Distinguished from purely formalistic research methods,iconography pursues the interpretation of the hidden historical and humanistic connotations behind artworks,and is a discipline that combines visual text and cont...Distinguished from purely formalistic research methods,iconography pursues the interpretation of the hidden historical and humanistic connotations behind artworks,and is a discipline that combines visual text and content analysis methods.Combining the three stages of iconography proposed by Panofsky,the paper studies Shizeng Chen’s Viewing Paintings from the perspective of iconography,summarizing the formation and change of the images and contents of the artworks in the cultural system and civilization at that time,as well as their implied ideology,and analyzing the hidden spirit of the times and the historical significance behind them,so as to expound their iconographic significance.Through an in-depth discussion at three levels:pre-pictorial iconographic description,iconographic analysis,and iconographic interpretation,the facts and surface contents reproduced in the images,the traditional level of literary,artistic,and cultural knowledge,as well as the interpretation of the potential meanings are revealed.展开更多
In 1 933, Xu Beihong went to the Jeu de Paume Museum in Paris to hold an exhibition of contemporary Chinese painting, which contributed to the upsurge of studying in France in the 1930s. Lyu Sibai (1905-1973) was one ...In 1 933, Xu Beihong went to the Jeu de Paume Museum in Paris to hold an exhibition of contemporary Chinese painting, which contributed to the upsurge of studying in France in the 1930s. Lyu Sibai (1905-1973) was one of the important students. In the 1 920s, Lyu Sibai went to France to study. When studying at National School of Fine Arts of Lyon, he chose Puvis de Chavannes (1824-1898), a large-scale mural painter in Lyon with far-reaching influence in France, as his learning model. Through a large number of copies, he combined the ideal poetical scene of Chavannes with Oriental aesthetic appeal in his paintings.展开更多
This paper summarizes the painting artistry from three painters： Le Van Mien, Nam Son, and Thang Tran Phenh with the following notable characteristics： realism, impressionism, and contemporary humanism. It is visibl...This paper summarizes the painting artistry from three painters： Le Van Mien, Nam Son, and Thang Tran Phenh with the following notable characteristics： realism, impressionism, and contemporary humanism. It is visible from their works that these three artists have managed to define their ways to create arts reflecting the Vietnamese people in the period of transition between 19th and 20th Century Vietnam. Contemporary humanism has always been a great aspiration to any painter in any time period. During the life and work of painters, it is the visible themes of human beings in their work that best reflect how the artists perceive life. While considered to be the pioneering figures in Vietnamese oil painting registry of art, the three painters Le Van Mien, Nam Son, and Thang Tran Phenh all happened to favor the humanism theme in their oil painting works. There were two most commonly accepted explanations for this choice. First of all, most artistic geometry lessons for beginners often choose the human figure to be the starting model for study and creative development. Secondly, during the tram-century period when Eastern and Western cultures collided in Vietnam during the late 19th early 20th Century, humans and most notably the Confucianists were the most vivid storytellers of the day and age.展开更多
From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment...From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment of Chinese literati.As a diverse and comprehensive aesthetic art,landscape expressed material and spiritual culture doubly,the spiritual connotation of which was inextricably linked within ancient Chinese poetry and paintings.In addition,ancient Chinese poetry and paintings can be directly used in landscape composition,such as the widely used in plaques,inscriptions,couplets,poems and inscriptions,carved beams and painted pillars,painting with words and so on.Chinese literati integrated the ethereal realm of poetry and paintings into garden art,making landscape endow with poetic charm.Therefore,the landscape revealed the traces of literature and arts in aesthetic idea and taste,pushing Chinese garden to a higher aesthetic realm.This study pointed the right way to the future of modern landscape which advocated ecological and harmonious development.展开更多
随着我国三维动画产业的快速发展,产业对技术的要求水涨船高,满足各类需求的软件层出不穷,高职院校在学生教育中也应对照产业需求进行教授。Substance Painter是一款纹理材质绘制软件,支持基于物理渲染(Physically Based Rendering,PBR...随着我国三维动画产业的快速发展,产业对技术的要求水涨船高,满足各类需求的软件层出不穷,高职院校在学生教育中也应对照产业需求进行教授。Substance Painter是一款纹理材质绘制软件,支持基于物理渲染(Physically Based Rendering,PBR)技术,具有实时渲染的功能,让使用者可以在绘制窗口上实时观察贴图纹理变化,简化了制作模型的流程,因能够帮助使用者以更加高效的流程制作出高质量的材质,其在三维动画制作中广受从业者青睐,在三维动画场景教学中也具有重要的作用。文章以Substance Painter的功能与三维动画场景教学的概念为研究的切入点,探讨Substance Painter在动画场景教学中的应用。展开更多
