tang rongsheng quotation

About 80% of US residual wage inequality results from within jobs, whose widening trend can be largely explained by rising performance-pay incidence and reducing job relatedness, from Rongsheng Tang, Yang Tang, and Ping Wanghttps://nber.org/papers/w27390

This exhibition, composed of sketches of famous paintings, presents the process in which the “Red Classics” oil paintings came into being from 1950s to the late 1970s. Their creators—Cai Liang, Lin Gang, Pang Tao, Quan Shanshi, Song Ren, Su Gaoli, Sun Cixi, Tang Xiaohe, Wang Shenglie, Xiao Feng, Yin Rongsheng, and Zhan Jianjun—were born more or less in the 1920s–1940s. Within the history of Chinese oil painting, they could be called the generation that bridged the present with an older generation of painters like Xu Beihong and Lin Fengmian, as well as the generation slightly later, which includes Wu Zuoren, Ai Zhongxin, Dong Xiwen and Wang Shikuo. They were a generation of artists and art educators who promoted and, indeed, truly rooted oil painting in China with creative methods derived from Soviet Socialist Realism. Unlike their predecessors, their professional training was completed in the academic environment after liberation in 1949; some, like Lin Gang, Xiao Feng and Quan Shanshi, were even sent by the state in the ’50s and ’60s to study in a few key Soviet art academies. There was also the “Maksimov Training Course” at the Central Academy of Fine Art, with students like Zhan Jianjun. (1) Their work, therefore, reflected the official system relatively strongly.

Yet what is most worth savoring are still the differences between the sketches and the final versions. One example is Tang Xiaohe’s sketch for “Strive Forward in Winds and Tides” (1971), a propaganda oil painting completed during the Cultural Revolution. Chairman Mao loved swimming, and on May 31, 1956, he swam across the Yangtze in Wuhan for the first time (and left behind a famous poem as well). Thereafter, many cities along the Yangtze also held swimming events across the river. On July 16, 1966, an elderly Mao again swam in the Yangtze, leaving behind that classic photograph—the portrait of the leader swimming amid the currents being especially pregnant with meaning as having happened a mere two months before the Cultural Revolution broke out. (4) Later, July 16 was designed—for a while—as “National Swimming Day”. At one point, large numbers of prints, stamps, songs and so forth emerged with the theme of “striving forward with Chairman Mao in winds and tides”, while as the initial work in this vein, Tang Xiaohe’s propaganda painting was widely republished in important publications like the People’s Daily and People’s Liberation Daily; it was also turned into an important political propaganda poster. More importantly, the theme of these works incorporated the idea of “nurturing successors to the Revolution” (5) in order to convey the overall idea that the Cultural Revolution was a mass movement that would be passed on, one generation after the other.

In viewing these sketches and then revisiting the classic works, more may be gleaned for interpretation. On the other hand, these works may also enable viewers to rid themselves of long-term prejudices against politicized Socialist Realist works. Though the artistic creation of the era cannot help but converge, to a high degree, in terms of style or theme, this did not mean artists had no room for creativity. On the contrary, amid such a peculiar age when politics determined all, their artistic composition perhaps had to be more discerning and imaginative. What these sketches show are the processes by which they thought, pondered, ruminated, and yes, even entangled themselves in the prerogatives facing them. Leading into such an area of history—an age not even that distant—the works presented to viewers are not necessarily historic works; but they do record a certain history of creation, thereby offering important references for the way we understand the visual culture of the era.

Chapter 9 Historical Evidence for Cultural Exchanges between the Tang and Silla: The Inscription for the Meditation Cloister at the Dayun Monastery in Haizhou

Shenzhen, in southern China"s Guangdong Province, is planning to open its first shelter for abandoned children later this year, according to Tang Rongsheng, Director of the Shenzhen Welfare Center.

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HONG KONG, Nov 26 (Reuters) - China Rongsheng Heavy Industries Group, the country’s largest private shipbuilder, said its chairman had stepped down just three months after the company posted its sharpest fall in half-year net profit.

Listed in November 2010, Rongsheng was hit by an insider dealing scandal involving a firm owned by Zhang ahead of the $15.1 billion bid for Canadian oil firm Nexen Inc by China offshore oil and gas producer CNOOC.

Rongsheng said earlier this month that investment firm Well Advantage, controlled by Zhang, had agreed to pay $14 million as part of a settlement deal with the U.S. Securities and Exchange Commission (SEC).

In August, Rongsheng posted an 82 percent drop in half-year profit on a dearth of new orders and warned economic uncertainties would continue to weigh on the global shipping market.

As part of the changes at China Rongsheng, the company said that Zhang De Huang was retiring and had resigned as an executive director and as vice chairman of the board.