Misplaced Pages

#720279

37-581: Shanghai Manhua ( traditional Chinese : 上海漫畫 ; simplified Chinese : 上海漫画 ; pinyin : Shànghǎi Mànhuà ), originally titled Shanghai Sketch , was a weekly pictorial magazine published in Shanghai from 21 April 1928 until 7 June 1930. Considered the first successful manhua magazine in China and one of the most influential, it was highly popular and inspired numerous imitators in Shanghai and

74-509: A certain extent in South Korea , remain virtually identical to traditional characters, with variations between the two forms largely stylistic. There has historically been a debate on traditional and simplified Chinese characters . Because the simplifications are fairly systematic, it is possible to convert computer-encoded characters between the two sets, with the main issue being ambiguities in simplified representations resulting from

111-564: A dedicated publication for manhua named Shanghai Manhua ( Shanghai Sketch ). The first effort resembled a propaganda poster and was a failure. Undeterred, the original three, joined by eight more artists, including the Zhang brothers, Ding Song , and Wang Dunqing , formed the Shanghai Sketch Society (also translated as Shanghai Manhua Society ) in the autumn of 1927. It was China's first association dedicated to manhua and

148-471: A diplomat to Russia . His father Shao Heng ( 邵恆 ) married Sheng Xihui ( 盛樨蕙 ), a daughter of the tycoon Sheng Xuanhuai ; Xunmei was the oldest of their six children. Shao had been tailed by tabloids since his childhood and had various girlfriends including the actress White Lotus (白蓮 Báilián ) and a woman with the English name Prudence; Shao was briefly jailed after a man who was infatuated with Prudence

185-523: A granddaughter of Sheng Xuanhuai . Hutt described Sheng as a " trophy wife ". She was also known as "Zoa". Twenty-five Poems (詩二十五首 Shīèr shíwǔ shǒu ), Shao's collection of poetry that was published in 1936, did not garner significant attention. Hutt stated that Shao's popularity was declining by 1936. In 1937 he began an affair with Emily "Mickey" Hahn ; the affair ended after Hahn stopped smoking opium . When Hahn wrote articles for The New Yorker , she referred to Shao as "Pan Heh-ven," forming

222-414: A major event in the history of Chinese comics. Although the society had no formal structure, the two eldest and most established artists, Zhang Guangyu and Ding Song, were regarded as its leaders. The society was registered and often met at Ding Song's home on Rue Amiral Bayle (now South Huangpi Road ). Under the leadership of Zhang Guangyu, who recruited sponsors including the wealthy poet Shao Xunmei ,

259-535: A monkey." Hahn learned that Shao eventually stopped using opium. After Shao died, Hahn was unaware that he was dead. He was buried in Gui Yan Cemetery. Hutt stated that Shao continued to be perceived as "a caricature" by the 1990s even though his image had been somewhat rehabilitated in that decade. Jicheng Sun and Hal Swindall, authors of "A Chinese Swinburne : Shao Xunmei's Life and Art," wrote circa 2015 that few people were aware of him "except for

296-520: A result of the dispute, Shanghai Manhua was shut down in June 1930 after publishing 110 issues. The manhua team of the magazine moved with the Zhangs to the newly established Shidai (Epoch) Publishing Group, which went on to publish a series of magazines including Modern Sketch , the centerpiece of China's golden era of cartoon art. In May 1936 Zhang Guangyu re-established Shanghai Manhua , while many of

333-486: A son, Shao Zucheng, who attended schools operated by American missionaries and became an English teacher. He also had a daughter, Shao Xiaohong. In 1958 Shao Xunmei wrote a letter to a friend in the United States and as a result was imprisoned. He was released in three years but his health had declined and did not improve afterwards. Shao Zucheng stated "When he came out of jail, he was so thin. He looked just like

370-613: A standard set of Chinese character forms used to write Chinese languages . In Taiwan , the set of traditional characters is regulated by the Ministry of Education and standardized in the Standard Form of National Characters . These forms were predominant in written Chinese until the middle of the 20th century, when various countries that use Chinese characters began standardizing simplified sets of characters, often with characters that existed before as well-known variants of

