Analysis of Viewing Paintings from the Perspective of Iconography

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.

Chinese Sources for AfterWards:From Premodern Poetry,Paintings,and Medical Texts to Modern Novels,Film,and Documentaries

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).

Aesthetic Utopia,Revolution in Daily Life and Identity Construction of Peasant Paintings

Peasant painting is a kind of painting created by farmers as creative subject,bearing rich significance.According to the historical development of peasant painting in reality,the types of meaning it carried could be divided into three types in chronological order:political ideological significance,folk life significance,and creative fashion significance.These three types of meaning gave rise to three types of aesthetic utopia,namely political aesthetic utopia,folk aesthetic utopia and fashion aesthetic utopia.The three types of aesthetic utopia reflected three forms of negation and revolution of daily life.What the political aesthetic utopia resisted was the alienation force of material desire.What folk aesthetic utopia resisted was the desire for material and the binding of political ideology.The fashion aesthetic utopia opposed the relatively narrow localism.Through these three forms of resistance,the public also constructed three identities:the interpreter of their own aesthetic interpretation of political ideology,the interpreter of their own aesthetic interpretation of real life from perspective of local feelings,and the interpreter of their own aesthetic interpretation of real life from perspective of the relationship between themselves and the world.

Research on the Development of Kindergarten-Based Curriculum with Tongyu New Year’s Paintings as Curriculum Resource

With the rapid development of modern society,the protection and inheritance of traditional culture are becoming increasingly important.As a part of Chinese traditional culture,Tongyu New Year’s Paintings,with their unique artistic style and rich cultural connotation,have become an excellent resource for exploring the beauty of tradition and inspiring creativity.Based on this,LH Kindergarten in Baicheng City,Jilin Province,has utilized Tongyu New Year’s Paintings as a curriculum resource to develop a school-based curriculum,“The Beauty of Tongyu New Year’s Paintings:Artistic Exploration for Teachers and Children.”Through diversified learning styles,teachers and children will learn about the history of New Year’s paintings,incorporate certain features of the paintings into their art activities,and cultivate creativity and the spirit of teamwork,so as to pass on the precious essence of traditional culture to children and carry forward the spirit of teamwork in their hearts.This program will lead children to experience the treasures of traditional culture and the rich connotations behind Chinese New Year’s paintings,laying a solid foundation for their growth and lifelong learning.

Discussion on the Relation between Garden Landscape Constitution and Ancient Chinese Poetry and Paintings

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.

Visual order of Chinese ink paintings

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.

Inspirations from Western Paintings Lyu Sibai and French Painter Puvis de Chavannes

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.

100 Most Beautiful Chinese Paintings: Fishing Village in an Autumn Clear Day and Retreat in the Qingbian Mountains

Editor's note: In cooperation with the Art Project by Google Cultural Institute, CCAD launched the online exhibition of " 100 Most Beautiful Chinese Paintings"? With CCAD as the leading academic team, the task force has selected 100 Chinese paintings from the millennia-long history of Chinese civilization;these works are not only the masterpieces best representing different stages of the Chinese paintin& but also true pictures of the society and history of different historical periods, ranging from the Stone Age to modern times.

100 Most Beautiful Chinese Paintings: Singing and Dancing

Editor's note:In cooperation with the Art Project by Google Cultural Institute,CCAD launched the online exhibition of "100 Most Beautiful Chinese Paintings".With CCAD as the leading academic team,the task force has selected 100 Chinese paintings from the millennia-long history of Chinese civilization;these works are not only the masterpieces best representing different stages of the Chinese painting,but also true pictures of the society and history of different historical periods,ranging from the Stone Age to modern times.

Rock Engravings and Paintings: Rethinking of the Cupules, Gongs, and Grinding Hollows of Siuyu and Ughaugha in Singida East (Tanzania)

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.

Cognitive Translation of Paintings of Lijiang Painting School Under the Guidance of Rewriting Theory

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.

A Comparative Study of Buddha Images Between the Dali Kingdom of China and the Ayutthaya Mural Paintings of Wat Khongkharam Thailand

This paper is based on the Indian Buddhism arts, especially Hinayana, and it gives a comparison between the mural paintings in Wat Khongkharam and the Buddha images in Dali Kingdom of China. This paper also aims at analysing the origin, the development, and the major premises of artists in Buddhism Arts. Furthermore, I would like to collect related materials and give a recreation as well.

Discussion on the Appraisal of Ancient Chinese Calligraphies and Paintings

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.

Discussion on the Inheritance and Development of Taoism＇s Simple Aesthetics Spirit in Contemporary Landscape Paintings

Nowadays, the landscape paintings dominated by Taoism＇ s thoughts are highly controversial among people in the aspects of theory and practice along with the constantly intensified collision and blending of the eastern culture and the western culture, and the interaction of arts. In the process of development from the tradition to the modem times, the original source of contemporary landscape paintings＇ artistic spirit should be traced, and the corresponding historical stages should be objectively and rationally analyzed, so that contemporary landscape paintings can better adapt to the present conditions, and then their real existence and creative development can be really realized.

Chinese “Red” Oil Paintings Sold Well in Auction Market

Chinese"red"art,which refer to artworks depicting revolutionary subjects,have seen excellent performance in the auction market since the beginning of this year.In particular,the celebration of the60th anniversary of the People’s Republic of China gave a new push to its price rise.

Reconstruction of Images-- Realistic Oil Paintings

Realistic oil painting and abstract oil painting is easel plastic arts. And it is realism of style and presentation. The current Chinese realistic oil painting is the product of local culture. The construction of Chinese oil paintings doesn＇t follow modem art, and it has its own soil and space of survival and development. It becomes the mainstream in the art pattern. In practical construction, it presents the characteristics that technical level develops towards simplification and reinforcement, the function of lyric ideogram of paintings and graphic description becomes weak, the real transformation of three-dimensional space is transferred to reconstruction of two degree and a half space and the pursuit for language form constitution relation of paintings. And it presents strong symbolization feature.

Application and Research of Huashan Rock Paintings in Cultural and Creative Products

Huashan rock painting is a representative of the rock art complex in Zuojiang River in Guangxi Zhuang Autonomous Region,and it is the largest and the most well preserved rock painting found in China,with a wide distribution of locations and the richest content of images.Due to its grand scale,spectacular scenes,and numerous images,it has become a typical representative of rock painting in Zuojiang River basin of Guangxi and is famous all over the world.In 1988,it was announced as a key cultural relics protection unit by the State Council,and in 2016,“Zuojiang River Huashan Rock Art Cultural Landscape”was successfully applied for the List of World Heritage,which makes it important to the inheritance and protection of Huashan rock paintings.In the past 10 years,with the successful holding of China-ASEAN Expo,the distinctive tourist products of Guangxi Zhuang nationality and the culture creative product industry have been vigorously developed and recognized by domestic and foreign markets.The culture of Guangxi Zuojiang Huashan rock painting can be presented in the form of cultural and creative products,so that Guangxi Zuojiang River Huashan rock art can be known by more people.