A Study on the Origin and Binding Form of Printing Edition of Qing Guangxu’s“Shanxi Tongzhi”

Shanxi Tongzhi,written during the reign of Emperor Guangxu in the Qing Dynasty,is a typical example of the printed version of ancient Chinese books.Through the textual research of relevant cultural and historical materials,combined with the research on the publishing background and the formal binding system,this paper shows that“Shanxi Tongzhi”during Qing Guangxu has four editions since the original edition was compiled and published in 1892.With development and changes,its content has been continuously deepened and expanded.The version inherits the ancient system and extensive collection,the printing form is rigorous,and the binding is simple and exquisite,which has essential historical research value.At the same time,the traditional and straightforward Chinese-style aesthetics of the ancient printed version of“Shanxi Tongzhi”published during Qing Guangxu has a very high reference value for the exploration and development of the new connotation of the modern book form.

Rb-Sr Dating of Pyrite and Quartz Fluid Inclusions and Origin of Ore-forming Materials of the Jinshan Gold Deposit, Northeast Jiangxi Province, South China

The Jinshan gold deposit is located in the Northeast Jiangxi province,South China,which related to the ductile shear zone.It contains two ore types,i.e.the alteration-type ore and the goldbearing quartz vein ore.Rb-Sr age dating is applied to both gold-bearing pyrite in the alteration-type ore and fluid inclusion in the gold-bearing quartz vein to make clear the time of the gold mineralization of the Jinshan deposit.Analytical results of this study yielded that the age of the alteration-type ore bodies is about 838±110Ma,with an initial 87Sr/86Sr value of 0.7045±0.0020.However,the age of the gold-bearing quartz vein-type ore is about 379±49Ma,and the initial 87Sr/86Sr is 0.7138±0.0011.Based on the age data from this work and many previous studies,the authors consider that the Jinshan gold deposit is a product of multi-staged mineralization,which may include the Jinninian,Caledonian,Hercynian,and Yanshanian Periods.Among them,the Jinninian Period and the Hercynian Period might be the two most important ore-forming periods for Jinshan deposit.The Jinninian Period is the main stage for the formation of alteration-type ore bodies,while the Hercynian Period is the major time for ore bodies of gold-bearing quartz vein type.The initial values of the 87Sr/86Sr from this study,as well as the previous isotope and trace element studies,indicate that the ore-forming materials mainly derived from the metamorphic wall rocks,and the ore-forming fluids mainly originated from the deep metamorphic water.

Application of Formative Assessment to Improve Art Students’Oral Eng lish Performance

This paper focuses on the advantages of formative assessment and explores a better application of it in English class to facilitate art students’learning and further improve their oral English performance.

Characteristics and origin of ore-forming fluids of Jinchangqing gold (copper) ore deposit (s) in Xiangyun, Yunnan Province

On the basis of results of the studies of primary fluid inclusions, and the hydrogen and oxygen isotope data, the authors concluded that the early-stage ore-forming fluid from the Jinchangqing gold (copper) ore deposit is a kind of sulfate type hot brine characterized by medium temperature and salinity, genetically related to the late-stage ore-forming fluid derived from an acidic and more reductive environment. However, the late-stage ore-forming fluid is a sort of low temperature and low salinity chloride-type hot brine which originated from a lower pressure, acidic and more oxidative environment. In general, the ore fluids were derived from the late-stage, or largely from the early-stage groundwater-derived meteoric water, which has a 12‰-17‰ heavier oxygen isotopic composition than the original rain water (δ{}+{18}O={-15.3‰}), and were formed during gold mineralization as a product of oxygen isotope exchange during the reaction between ore-forming fluid and wall rocks under a lower water/rock ratio condition.

Spiritual Language of Public Art in Architectural Form

To interpret spiritual language of architectural public art, architectural form was analyzed. Visual art space is based on spatial vision, artistic forms of point, line, surface and body are major visual elements of spatial form. Visual elements can be demonstrated in various forms, and even more diversified in the context of spatial design, interact with each other according to the form principle of beauty, and construct artistic forms of the space. Manifestation of the nature of public art also relies on visual elements, and the public aesthetic experience and feelings about architectural public art are expressed by visual elements.

Construction and Research of Formative Evaluation System in Fine Arts Classroom Teaching in Rural Primary Schools

With the popularization of quality education,the teaching evaluation of fine arts class in rural primary schools has become an important part of the new curriculum reform,which tests whether the teaching goals are effectively achieved.This paper takes the formative evaluation system of fine arts classroom teaching in rural primary schools as the research object,analyzes the research status of the formative evaluation system in rural primary schools,and expounds the theoretical basis and construction principles of the formative evaluation system.This paper constructs a formative evaluation system of fine arts classroom teaching in rural primary schools from the aspects of teachers and students inside and outside the classroom,teaching process and teaching effect,in order to effectively stimulate students'interest in learning and improve their aesthetic literacy.