Our recent archaeological expeditions in the Siuyu and Ughaugha wards of Singida eastern province have recuperated the very compelling rock engravings (petroglyphs) that weren’t reported in Tanzania before. Archaeolo...Our recent archaeological expeditions in the Siuyu and Ughaugha wards of Singida eastern province have recuperated the very compelling rock engravings (petroglyphs) that weren’t reported in Tanzania before. Archaeologically, Singida’s fame emanated from her endowments of rock paintings. However;during this research, we did discover rock cupules, gongs, and grinding hollows art together with rock paintings (pictographs) that have opened up a new avenue for rock art studies in Tanzania. We carried out intensive site surveys around four sites namely Siuyu, Ngaghe, Misimbwa and Ughaugha B with the aims of solely examining, recording, and documenting archaeological artifacts on the surface in order to research the cultural and behavioural patterns of early humans in the Singida region. Surveys also enabled us to locate suitable areas where future excavations would be established. In some cases, ethnographic enquiries were employed to get supplementary information on the present-day use of rock art sites. Besides, we interviewed local people to assess their general understanding of the presence of more sites or helping in locating, and discovering new sites. Through ethnographic inquiries, we discovered several sites with substantial number of rock engravings that were never document by any researcher. On top of that, this study reports other archaeological potentials of the region by describing in detail their significances for future research undertakings. Additionally, this paper article reports on the occurrence of Middle Stone Age (MSA) archaeological assemblages from the open-air site and the presence of grinding hollows and rock cupules (Siuyu complexes) in central Tanzania for the first time.展开更多
It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painter...It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painters of various periods in China.In this context,some representative paintings of Lijiang Painting School in different periods were collected in this paper as the research objects.The rewriting theory was applied in the study because Chinese readers and English readers have different cultural backgrounds and diverse thinking.Based on the rewriting theory,these representative paintings were translated and the explained in English.In the study,it is found that as an intersemiotic translation,the translation of the representative paintings of Lijiang Painting School should be focused on those target readers who can’t comprehend directly from the paintings.In addition,the artistic integrity should be considered first before details in paintings.Therefore,the overall perception of target readers gaining from the translations should be paid more attention to rather than metaphrase.The translation under the guidance of rewriting theory will be helpful for the target readers to understand the connotation of source culture with some cultural images of target readers.展开更多
Throughout Chinese history there have been many outstanding calligraphers and painters who have left behind numerous masterpieces.There have also been endless copycats,forgeries and ghost-creations bringing much troub...Throughout Chinese history there have been many outstanding calligraphers and painters who have left behind numerous masterpieces.There have also been endless copycats,forgeries and ghost-creations bringing much trouble and chaos to the appreciation and study of ancient Chinese calligraphies and paintings.Based on certain theories and practices of calligraphy and painting appraisals,this paper summarizes eight basic approaches to the appraisal of ancient Chinese calligraphies and paintings used to separate the true from the false.展开更多
This paper focuses on Chinese sources suggested for a narrative medicine(NM)program,called AfterWards.Dr Lauren Small established AfterWards in 2014 and has been coordinating it since out of the Pediatrics Department ...This paper focuses on Chinese sources suggested for a narrative medicine(NM)program,called AfterWards.Dr Lauren Small established AfterWards in 2014 and has been coordinating it since out of the Pediatrics Department at Johns Hopkins Medicine.In early 2019,she started giving a series of lectures and workshops about AfterWards to Chinese medical educators and clinicians in Beijing and Shanghai.She created an AfterWards Facilitator’s Guide based on Western-language sources for workshop participants.She also started to organize with Jiang Yuhong(Peking Union Medical College)a workshop for Chinese colleagues to be held at Johns Hopkins Medicine in October 2019.They invited the author to participate.The idea was hatched then to develop Chinese source materials following the AfterWards structure for an updated Facilitator’s Guide that Dr Small had initially written.A typical one-hour AfterWards session consists of a specific five-part structure:a literary text or artwork,an associated theme,discussion topics,a writing exercise,and shared reflection.While the content of the program always changes from session to session,the basic structure remains the same.This paper summarizes the types of Chinese sources and their related narrative-medicine themes that were originally selected for inclusion in the updated AfterWards Facilitator’s Guide intended for Chinese colleagues.These sources about coping with sick family members,aging,and illness ranged from the textual(classical Chinese poems on aging and diagnostic forms for training students)and visual(premodern Chinese paintings and murals of medical encounters)to the fictive(novels)and performative(contemporary Asian-American film in English and Chinese-language film and documentaries).展开更多