407-869: Is 産 (also the accepted form in Japan and Korea), while in Hong Kong, Macau and Taiwan the accepted form is 產 (also the accepted form in Vietnamese chữ Nôm ). The PRC tends to print material intended for people in Hong Kong, Macau and Taiwan, and overseas Chinese in traditional characters. For example, versions of the People's Daily are printed in traditional characters, and both People's Daily and Xinhua have traditional character versions of their website available, using Big5 encoding. Mainland companies selling products in Hong Kong, Macau and Taiwan use traditional characters in order to communicate with consumers;

SECTION 10

#1732788105721

444-493: The Chinese Commercial News , World News , and United Daily News all use traditional characters, as do some Hong Kong–based magazines such as Yazhou Zhoukan . The Philippine Chinese Daily uses simplified characters. DVDs are usually subtitled using traditional characters, influenced by media from Taiwan as well as by the two countries sharing the same DVD region , 3. With most having immigrated to

481-530: The Kensiu language . Shao Xunmei He was born Shao Yunlong ( Chinese : 邵雲龍 ; lit. 'dragon in the skies') in 1906 into a wealthy Shanghainese family with its ancestral hometown in Yuyao , Zhejiang . Shao lived in the wealthiest part of Shanghai, Bubbling Well Road . His grandfather Shao Youlian  [ zh ] was a high-ranking official who served as governor of Taiwan and as

518-640: The Shanghainese -language character U+20C8E 𠲎 CJK UNIFIED IDEOGRAPH-20C8E —a composition of 伐 with the ⼝   'MOUTH' radical—used instead of the Standard Chinese 嗎 ; 吗 . Typefaces often use the initialism TC to signify the use of traditional Chinese characters, as well as SC for simplified Chinese characters . In addition, the Noto, Italy family of typefaces, for example, also provides separate fonts for

555-435: The English writer Algernon Charles Swinburne and French writer Charles Baudelaire . The titles of works Fire and Flesh (火與肉 Huǒ yǔ ròu ) and Flower-like Evil (花一般的罪惡 Huā yībān de zuì'è ) were respectively inspired by a Swinburne poem and Les Fleurs du Mal by Baudelaire. The latter is an updated version of the earlier Paradise and May . In December 1927 he married his cousin and childhood love Sheng Peiyu ( 盛佩玉 ),

592-555: The People's Republic of China, traditional Chinese characters are standardised according to the Table of Comparison between Standard, Traditional and Variant Chinese Characters . Dictionaries published in mainland China generally show both simplified and their traditional counterparts. There are differences between the accepted traditional forms in mainland China and elsewhere, for example the accepted traditional form of 产 in mainland China

629-490: The Shanghai Sketch Society, other famous artists and writers also contributed to Shanghai Manhua , including Shao Xunmei (Sinmay Zau), a wealthy and influential poet, writer, and publisher. His friend, artist and writer Ye Lingfeng , also became a staff member and regular contributor. Their photographs were frequently published in the magazine, with some taken by the photographer Lang Jingshan . Many of

666-524: The United States during the second half of the 19th century, Chinese Americans have long used traditional characters. When not providing both, US public notices and signs in Chinese are generally written in traditional characters, more often than in simplified characters. In the past, traditional Chinese was most often encoded on computers using the Big5 standard, which favored traditional characters. However,

703-482: The association relaunched Shanghai Manhua on 21 April 1928. It proved very popular: about three thousand copies of each issue were printed, which was considered a large amount for the 1920s. In 1930, a Singapore-based businessman made a proposal to Zhang Guangyu and Zhang Zhenyu for starting a new pictorial magazine to compete with the popular monthly The Young Companion ( Liangyou ). The Zhang brothers agreed, but several partners in charge of photography objected. As

740-570: The basis of the 1942 book Mr. Pan . Hahn used Shao as the inspiration for Sun Yuin-loong, a character in Steps of the Sun . After the Japanese invasion Hahn was not interned since she had stated she was legally married to Shao Xunmei on a document and therefore the Japanese treated her as, in the words of Taras Grescoe of The New Yorker , "an honorary Asian". Hahn stated that Shao's wife approved of

