论王国维先生的古雅说

王国维提出的“古雅” ,是他在康德美学思想的基础上提出的一个新的美的范畴 ,其主要内容为 :在性质上 ,古雅是可爱玩而不可利用的 ,具有审美价值的独立自足性 ;在来源上 ,它是人力的、经验的、技术的 ;在存在范围上 ,它蕴涵于第二形式之中 ;当这些因素的纯粹与明晰程度足够使人忘物我之关系时 ,它们便具有了古雅的美 。

Lavinia Fontana＇s Cleopatra the Alchemist

The purpose of this essay is to identify and analyze one of Lavinia Fontana＇s mysterious paintings, traditionally entitled Cleopatra but here considered to be an inventive portrayal of an ancient scientist, Cleopatra the Alchemist （ca. third century BCE）. There are four parts to this study. The first is an iconographical analysis of the painting by Lavinia Fontana＇s Cleopatra the Alchemist （1605） at the Galleria Spada in Rome. The second section deals with the origin of the Egyptian Cleopatra the Alchemist as an Egyptian scientist and of her inventions, which include the alembic and the ouroboros motiE The third section consists of an emblematic comparison between the imagery in the painting and alchemical references. The last brief section considers problematic copies of the painting

The Metaphor of Narrative Woods in Eco＇s Work

This paper on Umberto Eco＇s contribution to the narration process, tries to identify the mainstream of modem studies of the text. I have tried to separate it as an entity, which together with other textual techniques and strategies shall create applicable theoretical messages towards an artistic creation. Eco＇s （1994） work itself, gives an opportunity to exemplify his theoretical claims. Using my examples, I have tried to show how a work of art can be rendered narrative, a subject to contemporary techniques and cooperativeness with the reader. One of the main issues I have explained is the time factor, seen from the linguistic and semiotic prospective. I consider that Eco＇s treatment of the relation between reality and fiction is of a semiotic nature. One of the main elements it contains （and definitely makes such a difference possible）, is the time factor. The delay （lingering） part treats works of art separately, and gives one of the ways to render artistic works readable, worth having an aesthetic value, in their way to transmitting a message to the audience.

The Radical Character of Art and the Pedagogical and Political Value of the ＂Sublime＂ in Adorno＇s Aesthetic Theory

The critical nature of artwork is owed, according to Adorno, to the fact that it opposes its assimilation by reason and that it does not yield to the imposition of its established principles. This character which Heidegger, too, through a paradoxical convergence with Adorno, and in opposition to Lukacs, recognizes as its ontological component, permits the work of art to represent a force of resistance to dominance in general, in the prospect of the salvation of a humanized society. As such, it makes possible the radical rejection of political and, pertinent to it, pedagogical activity, when converted into primarily authoritiarian activity. Such a responsibility does art assume, according to Adorno, when it represents a spirituality, which is embodied in exemplary fashion both in the work of art itself, making the experience of the sublime possible, and in the aesthetic of the sublime, which is concentrated intensively on whatever remains unapproachable through concepts. In this way, we could say that the aesthetic of the sublime is converted into ＂first philosophy,＂ in the sense that it provides the rule for every theoretical approach. Concurring with this reading of Adorno, we consider how the sublime, as shown in the context of his aesthetic theory, is governed, furthermore, by a paideutic principle of exceptional significance, which we must necessarily activate through aesthetic education, so that western man may understand that he must uproot himself from the nihilistic social context in which he lives, rupturing the delusion of his omnipotence. In a world governed by a permanent crisis of democracy in public and private life, since the weakening of political imagination unites with the retreat from political ethos and an generalization of the unprecedented will for dominance, we consider this aesthetic theory to be exceptionally essential and useful to us both as pedagogical theory and as political theory, since it allows us to understand that the experience of the sublime through art is in opposition to this condition of destruction, and indeed represents the ideal of justice.

The development and research of art innovation in artistic practice

＂Innovation＂ is the natural law of art creation, art works, and art development, is a major issue of art theory, aesthetic theory and art practice. This paper focus on the theme of artistic innovation, analyzes the meaning of art innovative, delves into the type and the level of value of art innovation, and proposes some Reflections on artistic innovation.

