Chinese military leader who played a key role in the Northern Expedition to reunify China after the 1911 Revolution. After serving with the Kuomintang, <mask> later joined the Communist Party of China (CPC). Early life
<mask> was born on April 10, 1896 (August 4 of Guangxu 22nd year in Qing Dynasty) at Zhoutian village, Danshui town, in Guishan county, located in the Guangdong province. <mask>'s ancestors migrated from Ye county in Henan to the south, through Meizhou and Hingning, eventually settling in Guangdong. <mask>'s grandfather was <mask>, who had experience in medicine. <mask>'s father was <mask>, who travelled to Malaysia in his early life to work on a plantation, learning how to plant tropical fruits. After returning to his hometown, <mask>'s father rented 11 mus' of farmland and planted fruit trees to make a living.<mask>'s mother's last name is Wu and he is the eighth child in the family. <mask> was energetic and helped his father with farming when he was young. He was sent to the nearby Tengyun school to study. <mask> also studied at the Sericultural School of Huizhou in 1911. Before he left the school, his teacher Chen Jingru suggested that he change his name to <mask>g. Under the influence of the Second Guangzhou Uprising, <mask> led his schoolmates to cut their queue hairstyles and was expelled by his school. After this experience, <mask> entered Huizhou middle school.After the Xinhai revolution, <mask>'s father made <mask> marry Huang Chun, who was 2 years older, in an attempt to encourage his son to settle down. <mask> entered into Guangzhou Landforce Primary School in 1912. <mask> graduated from the school in December 1914 and traveled north to Hubei, studying military knowledge in Hubei Army Second Preparatory

masks:
Ye Ting
Ye
Ye
Ye
Ye
Ye Hanchu
Ye
Ye Xisan
Ye
Ye
Ye
Ye
Ye Tin
Ye
Ye
Ye
Ye
Ye
Ye


texts:
 School. At the end of 1916 after earning a place on the Dean's list, <mask> was recommended for admission to Baoding Landforce Military Academy. During his studies at the military academy, <mask> gained access to a number of new ideas through reading New Youth and other journals and books. <mask> wrote to New Youth journal and raised the idea that "the root of morality" is at consciousness", and expressed his ideal of "reviving the dirty world and helped the weaks and the drowns". In 1918, he graduated from Baoding Landforce Military Academy.He planned to study abroad in Europe but failed due to lack of money. At this time, the old Guangxi clique leader Lu Rongting wanted <mask> to be the county magistrate of Huiyang, but <mask> refused. <mask> followed Sun Yat-sen to participate in the revolution of 1919 introduced by He Ziyuan, the general headquarter senate of Sun's Guangdong Army and one of the founding members of  the Xinhai revolution. <mask> then joined the Guangdong Army in Changchow of Fukien, eventually joining the Kuomintang. Military career
<mask> joined the Kuomintang when Sun Yat-sen founded it in 1919, becoming a battalion commander in the National Revolutionary Army in 1921. In 1920, Sun had ordered the Guangdong Army to attack Mo Rongxin of the Old Guangxi clique. <mask>'s reputation had spread after the Huangpijing battle when his troops defeated an enemy who had four times as many troops as his own army.In October 1920, <mask> took office as Deputy Battalion Commander of the Sapper Battalion. In 1921, he was transferred to the position of Battalion Commander of the guard regiment's second battalion of Sun's Marshall House of Land and Naval Forces. In June 1922, troops from the commander-in-chief of the Guangdong army bombarded the Marshall House. <mask> was ordered to guard the forecourt of the