Visual order is one of the key factors influencing the aesthetic judgment of artworks.This paper reports the results of evaluating the influence of extracted features on visual order in Chinese ink paintings,using a r...Visual order is one of the key factors influencing the aesthetic judgment of artworks.This paper reports the results of evaluating the influence of extracted features on visual order in Chinese ink paintings,using a regression model.We use nine contemporary artists’paintings as examples and extract features related to the visual order of their paintings.A questionnaire survey is conducted to collect people’s rating scores on the visual order.Via regression modeling,our research analyzes the significance of each feature and validates the influences of the features on the visual order.展开更多
Aesthetics in China is different from that in the West which is centered on the logical approach to the concept of "beauty," and is highly typified by chewing, tasting, and pondering, a process full of intui...Aesthetics in China is different from that in the West which is centered on the logical approach to the concept of "beauty," and is highly typified by chewing, tasting, and pondering, a process full of intuition and contemplation. Instead of "beauty," "charm" is the central category in Chinese painting, presenting a different aesthetic system from that in the western world.展开更多
文摘Distinguished from purely formalistic research methods,iconography pursues the interpretation of the hidden historical and humanistic connotations behind artworks,and is a discipline that combines visual text and content analysis methods.Combining the three stages of iconography proposed by Panofsky,the paper studies Shizeng Chen’s Viewing Paintings from the perspective of iconography,summarizing the formation and change of the images and contents of the artworks in the cultural system and civilization at that time,as well as their implied ideology,and analyzing the hidden spirit of the times and the historical significance behind them,so as to expound their iconographic significance.Through an in-depth discussion at three levels:pre-pictorial iconographic description,iconographic analysis,and iconographic interpretation,the facts and surface contents reproduced in the images,the traditional level of literary,artistic,and cultural knowledge,as well as the interpretation of the potential meanings are revealed.
文摘In 1 933, Xu Beihong went to the Jeu de Paume Museum in Paris to hold an exhibition of contemporary Chinese painting, which contributed to the upsurge of studying in France in the 1930s. Lyu Sibai (1905-1973) was one of the important students. In the 1 920s, Lyu Sibai went to France to study. When studying at National School of Fine Arts of Lyon, he chose Puvis de Chavannes (1824-1898), a large-scale mural painter in Lyon with far-reaching influence in France, as his learning model. Through a large number of copies, he combined the ideal poetical scene of Chavannes with Oriental aesthetic appeal in his paintings.
文摘This paper summarizes the painting artistry from three painters： Le Van Mien, Nam Son, and Thang Tran Phenh with the following notable characteristics： realism, impressionism, and contemporary humanism. It is visible from their works that these three artists have managed to define their ways to create arts reflecting the Vietnamese people in the period of transition between 19th and 20th Century Vietnam. Contemporary humanism has always been a great aspiration to any painter in any time period. During the life and work of painters, it is the visible themes of human beings in their work that best reflect how the artists perceive life. While considered to be the pioneering figures in Vietnamese oil painting registry of art, the three painters Le Van Mien, Nam Son, and Thang Tran Phenh all happened to favor the humanism theme in their oil painting works. There were two most commonly accepted explanations for this choice. First of all, most artistic geometry lessons for beginners often choose the human figure to be the starting model for study and creative development. Secondly, during the tram-century period when Eastern and Western cultures collided in Vietnam during the late 19th early 20th Century, humans and most notably the Confucianists were the most vivid storytellers of the day and age.
文摘From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment of Chinese literati.As a diverse and comprehensive aesthetic art,landscape expressed material and spiritual culture doubly,the spiritual connotation of which was inextricably linked within ancient Chinese poetry and paintings.In addition,ancient Chinese poetry and paintings can be directly used in landscape composition,such as the widely used in plaques,inscriptions,couplets,poems and inscriptions,carved beams and painted pillars,painting with words and so on.Chinese literati integrated the ethereal realm of poetry and paintings into garden art,making landscape endow with poetic charm.Therefore,the landscape revealed the traces of literature and arts in aesthetic idea and taste,pushing Chinese garden to a higher aesthetic realm.This study pointed the right way to the future of modern landscape which advocated ecological and harmonious development.