Form Art and Function Analysis of Outdoor Stairs

Stairs are an important structural component in the architectural space design.It not only serves as a link between landscapes,but also a highlight of the space.Interpretation of stairs can be carried out from the form and function of stairs.This paper mainly takes the outdoor stairs as the research object,which is a building component to solve the vertical traffic function of the building,and selects some stairs designs worldwide for the analysis.Focusing on architectural design,the study investigates the expression form of each component of the outdoor stairs,and explores the diversified designs of the stairs.The paper urges designers to pay close attention to the problems of stair design in essence,to deeply understand the forms and methods of stair expression,to expand the breadth of architectural design thinking,to pursue in-depth understanding of the inherent laws of building generation,and to improve the quality of architecture.

Research on the Developmental Venation of Calligraphy Seal Cutting Art Form from the Perspectives of Chinese Traditional Culture and Art Form

In this paper, we conduct research on the developmental venation of the calligraphy seal cutting art form from the perspectives of Chinese traditional culture and art form. Seal cutting art of composition is a word or group of words arranged on the surface of the printing art, complex and changeable, is one of the most important part of the seal cutting art. Complete the creation of the group, must all have change, should show more creators on the composition of work force, therefore when designing should be repeated according to the text specifi c stroke, handwriting, the form and the relationship between word and word to design the structure of the right. Cultivating must practice the socialist core values and should be based on the basis of the Chinese excellent traditional culture, in carrying forward and greater China outstanding traditional culture in the process of makes it obtain nourishes the spirit and the value of the national identity. Our research provides the countermeasure for further modifi cation and optimization that is meaningful and necessary.

The Igbo Art and Cultural Heritage： Changing Time, Changing Form

The Igbo artists of all generations, from the pre-colonial to the post-colonial period, and from her traditional to contemporary art practices, have demonstrated the ability to express the material, as well as spiritual world of the lgbo cultural society. The fear of the unknown, uncertainties of the forest, river, mountain, seas, oceans, lightening, thunder, and the changing weather, brings her artists in constant contact with their spirituality. Over time, these artists have demonstrated their inherent ability to perceive, through their various art practices, the unseen, speak the unspoken, revere and share in the silent salient world of their ancestors, as well as preserve it for posterity. This paper presents an insight into the Igbo cultural society with reference to her indigenous and contemporary art practices. It identifies the trajectories of her art and cultural developments toward contemporary and global acceptance, and in addition attempts to identify her visual creative frontiers.

Evolution of art form of video animation design under the background of computer graphics system development

According to the development of discipline and teaching situation of computer graphics, computer graphics analysis in thecurriculum system, the reform of teaching contents and teaching methods, improve students＇ computer graphics theory teaching and practiceteaching effects by using limited time, adapt to the social demand for graphics software R ＆ D personnel. Motion design and production are ofgreat importance to film and television animation. This article mainly elaborates the present situation, the characteristic and the master method ofthe movie animation movement design and manufacture. Including the animation, motion animation design and production of organized, plannedproduction features that emphasize the characteristics of movement, exaggeration, force and rhythm, this paper presents the common problemsand solutions in the animation language, and the main differences between the animation design and performance in different forms of animation.Through the animation design and expression of the past and present situation analysis, looking forward to the future animation art movementdesign development. Aesthetic lens performance is the artistic pursuit of many film and television creators. Animation, as a highly hypotheticalart form, which is one of the distinctive artistic features of film and television animation, which is based on the limitation of the camera and is fullof expressive lenses.

My Favourite Art Form

My favourite art form is painting. However, I didn’t use to like art lessons because I could not draw very well.One day, I was playing with some paint as usual in Mrs. Li’s art lesson. I mixed the paint with water. As I took the brush away, I dropped some paint onto the paper.

Ancient Art Form Revisited

Chinese New Year painting exhibition reveals the beauty of folk art A CHINESE New Year painting exhibition has offered thousands of art lovers a traditional folk art feast in Beijing this past January and February.With the theme of "Door Gods," over 300 works of art were on display,representing various styles in China’s different regions. Woodcut prints,each a piece of special handmade folk art featuring auspicious subjects,are characterized by their concise lines, bright colors,and joyful scenes embodying people’s best wishes for the New Year.