masks: Ye Ye Ye Ye Ye Ye Ye Ye Ye Ye Ye


texts: Marshall House and helped Sun's wife, Soong Ching-ling, to escape danger. In 1924, <mask> went to study at Communist University of the Toilers of the East in the Soviet Union. During this time, <mask> joined the Communist Youth League of China and accepted Marxism. In December 1924, Lvmo branch of the Communist Party of China, who accepted <mask> as a candidate Party member, having been introduced by Wang Ruofei and Wang Yifei.<mask> transferred to the Institute of Red Professors February 1925 for training in military tactics and history. In 1925, <mask> returned to China to serve first as a staff officer, then as an independent regiment commander in the Fourth Army of the National Revolutionary Army. In January 1926, <mask> joined the attack on Hainan Island. Due to Fourth Army commander Li Jishen's orders in May, the 12th Division joined the Northern Expedition and ordered Zhang Fakui to send <mask>'s 34th regiment ahead. In May 1926, he led an advance detachment in the Northern Expedition, with several victories in August. In September, <mask> besieged Wuchang, breaking through the defenses on October 10. He had led the entire effort to blast through the city walls.In 1927, he served as Deputy Division Commander of the 15th Division, Division Commander of the 24th Division of the 11th Army, and Deputy Commander of the 11th Army. <mask> formulated an officer and recruit training plan, and strictly applied a “4 exercises” and "3 lessons" rules to the army. <mask> paid a lot of attention towards political education and held several anti-violence and anti-corruption activities. In the middle of January 1926, <mask> followed the National Revolutionary Army in an attack on Hainan Island. The Fourth army then reorganized the 34th regiment to be an independent regiment of the Fourth Army, ordering it to travel to


texts: Hunan. In May 1926, <mask> led his troops as an advanced force in the Northern Expedition. He left Zhaoqing and Xinhui, then proceeded to the frontline in Hunan to attack Wu Peifu.After a two-day battle started on June 5, the independent regiment attacked and occupied You County in Hunan. On July 3, the 12th division of the Fourth Army came back from Hainan, met with the 35th and 36th regiments, then reformed as the complete 12th division in You County; they later attacked and occupied Liuyang on July 20. In August, the 12th division attacked the Tingsi Bridge in Xianning, Hubei. During this battle, <mask>'s independent regiment was used as the reserve team of the division. When the direct attack on Tingsi Bridge was not successful, <mask> investigated a small path towards the back of Tingsi Bridge. After the Deputy Commander of the Fourth Army, Chen Keyu, ordered <mask> to take a surprising attack on the back of Wu's army, the army achieved a complete win. After this battle, the independent regiment attacked and occupied several territories, including Taolinpu and Yindoushan.On August 30, the Fourth and Seventh Army of the National Revolutionary Army started to battle with Wu's Army. <mask> was the first one to attack the position of Wu's army, with other troops following in an attempt to improve the outcome of the battle, eventually taking Hesheng Bridge. <mask> led his troops to hemming in the opposing forces in Wuchang. During the battle in Wuchang, <mask> attacked the city wall, blowing it up. On October 10, <mask> led his troops to attack the city itself. <mask> was known as one of the “famous generals" in the North Expedition. The Fourth Army itself was called the “Iron Army” under their commander, Zhang Fakui.During the attack in Wuchang, <mask>'s independent regiment lost dramatically: the battalion

masks: Ye Ye Ye Ye Ye Ye Ye Ye Ye Ye


texts:
 commander of the first battalion died, while the second division of the northern expedition army, led by Liu Chi, assist in the attack. After Wuchang was attacked and occupied, the second division entered the city faster than <mask>'s, and Liu Chi was then ordered to be the Wuhan garrison commander. <mask> was angry about this order and left the army. He went back to Shanghai and saw his relatives, and was punished by being closely supervised by the Party for six months. The Kuomintang government moved from Guangzhou to Wuhan in January 1927. The National Revolutionary Army was expanded and <mask> was appointed as the Deputy Division Commander of the 25th Division, and Division Commander of the 24th Division of the 11th Army. In May 1927, the Nanjing-Wuhan Split occurred.On May 13, the commander of the Independent 14th Division, Xia Douyin, announced through a phone call a crusade in the communist party against the KMT and attacked Wuhan, which was controlled by the left-wing KMT. In the meantime, the Wuhan government was expanded north to attack Henan. <mask> led to counter the attack and he soon defeated Xia. In June, <mask> was appointed as Deputy Army Commander of the 11th Army. On August 1, 1927, with Chen Yi, Zhou Enlai, He Long, Zhu De, <mask>, Lin Biao, Liu Bocheng and Guo Moruo, he participated in the failed Nanchang Uprising, when the People's Liberation Army was founded. After Nanchang, he went to Hong Kong, and on December 11 of that year, he led the Canton Uprising. After this uprising failed, <mask> was persecuted as a scapegoat and as a result, he was exiled to Europe.When he returned to Asia, <mask> went into hiding in Macau. New Fourth Army and death
In 1937, <mask> served as commander of the New Fourth Army. During the New Fourth Army Incident, <mask>, wanting to save his men, went to Shangguan