777-560: The document since it was a possible method of saving his press and that Shao had not been married "according to foreign law". According to an article published in Ming Pao , a Hong Kong newspaper, during World War II , Shao had a habit of drinking alcohol and gambling and therefore racked up a lot of expenses; Hahn covered the costs by selling her books. Hahn later wrote about Shao in her memoir, China to Me: A Partial Autobiography , using his actual name, spelled as "Sinmay Zau". Shao had

SECTION 20

#1732788105721

814-588: The front and back covers. The front cover featured its famously provocative cover art, and the back page carried Ye Qianyu's popular comic strip Mr. Wang , inspired by the American Bringing Up Father . Reflecting the tribulations of daily urban life, Mr. Wang became one of China's most famous cartoons. Pages four and five were dedicated to other cartoons from various artists, and the remaining four pages were flexibly given to manhua, photography, prose, reviews, etc. In addition to members of

851-650: The images published in Shanghai Manhua reflect the daily urban life, while others are innovative visual commentaries on political events and contemporary society. The editorial staff of the magazine had close links to leading members of the decadent "neo-sensationist" school of the Shanghai literary scene. Influenced by ideas expressed in their writing, the artists produced startling images unparalleled in Republican-era China. Traditional Chinese characters Traditional Chinese characters are

888-493: The inverse is equally true as well. In digital media, many cultural phenomena imported from Hong Kong and Taiwan into mainland China, such as music videos, karaoke videos, subtitled movies, and subtitled dramas, use traditional Chinese characters. In Hong Kong and Macau , traditional characters were retained during the colonial period, while the mainland adopted simplified characters. Simplified characters are contemporaneously used to accommodate immigrants and tourists, often from

925-725: The mainland. The increasing use of simplified characters has led to concern among residents regarding protecting what they see as their local heritage. Taiwan has never adopted simplified characters. The use of simplified characters in government documents and educational settings is discouraged by the government of Taiwan. Nevertheless, with sufficient context simplified characters are likely to be successfully read by those used to traditional characters, especially given some previous exposure. Many simplified characters were previously variants that had long been in some use, with systematic stroke simplifications used in folk handwriting since antiquity. Traditional characters were recognized as

962-682: The majority of Chinese text in mainland China are simplified characters , there is no legislation prohibiting the use of traditional Chinese characters, and often traditional Chinese characters remain in use for stylistic and commercial purposes, such as in shopfront displays and advertising. Traditional Chinese characters remain ubiquitous on buildings that predate the promulgation of the current simplification scheme, such as former government buildings, religious buildings, educational institutions, and historical monuments. Traditional Chinese characters continue to be used for ceremonial, cultural, scholarly/academic research, and artistic/decorative purposes. In

999-983: The merging of previously distinct character forms. Many Chinese online newspapers allow users to switch between these character sets. Traditional characters are known by different names throughout the Chinese-speaking world. The government of Taiwan officially refers to traditional Chinese characters as 正體字 ; 正体字 ; zhèngtǐzì ; 'orthodox characters'. This term is also used outside Taiwan to distinguish standard characters, including both simplified, and traditional, from other variants and idiomatic characters . Users of traditional characters elsewhere, as well as those using simplified characters, call traditional characters 繁體字 ; 繁体字 ; fántǐzì ; 'complex characters', 老字 ; lǎozì ; 'old characters', or 全體字 ; 全体字 ; quántǐzì ; 'full characters' to distinguish them from simplified characters. Some argue that since traditional characters are often

1036-677: The official script in Singapore until 1969, when the government officially adopted Simplified characters. Traditional characters still are widely used in contexts such as in baby and corporation names, advertisements, decorations, official documents and in newspapers. The Chinese Filipino community continues to be one of the most conservative in Southeast Asia regarding simplification. Although major public universities teach in simplified characters, many well-established Chinese schools still use traditional characters. Publications such as

1073-585: The original members were then working with Modern Sketch . Together they organized the highly successful First National Cartoon Exhibition in September and formed the National Association of Chinese Cartoonists in the spring of 1937. The blossoming movement, however, was brought to a halt by the Japanese invasion a few months later. Each issue of the magazine consists of eight pages including

