Thematic art creation is a product of a complex social,historical,and cultural context,and it fills an important position in the development of modern and contemporary Chinese art history.Since the 21st century,with t...Thematic art creation is a product of a complex social,historical,and cultural context,and it fills an important position in the development of modern and contemporary Chinese art history.Since the 21st century,with the introduction and implementation of a series of national major thematic art creation projects,thematic art creation has gradually moved from a marginal position in art history to a core area,becoming a visual narrative method with independent aesthetic value.Moving towards cultural consciousness and carrying cultural self-confidence,thematic art creation requires the guidance,standardization,and support of related art theories.The lack and absence of theoretical research restricts the development of thematic art creation.This study combs through the research results and literature materials of thematic art creation since the new century as well as studies the aesthetic education value of thematic art creation image narration.展开更多
In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions...In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions of the Mulian story in these countries, and comparison shows close proximity of several such works. All of them are related to the narrative texts that represent elaboration of the originally scriptural story （it originated in the apocryphal Buddhist scripture that circulated in China） in vernacular languages. Images of the Mulian story in the countries of East Asia had diverse nature： they could appear as separate scenes in devotional religious paintings, multi-scene handscrolls, and illustrations in the manuscripts and editions. I argue that the subject of Mulian rescuing his mother was of primary importance in the popularization of Buddhist ideas among different layers of society. The related images were used for both storytelling and reading practices and helped different audiences to comprehend the Mulian story.展开更多
文摘Thematic art creation is a product of a complex social,historical,and cultural context,and it fills an important position in the development of modern and contemporary Chinese art history.Since the 21st century,with the introduction and implementation of a series of national major thematic art creation projects,thematic art creation has gradually moved from a marginal position in art history to a core area,becoming a visual narrative method with independent aesthetic value.Moving towards cultural consciousness and carrying cultural self-confidence,thematic art creation requires the guidance,standardization,and support of related art theories.The lack and absence of theoretical research restricts the development of thematic art creation.This study combs through the research results and literature materials of thematic art creation since the new century as well as studies the aesthetic education value of thematic art creation image narration.
文摘In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions of the Mulian story in these countries, and comparison shows close proximity of several such works. All of them are related to the narrative texts that represent elaboration of the originally scriptural story （it originated in the apocryphal Buddhist scripture that circulated in China） in vernacular languages. Images of the Mulian story in the countries of East Asia had diverse nature： they could appear as separate scenes in devotional religious paintings, multi-scene handscrolls, and illustrations in the manuscripts and editions. I argue that the subject of Mulian rescuing his mother was of primary importance in the popularization of Buddhist ideas among different layers of society. The related images were used for both storytelling and reading practices and helped different audiences to comprehend the Mulian story.