masks:
Ye
Ye
Ye
Ye
Ye
Ye Jianying
Ye
Ye
Ye
Ye


texts:
 Yunxiang's headquarters on January 13, 1941 to negotiate terms. Upon arrival, <mask> was detained by the 52nd division of the 156th regiment. Chiang Kai-shek ordered the New Fourth Army disbanded on January 17 and sent <mask> to a military tribunal. <mask> was then jailed for five years, until 1946. On April 8, 1946, after he was released, <mask> died in a plane crash en route from Chongqing to Yan'an.Among the victims were his wife Li Xiuwen, daughter <mask>, son, <mask>, and the nanny for his children, Gao Qiong, as well as several senior CPC leaders such as Bo Gu, Deng Fa, and Wang Ruofei. There are rumors that Chiang Kai-shek arranged the crash. On April 17,  held a public memorial at the Lan County airport. <mask> had a total of nine children including aircraft designer Lt. Gen. <mask>. One of his granddaughters, <mask> (叶小燕), through <mask>'s second son <mask> (叶正明), is married to Li Xiaoyong (李小勇), son of former Chinese premier Li Peng. Further reading
 Chen Jiongming Revolt Event
 Fourth Army (National Revolutionary Army)
 Chinese Civil WarReferences

 国民政府军事委员会铨叙厅，忠收第296号通报，1937-09-28

 为顾全大局挽救危亡 朱彭叶项复何应钦白崇禧佳电.1940-11-09

 叶超：《悲壮的史诗——回忆皖南事变的经过》，载《皖南事变回忆录》

 Dittmer 1974, p. 17 citing Tetsuya Kataoka, Resistance and Revolution in China: The Communists and the Second United Front, 1974 pre-publication. "U.S. Army Plane Missing With China Red Leaders", New York Times'', April 10, 1946, p8

External links

1896 births
1946 deaths
People of the Northern Expedition
Chinese military personnel of World War II
Chinese Communist Party politicians from Guangdong
Hakka generals
National Revolutionary Army generals from Guangdong
People from Huiyang
Victims of aviation accidents or incidents in China
New Fourth Army generals
Politicians

masks:
Ye
Ye
Ye
Ye
Ye Yangmei
Ye Ajiu
Ye
Ye Zhengda
Ye Xiaoyan
Ye
Ye Zhengming


texts:
<mask> (born 18 September 1969) is an Australian murderer and child rapist. He was convicted of the murder of Daniel Morcombe, a 13-year old boy who disappeared from the Sunshine Coast on 7 December 2003. His abduction led to an eight-year investigation involving various suspects, until an undercover police sting in August 2011 revealed <mask> as the perpetrator. He was charged with the murder that same month and Morcombe's remains were discovered days later on 17 August. <mask> was sentenced to life imprisonment, (being eligible for parole in 2031) on 13 March 2014 in a trial that attracted worldwide attention. Cowan had two previous convictions for sexually abusing children, the earliest dating back to 1987. The investigation into Morcombe's disappearance became Queensland's highest profile crime case in the state's history.Early life and background

Cowan was born on 18 September 1969 in Bunbury, Western Australia, to Marlene, a homemaker and RSL worker, and <mask>, an Australian Army Major and Vietnam veteran. He was the third of four boys. The <mask>s led a strict household and gave their children a Catholic upbringing, and were, by many accounts, a "good family". Further, Cowan's father was often absent due to his Army responsibilities, and suffered from PTSD. In the early 1970s, the family relocated to Brisbane, Queensland, eventually settling in the suburb of Everton Park. <mask> and his three brothers attended Marcellin College, now known as Mt Maria College, an independent Catholic high school in Mitchelton in northside Brisbane. Cowan's year nine English teacher claimed Cowan was somewhat of a "bully" who taunted other students, would proudly parade around his erections and was "despised by his peers".Conversely, other students at his school reflected on him as being an "ordinary guy" with few hobbies or social interests who "seemed alright". <mask> was

masks:
Brett Peter Cowan
Cowan
Cowan
Peter Cowan
Cowan
Cowan
Cowan


texts:
 also bullied in school and dropped out in year ten and began working odd jobs throughout his late teens, never holding down employment in one position for longer than a few months. Cowan also struggled to come to terms with his bisexuality. He also proved difficult for his mother: he was a "handful" as a child and progressed into a difficult teenager, occasionally stealing from her. His problems escalated as he became involved in petty crime and his first criminal conviction came at the age of 17. By that time he regularly used LSD, cocaine and methamphetamines. He later stated of his drug use: "They do fuck your inhibitions up … you know, your boundaries."Criminal history

