In modern Chinese style garden, the designer could express the emotions in garden creation to produce artistic conception with landscape plants, which could make the sightseers desire to integrate with the nature and ...In modern Chinese style garden, the designer could express the emotions in garden creation to produce artistic conception with landscape plants, which could make the sightseers desire to integrate with the nature and led to sympathizing with the concept, thereby motivating and arousing people＇s emotion to return to and close to nature. Through the 6 specific characteristics of ＂shape, color, aroma, shadow, sound and art＂ of landscape plants, some ways to build artistic conception in Chinese style garden were introduced in this study to provide references for the creation of artistic conception creation through senses in the future landscaping design.展开更多
E.E. Cummings＇ poems are popular for the whimsical form. This paper, taking his dual identity-both a poet and a painter-as a starting point, is making an analysis of his poem-picture and the relationship between his ...E.E. Cummings＇ poems are popular for the whimsical form. This paper, taking his dual identity-both a poet and a painter-as a starting point, is making an analysis of his poem-picture and the relationship between his poems and the concrete poem, and illustrating the main features of the whimsical form. It is the vivid images and the mood of picture that contribute to his poems the whimsical form.展开更多
In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an ar...In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.展开更多
基金Supported by the Soft Science Project of the Science and Technology Agency of Jiangxi Province(20133BBA10017)the Planning Project for Arts and Social Sciences of Jiangxi Province~~
文摘In modern Chinese style garden, the designer could express the emotions in garden creation to produce artistic conception with landscape plants, which could make the sightseers desire to integrate with the nature and led to sympathizing with the concept, thereby motivating and arousing people＇s emotion to return to and close to nature. Through the 6 specific characteristics of ＂shape, color, aroma, shadow, sound and art＂ of landscape plants, some ways to build artistic conception in Chinese style garden were introduced in this study to provide references for the creation of artistic conception creation through senses in the future landscaping design.
文摘E.E. Cummings＇ poems are popular for the whimsical form. This paper, taking his dual identity-both a poet and a painter-as a starting point, is making an analysis of his poem-picture and the relationship between his poems and the concrete poem, and illustrating the main features of the whimsical form. It is the vivid images and the mood of picture that contribute to his poems the whimsical form.
文摘In many of D. G. Rossetti＇s paintings, Elizabeth Siddal appears as a model. In real life, they formed a married couple, and the relatonship was not as idealistic as it might have been, between a muse-figure and an artist. After Elizabeth＇s death, Rossetti seemed to have been preoccupied with the ＂Lilith＂ theme in his painting and poetry and somehow he could not free himself from the haunting memory of the ＂wronged wife＂, the muse. This often found manifestation in his portrayal of the ＂femme fatale＂ images. Applying psychoanalysis to art-criticism and literary appreciation, this paper is an attempt to explore the relationship between a model and an artist, which both psychologically and aesthetically, seemed to be working beyond the former＇s death. Through a detailed analysis of the ＂Lilith＂ image in D. G. Rossetti＇s art, this paper has shown the coplexities of the artist＇s agony and anxiety over the image of a muse, a homely beloved--turned into a threatening ＂femme fatale＂, now distant, unknown, frightening yet fascinating, and mystified by death.