1110-700: The original standard forms, they should not be called 'complex'. Conversely, there is a common objection to the description of traditional characters as 'standard', due to them not being used by a large population of Chinese speakers. Additionally, as the process of Chinese character creation often made many characters more elaborate over time, there is sometimes a hesitation to characterize them as 'traditional'. Some people refer to traditional characters as 'proper characters' ( 正字 ; zhèngzì or 正寫 ; zhèngxiě ) and to simplified characters as 簡筆字 ; 简笔字 ; jiǎnbǐzì ; 'simplified-stroke characters' or 減筆字 ; 减笔字 ; jiǎnbǐzì ; 'reduced-stroke characters', as

1147-833: The predominant forms. Simplified characters as codified by the People's Republic of China are predominantly used in mainland China , Malaysia, and Singapore. "Traditional" as such is a retronym applied to non-simplified character sets in the wake of widespread use of simplified characters. Traditional characters are commonly used in Taiwan , Hong Kong , and Macau , as well as in most overseas Chinese communities outside of Southeast Asia. As for non-Chinese languages written using Chinese characters, Japanese kanji include many simplified characters known as shinjitai standardized after World War II, sometimes distinct from their simplified Chinese counterparts . Korean hanja , still used to

Shanghai Manhua - Misplaced Pages Continue

1184-606: The rest of China. Shanghai Manhua was known for its provocative cover art and the popular Mr. Wang comic strip by Ye Qianyu . Among the artists who established Shanghai Manhua , several had worked together on the small, short-lived journal Sanri Huabao ( Three Day Pictorial ), including Ye Qianyu and the brothers Zhang Guangyu and Zhang Zhenyu . The journal was shut down when Chiang Kai-shek 's Northern Expedition reached Shanghai in April 1927. Out of work, cartoonists Ye Qianyu, Huang Wennong , and Lu Shaofei published

1221-581: The traditional character set used in Taiwan ( TC ) and the set used in Hong Kong ( HK ). Most Chinese-language webpages now use Unicode for their text. The World Wide Web Consortium (W3C) recommends the use of the language tag zh-Hant to specify webpage content written with traditional characters. In the Japanese writing system , kyujitai are traditional forms, which were simplified to create shinjitai for standardized Japanese use following World War II. Kyūjitai are mostly congruent with

1258-985: The traditional characters in Chinese, save for minor stylistic variation. Characters that are not included in the jōyō kanji list are generally recommended to be printed in their traditional forms, with a few exceptions. Additionally, there are kokuji , which are kanji wholly created in Japan, rather than originally being borrowed from China. In the Korean writing system , hanja —replaced almost entirely by hangul in South Korea and totally replaced in North Korea —are mostly identical with their traditional counterparts, save minor stylistic variations. As with Japanese, there are autochthonous hanja, known as gukja . Traditional Chinese characters are also used by non-Chinese ethnic groups. The Maniq people living in Thailand and Malaysia use Chinese characters to write

1295-518: The ubiquitous Unicode standard gives equal weight to simplified and traditional Chinese characters, and has become by far the most popular encoding for Chinese-language text. There are various input method editors (IMEs) available for the input of Chinese characters . Many characters, often dialectical variants, are encoded in Unicode but cannot be inputted using certain IMEs, with one example being

1332-587: The words for simplified and reduced are homophonous in Standard Chinese , both pronounced as jiǎn . The modern shapes of traditional Chinese characters first appeared with the emergence of the clerical script during the Han dynasty c.  200 BCE , with the sets of forms and norms more or less stable since the Southern and Northern dynasties period c.  the 5th century . Although

1369-636: Was murdered but Shao was found to have been not guilty and released. Shao began a tour of Europe at age 17 in 1923 and continued it until 1927, going to Naples , Italy ; Cambridge , England , and the École des Beaux Arts in Paris ; he was educated in Cambridge and Paris. While in Europe he had relationships with women there. He finished a poetry collection towards the end of the trip and published it, titled Parade and May , in 1927. He became intrigued by

#720279