Early convictions
<mask>'s theft and drug offences with the law had resulted in him performing community service duties at a public park in Brisbane. On 5 December 1987, during one of these community service sessions, an 18-year-old Cowan took a 7-year-old child from the park into a toilet cubicle and raped him. Cowan's demeanour subsequent to the attack was casual, as he proceeded to watch television inside the childcare centre where he was performing maintenance duties. <mask> had been sentenced to two years jail in 1989, but only served half of that sentence. In September 1993, while living at a Darwin caravan park with his then 18-year-old girlfriend Tracey Haneveld, Cowan lured a 6-year-old boy into an abandoned car yard and raped him. The boy was left in an abandoned car in the bush, with a punctured lung due to the force of the act and several cuts. He stumbled into a petrol station, dazed and distraught, and the police were called immediately—they initially assumed the boy had been hit by a car because of the extent of his injuries.<mask> initially denied his involvement, even going to considerable length to portray his innocence by stating to the police, "I hope you catch the

masks: Cowan Cowan Cowan


texts: bastard". However, the officers quickly discovered that <mask> was the only man in the caravan park not to offer up a DNA sample after semen was found on the boy's discarded underwear. A background check conducted by the officers also revealed his former molestation conviction in 1987. Police contacted him once again with the evidence, and he quickly confessed to the rape. <mask> was sentenced in 1994 in the Northern Territory Supreme Court to serve seven years in jail for various charges: grievous harm, deprivation of liberty and gross indecency; however, more severe charges, such as attempted murder, were dropped prior to the trial. He was then only required to serve 3.5 years. Psychological assessments followed, and Cowan was deemed as a pathological liar who lived a "parasitic existence", relying mostly on his parents to support his living.The psychologist also discovered a gross lack of awareness on behalf of <mask>, who believed that his victim "would not report the case" because he "probably enjoyed" the experience. Haneveld confronted <mask> in prison and asked if he was involved. He did not respond, and as his guilt became clear to her, she left the prison distraught. This was her last contact with <mask>. In March 2014, prior to his sentencing in the Morcombe case, Haneveld spoke to 60 Minutes about her relationship with him, which she claimed was full of infidelity on his behalf. During the trial, <mask> stated to the sentencing judge that "years of heavy poly drug use" was an explanation for his assault history. "<mask>'s behaviour began to deteriorate at home [with his uncle and aunt], particularly after he had his own vehicle.While still on parole, he was staying out late and going out at unusual times of night, using the excuse of catching up with mates or going fishing. "'After addressing him over some personal issues that were of great concern to

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 us, including lying, our relationship began to become strained and eventually he moved out to his own flat and the rest is history.'" –<mask>'s uncle, who provided him rehabilitation and a home for a period of time in 1998

Following his release from jail in 1997, Cowan protested his desire for rehabilitation and recognised that his sexual deviancy was a problem. He was ordered to attend a sexual offenders treatment program and moved in with his pastor aunt and uncle, Jenny and Keith Philbrook, on the Sunshine Coast, becoming a reformed Christian. In 1998, 29-year-old Cowan moved into the suburb of Beerwah with Tracey Lee Moncrieff, another churchgoer. The two were married the following year and had two children. Cowan regularly attended church services and no criminal convictions were reported from this time up until 2003.During that year <mask> also stopped attending church and the couple divorced in 2004. <mask> had signed up to a number of gay dating websites, including Gaydar and Manhunt. He was using one of these profiles from Perth just before his arrest under fake names. The Sunday Mail discovered the profile, under a variation of the name "Shaddo N’unyah Hunter". Cowan sought out a long list of extreme sex acts and said he was open to meeting anyone up to the age of around mid-50s. Disappearance of Daniel Morcombe