文摘Our recent archaeological expeditions in the Siuyu and Ughaugha wards of Singida eastern province have recuperated the very compelling rock engravings (petroglyphs) that weren’t reported in Tanzania before. Archaeologically, Singida’s fame emanated from her endowments of rock paintings. However;during this research, we did discover rock cupules, gongs, and grinding hollows art together with rock paintings (pictographs) that have opened up a new avenue for rock art studies in Tanzania. We carried out intensive site surveys around four sites namely Siuyu, Ngaghe, Misimbwa and Ughaugha B with the aims of solely examining, recording, and documenting archaeological artifacts on the surface in order to research the cultural and behavioural patterns of early humans in the Singida region. Surveys also enabled us to locate suitable areas where future excavations would be established. In some cases, ethnographic enquiries were employed to get supplementary information on the present-day use of rock art sites. Besides, we interviewed local people to assess their general understanding of the presence of more sites or helping in locating, and discovering new sites. Through ethnographic inquiries, we discovered several sites with substantial number of rock engravings that were never document by any researcher. On top of that, this study reports other archaeological potentials of the region by describing in detail their significances for future research undertakings. Additionally, this paper article reports on the occurrence of Middle Stone Age (MSA) archaeological assemblages from the open-air site and the presence of grinding hollows and rock cupules (Siuyu complexes) in central Tanzania for the first time.
基金This thesis is funded by Program 2018xwyj22,2019cps10 and 2020XYYCXS002。
文摘It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painters of various periods in China.In this context,some representative paintings of Lijiang Painting School in different periods were collected in this paper as the research objects.The rewriting theory was applied in the study because Chinese readers and English readers have different cultural backgrounds and diverse thinking.Based on the rewriting theory,these representative paintings were translated and the explained in English.In the study,it is found that as an intersemiotic translation,the translation of the representative paintings of Lijiang Painting School should be focused on those target readers who can’t comprehend directly from the paintings.In addition,the artistic integrity should be considered first before details in paintings.Therefore,the overall perception of target readers gaining from the translations should be paid more attention to rather than metaphrase.The translation under the guidance of rewriting theory will be helpful for the target readers to understand the connotation of source culture with some cultural images of target readers.
文摘Throughout Chinese history there have been many outstanding calligraphers and painters who have left behind numerous masterpieces.There have also been endless copycats,forgeries and ghost-creations bringing much trouble and chaos to the appreciation and study of ancient Chinese calligraphies and paintings.Based on certain theories and practices of calligraphy and painting appraisals,this paper summarizes eight basic approaches to the appraisal of ancient Chinese calligraphies and paintings used to separate the true from the false.
基金supported by a Visiting Scholar Fellowship at Max Planck Institute for the History of Science, Berlin
文摘This paper focuses on Chinese sources suggested for a narrative medicine(NM)program,called AfterWards.Dr Lauren Small established AfterWards in 2014 and has been coordinating it since out of the Pediatrics Department at Johns Hopkins Medicine.In early 2019,she started giving a series of lectures and workshops about AfterWards to Chinese medical educators and clinicians in Beijing and Shanghai.She created an AfterWards Facilitator’s Guide based on Western-language sources for workshop participants.She also started to organize with Jiang Yuhong(Peking Union Medical College)a workshop for Chinese colleagues to be held at Johns Hopkins Medicine in October 2019.They invited the author to participate.The idea was hatched then to develop Chinese source materials following the AfterWards structure for an updated Facilitator’s Guide that Dr Small had initially written.A typical one-hour AfterWards session consists of a specific five-part structure:a literary text or artwork,an associated theme,discussion topics,a writing exercise,and shared reflection.While the content of the program always changes from session to session,the basic structure remains the same.This paper summarizes the types of Chinese sources and their related narrative-medicine themes that were originally selected for inclusion in the updated AfterWards Facilitator’s Guide intended for Chinese colleagues.These sources about coping with sick family members,aging,and illness ranged from the textual(classical Chinese poems on aging and diagnostic forms for training students)and visual(premodern Chinese paintings and murals of medical encounters)to the fictive(novels)and performative(contemporary Asian-American film in English and Chinese-language film and documentaries).
文摘Visual order is one of the key factors influencing the aesthetic judgment of artworks.This paper reports the results of evaluating the influence of extracted features on visual order in Chinese ink paintings,using a regression model.We use nine contemporary artists’paintings as examples and extract features related to the visual order of their paintings.A questionnaire survey is conducted to collect people’s rating scores on the visual order.Via regression modeling,our research analyzes the significance of each feature and validates the influences of the features on the visual order.
文摘Aesthetics in China is different from that in the West which is centered on the logical approach to the concept of "beauty," and is highly typified by chewing, tasting, and pondering, a process full of intuition and contemplation. Instead of "beauty," "charm" is the central category in Chinese painting, presenting a different aesthetic system from that in the western world.
