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(b Berlin, Oct 15, 1827; d Berlin, Sept 15, 1908).

German architect, archaeologist and writer. He was one of the leading figures of Berlin’s architectural establishment in the latter half of the 19th century. On completion of his studies in 1852, he was given the prestigious post of Bauleiter at the Neues Museum in Berlin, designed by Friedrich August Stüler. He subsequently became a lecturer and in 1861 a professor of architectural history at the Bauakademie in Berlin. Many of his church buildings used medieval motifs and elements, for example the Christuskirche (1862–8) in Berlin and the Elisabethkirche (1869–72) in Wilhelmshafen. He followed Karl Bötticher in his attempts to merge medieval and classical elements, best illustrated in his design for the Thomaskirche (competition 1862; built 1865–70), Berlin. There, Adler used Gothic structural devices embellished with rich Renaissance detail, a tendency that was also present in many of the entries for the Berlin Cathedral competition (...

[Edhem, Osman HamdiHamdi Bey]

(b Istanbul, Dec 30, 1842; d Eskihisar, Gebze, nr Istanbul, Feb 24, 1910).

Turkish painter, museum director and archaeologist. In 1857 he was sent to Paris, where he stayed for 11 years, training as a painter under Gustave Boulanger and Jean-Léon Gérôme. On returning to Turkey he served in various official positions, including two years in Baghdad as chargé d’affaires, while at the same time continuing to paint. In 1873 he worked on a catalogue of costumes of the Ottoman empire, with photographic illustrations, for the Weltausstellung in Vienna. In 1881 he was appointed director of the Archaeological Museum at the Çinili Köşk, Topkapı Palace, in Istanbul. He persuaded Sultan Abdülhamid II (reg 1876–1909) to issue an order against the traffic in antiquities, which was put into effect in 1883, and he began to direct excavations within the Ottoman empire. As a result he brought together Classical and Islamic objects for the museum in Istanbul, including the Sarcophagus of Alexander, unearthed in Sidon in ...

[Chin.: “New Year pictures”]

Genre of popular woodblock prints known for their bold colors and folkloric content. Prior to the mid-20th century these prints were widely used throughout China to decorate the home, as calendars, and to conduct domestic rituals in advance of the lunar New Year festival.

The most common production method for nianhua uses three to five relief printing blocks. In this technique an outline block is used to print an image in monochrome, and additional blocks are then used to apply individual colors. Finally the prints may be touched up by hand. In some examples all colors are applied using brushes. The subject matter of nianhua is diverse. Although the variety of gods appearing in nianhua is virtually unlimited, domestic deities such as the Stove God, Door God, and the God of Wealth are common. The image of the Stove God in particular was believed to embody the deity and protect the household. The act of burning the print at the end of the year was traditionally intended to send the deity to Heaven, and its subsequent replacement was to welcome him back to the home. Themes of wealth, good fortune, and scholarly success leading to official promotion are popular, as are images relating to fertility and the birth of male children. Narratives scenes drawn from historical classics and the theater are among the most widely produced items in the genre. More rarely, ...

(b Yangzhou, 1895; d Paris, 1977).

Chinese painter and sculptor. Pan graduated from the Ecole des Beaux-Arts in Paris and undertook further studies at the Accademia in Rome before bringing back her artistic training to China. She came from a poor family and was sold to a brothel in Anhui by her uncle following her parents’ death. Some sources suggest that she was a servant in the brothel, while others claim that she was forced into prostitution and attempted suicide more than once. Life improved when she met Pan Zanhua (?1885–1960), an open-minded government official. She eventually married him, adopting his surname, and moved to Shanghai. He recognized his wife’s artistic talent and encouraged her to study painting.

Pan acquired painting skills at the Shanghai Art Academy under the tutelage of the pioneering modernist Liu Haisu. Like many of her contemporaries, she in time found the domestic resources inadequate and went abroad to Europe to solidify her oil painting training and learn to sculpt. Nevertheless, she was not impressed with the academic methods taught at the Ecole des Beaux-Arts and preferred styles outside the formal system, especially Fauvism whose leading exponent was Henri Matisse. Her works from this early period already displayed a penchant for bright colors, bold brushworks, acute observations, and female figures, including women of different races and classes....