On 7 December 2003, 13-year-old schoolboy Daniel Morcombe left his home and planned to catch the 1:35 pm bus to the Sunshine Plaza Shopping Centre for a haircut and to buy Christmas presents for his family, but he failed to return. A bus had broken down on the side of the road and a replacement bus was later sent to pick up the passengers of the broken down bus.However, this replacement bus drove past Daniel and shortly after, in just a three-minute time span, <mask> is believed to have abducted him. <mask> was living in the town of Beerwah

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texts: around the time of Morcombe's disappearance. He was approached by police because of his criminal history and his proximity to the area in which Morcombe was last seen. Just days after the disappearance, however, he denied his involvement. A former police officer involved believed Cowan to be involved from just one encounter: he stated that "Look, if he's not good for that, he's good for something. I left with the distinct impression of guilt." A police interview with <mask> was conducted in July 2005 in the Gold Coast.Detective Tracey Barnes, who handled the interview, asked <mask> if he would admit to being involved and he responded with "probably not". Over the following years, the case shifted from <mask> to convicted sex offender Douglas Jackway. Witnesses reported seeing a blue vehicle near the location of Morcombe's disappearance and Jackway had a vehicle that very closely matched witness descriptions. <mask> was brought before the Daniel Morcombe coronial inquest six years later, where he was referred to as P7. <mask> stated he had driven along the road where Morcombe was last seen, but he was only travelling along there to pick up a mulcher. He also provided this as an alibi for the missing time, and said he had visited his cannabis dealer during the time Daniel was supposedly taken. Further police investigation revealed that Cowan's dealers were not home during the time Morcombe disappeared, meaning that Cowan could not have been with them.However, despite an unreliable alibi, police had no real forensic evidence to charge <mask> with the abduction and murder of the teenager. During this time, Cowan changed his name to Shaddo N-unyah Hunter, possibly to evade police. He later remarked that 'Shaddo' was his dog's name and 'N-unyah' a euphemism which translates to the idiom "none of your business". Moncrieff, <mask>'s wife at the time, later admitted in


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 court that she lied about her husband's whereabouts on the day of Morcombe's disappearance because she was "blinded by love". After their divorce, she revealed in court that he was gone for up to five hours that day. Police sting

A covert police operation that was used in Canada drew the attention of an investigator involved in Morcombe's case. The procedure, known as Mr. Big, involves police officers who pose as members of a corrupt criminal gang to gain the confidence of the alleged suspect, enlisting the suspect's participation in an escalating series of often elaborate fictional crimes, particularly theft, prostitution and the drug trade.Once the suspect's trust has been gained, the police persuade the suspect to confess to the earlier, real crime. An undercover police officer, posing as a crime boss known as "Paul Fitzsimmons" or "Fitzy", befriended <mask> on a flight to Perth in April 2011. Fitzsimmons gained the trust of <mask> and the two became friends. Due to the absence of any physical evidence, a confession of <mask> was needed. Over the following months, <mask>'s gang of friends initiated him through an array of fake criminal scenarios, unknown to Cowan. The gang offered Cowan a subpoena for his alibi in Morcombe's case; however, he denied any involvement. In August 2011, at an interview at the Perth Hyatt Hotel, an undercover officer gained Cowan's trust, and apprised that he "only wanted to help <mask>", re-instating that Cowan could trust him with anything.He subsequently disclosed his involvement in Morcombe's abduction and the confession was captured on video. Over the next few days, <mask> led the undercover police officers to the site of Morcombe's remains. At the site, several undercover police officers arrested <mask>. On 13 August 2011, <mask> was taken into custody and charged with Morcombe's murder and other offences, including child

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 stealing, deprivation of liberty, indecent treatment of a child under 16, and interfering with a corpse. In 2006, <mask> had admitted to police that he travelled the road from which Morcombe disappeared on the same day of his disappearance, on his way to purchase marijuana from a drug dealer. Around this time, a white Mitsubishi Pajero was seized from a property on Russell Island. The vehicle was believed to have been involved in Morcombe's abduction after a witness at the coronial inquest in April 2011 reported seeing a vehicle of similar description parked  north of the site where Morcombe was last seen.Trial

