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in Die ignoranten Massen 11.02.2019 04:11
von liyifeng123 | 1.361 Beiträge | 8166 Punkte

CHICAGO, Jan. 6 (Xinhua) -- Chicago Board of Trade (CBOT) grains futures settle lower on Friday on signs of weakening demand for U.S. exports as the South American harvest nears.

The most active corn contract for March delivery fell 3.25 cents, or 0.9 percent, to 3.58 dollars per bushel. March wheat delivery fell 3 cents, or 0.7 percent, to 4.2325 dollars per bushel. January soybeans dropped 17.75 cents, or 1.75 percent, to 9.9475 dollars per bushel.

The U.S. Agriculture Department said early Friday that weekly soybean export sales fell to a lower-than-expected 87,700 tonnes in the latest week from 979,200 tonnes a week ago. Corn export sales of 429,300 tonnes also dropped below the low end of trade forecasts.

The market also was pricing in the possibility that a slowdown in the movement of soybeans to U.S. West Coast ports, due to wintry conditions.

Record snow and rain pummelled the western United States on Thursday, raising the threat of floods and freezing temperatures in some areas.

Wheat futures have been supported this week by traders adjusting their bets on the grain before a rebalancing of investment portfolios by index funds next week.

In the outside markets, the Brent crude oil market is 0.08 dollar per barrel higher, the U.S. dollar is higher, and the Dow Jones Industrials are 78 points higher at 19,977 points.

Jack Scoville, The PRICE Futures Group's Senior Market Analyst, says that the markets are lower on a small rebound in the US Dollar combined with some very weak export sales today.

"The market is pretty complacent about huge crops down there and might be a bit too complacent, but given the weekly sales today that does not matter. I think the sales are just a blip, sales will improve again and soon, but the world raced to book before the holidays and in response to U.S. election. So, it might take a couple of weeks," Scoville says. Enditem

Francois Bossiere paints a traditional Chinese ink wash painting in France in 2015. Photo: Courtesy of New World Press

Jarretta à l'écoute by Francois Bossiere Photo: Courtesy of New World Press

Looking at Francois Bossiere's artworks , you may wonder what led this French oil painter take up traditional Chinese ink wash painting.

Since 1994 when Bossiere held his first solo exhibition in Taipei, Chinese art circles have shown an increasing interest in his work, which blurs the lines between Eastern and Western painting traditions.

"People used to be stuck on the stereotype that Eastern art focuses on freehand brushwork and Western art strength is realism," Bossiere told the Global Times before the launch of his new book Nomad Brush.

"But the fact is that from the end of 19th century, these two concepts had already become blurred."

Featuring oil paintings and Chinese ink wash works in the first part of the book, Nomad Brush compiles the artist's works and summarizes his views on art. Although the abstract nature of his art makes his views a bit hard to understand, it's easy to appreciate his attempts to combine Chinese and Western art.

It's this combination that has attracted the attention of Chinese scholars and artists. The second part of the book contains critiques from these experts, while the third and fourth parts cover the artist's academic discussions and media interviews respectively.

"It is astonishing how his works draw our attention to his use of Chinese artistic concepts, which are fully on display in his works," Fan Di'an, president of The Central Academy of Fine Arts, writes in the preface of the book.

Brush with destiny

Bossiere's path toward ink wash painting began with a fascination for Chinese brushes, which are used to write as well as paint.

Bossiere told the Global Times that his favorite artist is Paul Klee, a Swiss-German artist who is crazy about art supplies.

"You can find almost all sorts of tools in his studio that he uses to create. Following his steps, I started to look for different kinds of brushes."

It wasn't long before he came across some Chinese brushes.

It may be hard to find a well-made Chinese brush in the West, but in China, where these brushes are an important symbol of traditional culture, there is an entire industry dedicated to them. This fact motivated Bossiere to head to China.

It was during his time in China that he discovered the different effects that a Chinese brush could have when used with xuanpaper, the traditional paper used in Chinese painting. The artist claimed that this opened a door on "a whole new world" for him.

While talking about his exploration of this "new world," Bossiere clarified that he didn't see this as traveling from a Western world to an Eastern one, but rather as entering a brand new art landscape that he is still exploring.

"This is just a part of my new world, I'm still creating it, but soon it will grow into a complete system," Bossiere said.

Making his own way

Although Bossiere claimed that he never formally studied traditional Chinese painting, Bossiere's wife Yu Shuo, an anthropologist and translator, told the Global Times at the launch event that he read up on the Six Principles of Chinese Painting, a classic painting theory established by art historian and critic Xie He during the Northern and Southern Dynasties (386-589). Additionally, he appreciates traditional artists such as Bada Shanren (1626-1705) and Shi Tao (1642-1707).

According to Yu, Bossiere has also spent time as a student of national artist Zeng Laide, vice president of China National Academy of Paintings, to learn techniques related to the Chinese brush. However, after several months he found his master's dogmatic and systematic approach too confining and decided to strike out on his own to explore his art

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