试论“谐体”与“本体”的界定区分及其重要意义

汉语学界多年前就开始对谐音结构中的“谐体”和“本体”加以界定和区分。尽管前述概念早已用开,但论及何谓谐体何谓本体始终是各说各话。目前流行的代表性观点主要有三种,而无论着眼于谐音生成的起与讫,还是着眼于形式表现的常与变,还是着眼于语义层次的内与外,均无法保证这三种观点无往不利。文章通过同比喻和借代相关概念的比较,亦即通过同喻体和本体、代体和本体的比较,以及基于术语系统对称性和整齐性的考量,提出将对应于手段还是对应于目的作为区分谐体和本体根据的新观点,并对此作了充分验证。科学界定和正确区分谐体和本体,对谐音构成机理的探究、谐音研究的学术交流、谐音译注的理解领会、语文教学的顺利开展及语文词典的规范编纂,都有着重要的学术价值和实践指导意义。

社会使命与时代叙事:1949~1965年传统工艺美术的“人民性”

中华人民共和国成立初期,伴随手工业社会主义改造的展开,毛泽东《在延安文艺座谈会上的讲话》中提出的“人民性”文艺精神,在传统工艺美术中逐步落实:以“人民”身份登上政治舞台的手工艺人,成为工艺美术“人民性”的阐释主体;深入理解、深刻表现人民新生活,展现社会主义制度的优越性,从人民的需要出发“为人民”,成为工艺美术创作的社会使命;以“人民性”重建“民族性”,在“人民文化”中得以重构的“民族形式”,成为工艺美术叙事的时代元素。在“为人民”的社会需求中,作为“人民”的手工艺人,在实践中诠释了工艺美术的“人民性”,履行了工艺美术服务人民日常生活、展现社会主义优越性、塑造新时代人民形象的时代使命,也形成了融传统技艺、时代内容和民族意象于一体的新民族形式。

现代绘画艺术中的形式美与情感表达

现代绘画艺术注重形式美与情感表达的融合,通过独特的艺术语言和表现手法,传递艺术家的情感和思想。形式美和情感表达显示了现代绘画艺术的特点,艺术家运用形式元素和表现手法来表达情感,能更好地理解和欣赏现代绘画艺术。

数字技术影响下的漆艺成型工艺研究

成型工艺对于漆艺创作者将构思与观念转化为实体至关重要。作为第三次工业革命的核心,数字技术介入传统漆艺领域,引发了新的漆艺成型方式——数字化成型。数字化与手工制造的结合已成为当代漆艺成型的重要方法之一,也是推动漆艺成型向现代化、科技化发展的重要助力。文章在文献综述和案例分析的基础上,探讨数字技术对漆艺成型工艺的影响,为当代漆艺形式的多样化和复杂化提供了新的思路,为我国漆艺的持续发展提供新的动力,并促进了传统漆艺的保护和传承。

中国艺术的起源和文明的光耀

中国古老的天文学建构出中华宇宙观及礼仪制度,在文明的光耀中艺术由此起源。在科学认知与把握天地宇宙规律的基础上,远古人类社会的礼仪制度建立,即宇宙观的确立便是文明的产生。这也决定了中国艺术的起源,即艺术起源于中国古老的天文学。中国考古学给出的证据是文明化的物质形态,如岩画、陶器、刻符(文字)、玉器、图纹、陶石人像等,这些是中华文明产生的物质史证。书画同体证明的是绘画与文字是分殊同宗的两条支流,其依然起源于中华远古人类对宇宙规律的把握和运用。此后,中国艺术观依然反映了远古建立的宇宙观或时空观。

数字艺术新形态的再生研究

科技与艺术结合催生出数字艺术,而新技术、新媒介的变化促使数字艺术形态发生迭代与演进,数字艺术不论内容还是形式,都出现了融合再生。首先,数字艺术与新技术的发展密切相关,新技术驱动数字艺术内容的不断延续。其次,媒介自始至终影响着艺术形态的演变,新媒介主导下数字艺术形式将会得到进一步发展。最后,万物互联,赛博人参与的数字艺术审美活动也不断扩展。数字艺术融入人与机器之间的互动,艺术创作的过程考虑到个体的参与与审美体验的重要性,新技术逐渐消解艺术媒介的边界,呈现出媒介融合的趋向,数字艺术新形态重构了人们的审美交往模式。

数字媒体艺术语境下水墨动态的表现形式

习近平总书记指出“中华优秀传统文化是中华民族的根与魂”。为了更好地发扬、传承中华民族传统文化,艺术家应与时俱进,将数字媒体与传统文化相关联,使传统文化能在保留传统韵味的前提下得到长足的发展,满足当代人的审美需求。文章以数字媒体艺术语境下的水墨动态为切入点,尝试阐述数字媒体艺术的概念及特征,分析水墨动态的基本构成,探讨水墨动态的视觉特点,研究数字媒体艺术语境下水墨动态的表现形式,希望能起到一定的参考作用。