On 7 February 2013, <mask> was ordered to stand trial. He was charged with murder, indecently dealing with a child under the age of 16 and improperly dealing with a corpse. The trial, at the Supreme Court of Queensland in the state's capital Brisbane, began on 10 February 2014 under Justice Roslyn Atkinson. <mask> stated he only confessed because of the lucrative money deal that was offered to him. Moreover, the undercover policeman posing as 'Arnold' agreed that the fake crime gang had "dangled a carrot in the form of big money in front of <mask>". The prosecution closed its case on 7 March. 116 witnesses gave evidence and over 200 exhibits were tendered in evidence.<mask> pleaded not guilty and declined to give evidence. Bruce and Denise Morcombe, as well as Daniel's brothers, gave lengthy victim impact statements. <mask> reportedly stated he had no remorse. On 13 March 2014, <mask> was found guilty of all charges. On 14 March 2014, <mask> was sentenced to life in prison with the possibility of parole after 20 years. He was also sentenced to three-and-a-half years' imprisonment for indecently dealing with Morcombe and two years for interfering with his corpse, those sentences to be served concurrently. Judge Roslyn Atkinson said "I don't think you


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 should be released in 20 years time" which could affect Cowan's prison term.Pathology
<mask> has undergone multiple psychiatric examinations since his first offences in the late 1980s and early 90s. The psychologist who had assessed him after his second molestation conviction in 1993 claimed he was a pathological liar with low level psychopathic features or mild psychopathy indicating a severe lack of empathy. Despite this, a concrete psychiatric diagnosis on him has been elusive and inconclusive. Acquaintances of Cowan, particularly his ex-girlfriends, had described him as seeming "charming", "confident" and "handsome" initially, which made it easy for him to gain the trust of his victims. The judge of the trial remarked to Cowan that he "did not look like a monster or a pedophile, he looked like an ordinary person". Furthermore, she remarked that he was a "convincing and adaptable liar". In a psychologist's report compiled in 2007, Cowan stated: "I always worry, if things got bad, I could offend again.I could never do this against my own flesh and blood." He has also expressed his belief that years of habitual drug use motivated or contributed to his attacks. <mask>'s reputation as a charismatic, "every day" individual was of particular focus in the media during the investigations and arrest. See also
 List of Australian criminals

References

1969 births
Australian murderers of children
Australian people convicted of child sexual abuse
Australian rapists
Bisexual men
Criminals from Western Australia
People from Bunbury, Western Australia
People convicted of murder by Queensland
Prisoners sentenced to life imprisonment by Queensland
21st-century Australian criminals
Living people
People with antisocial personality disorder
2000s murders in Australia
2003 crimes in Australia
2003 murders in Oceania
Australian people convicted of murder
Crime in Oceania
Sexual

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<mask> (22 September 1953 – 25 October 1985) was an English singer-songwriter, musician and actor from London. He was the frontman of the band Heavy Metal Kids (1972–77), worked with Casino Steel (1981–84), and played the part of Wayne (Aka London) in the UK television comedy Auf Wiedersehen, Pet (1983–85). Holton died from an overdose of morphine combined with alcohol in 1985. Early life
<mask> was born in Clapham, south London, the first child of Ernie and <mask>, and grew up in Kennington. Whilst musically talented, and a member of a rock band as a schoolboy at Beaufoy School, Lambeth, his real ambition was to act. Early on in his life, Holton began working in the theatre world with the Sadler's Wells Opera Company, debuting in opera appearances aged eleven, and was with them for three years. In 1966 he had a part in Congreve's Love For Love with Laurence Olivier, and at fourteen played the title role in Menotti's Amahl and the Night Visitors.Soon after leaving education at Westminster School, he joined the Old Vic Theatre Company, and from there he went on to work with the Royal Shakespeare Company at Stratford. At seventeen, he joined the touring company of Hair, and remained with them for two years. When he left the company, his musical talents led him to front the rock band Heavy Metal Kids as vocalist. Acting career

Early roles
<mask> made his screen acting debut in 1979, when he played the character of Eddie Hairstyle in the television movie The Knowledge with Michael Elphick and Kim Taylforth. <mask> did not receive much credit for this role, nor for his role as an uncredited character in the film Quadrophenia, released the same year. However, after appearing in the television series Shoestring, Holton played the lead part of Ken in the 1979 film Bloody Kids. In

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Gary Frederick Holton
Gary Holton
Joan Holton
Holton
Holton