Fine Artists ofPanay： A Pioneering Study of Their Works and Lives

This paper documents the works and lives of selected visual artists from Panay provinces. The selection of the artist was based on meeting at least two of the following criteria： （1） The artist should have a major award（s） in any prestigious national fine arts contests which included the MADE （Metrobank Art and Design Excellence）, A.AP （Art Association of the Philippines）, Petron, GSIS （Government Service Insurance System）, and the Biennial Dumaguete Open Terra Cotta Festival contests; （2） He/she should have had one-man or two-man exhibitions at reputed galleries; and （3） He/she should be active in the local art scene, meaning, a continuous schedule of exhibits during the past three years. Mostly self-taught, the artists＇ artistic inclinations manifested early in childhood when they discovered their talents; this led to their resolve to seriously pursue with enduring fervor their art careers. Their sense of calling amid a less ideal art scene did not give way to the voice of conformity but they have maintained a clear sense of identity and destiny as inspiring art icons in their milieu. The analyses of the works of these artists lead to the observation of the Panayanon artistic tradition. Aside from the formalist descriptions of the artworks＇ features, the analyses go further into the contextual and evaluative levels that reveal a highly nuanced meaning and semantic richness of the works. The paintings and sculptural pieces of the artists are expressions of their true ＂voices＂, fresh innovations that have earned accolades even if these innovations are untamed by the academe

＂Charme des Impossibilit6s＂： Variety and Unity in Olivier Messiaen＇s Technique de Mon Langage Musical

In 1944, Messiaen offered a systematic description of his musical language in a text entitled Technique de Mon Langage Musical, an exposition of his compositional techniques that represents one of the most important accounts of his musical thoughts. This text is important not only in understanding his methods of composition, but also in comprehending the multiplicity and variety of his aesthetic ideas. In spite of the large variety of sources that inspire it, in Technique, Messiaen presents a compositional thought that, at least in part, proves to be substantially cohesive The purpose of this paper is to describe the content of the Technique, with particular attention to aspects concerning rhythm and harmony, which are the elements that received Messiaen＇s deepest attention and which also had the greatest influence on later 20th-century composers

The ＂Sacred Marriage＂ of Beauty and Eros and Its Anthropological Condition

Art composed of categories of the scale of beauty transmutes the aesthetic into eroticism, such that as an element of life it may be displayed as a love relationship between beauty and eros, the knowledge of which is referenced as early as Plato＇s philosophical contemplations. Plato characterizes eros in the Symposium and the Phaedrus as an invincible psychic force, capable, taking into account the fallibility of man, of compelling him toward the acquisition of that which will entail his completion. Eros, considered thusly, contributes to human ontogeny. Plotinus, who experiences beauty as eros and terror accompanied by pleasure, to the same degree will characterize it as the outcome and consequence of an intellectually and morally superior human soul. By this definition, the greatness of art lies in the fact that it compels the souls of men to eros for its spiritual content, the true nature of a work of art being the idea. As such, as long as it is not easy to know if this beauty exists as an ontologically, gnoseologically, and aesthetically idealized entity, so much the more we consider that we cannot entirely prove Freud＇s erotic theory of primordial and desirable phantasms, which seems to differ only slightly from the Platonic theory, or from Jung＇s theory of archetypes, as it seems not to recognize to an appropriate degree individual human experience. On the contrary and in agreement with the Lacanian theory on eros, in the environment of which eros is directed towards the other, so like it, it emerges in the life of the other, rupturing and reformulating it, we consider that each of us, in reality, in the erotic phenomenon, meets the other, and, behind him, our own self, which, enchanted by all that we sense that the other represents, rates all his characteristics as charmingly beautiful, because they have the privilege of coinciding, or at least of converging towards the aesthetic, entirely unique foundation of our self.

The Lack of the Frame and Transformations of the Concept of Art

The frame should not only be regarded as an external physical framework of artworks, but also the boundary mark of identifying the art and reality. Within classical space contained by the frame, the values of reason, order, and clarity work to achieve a coherent picture space uniting, through the agency of the frame and the space represented with the space occupied by the beholder. The resistance on ＂frame despotism＂ and ＂dismemberment＂ of picture by avant-garde artist exposes the illusory reality created by perspective and verisimilitude, which deconstructs the false aesthetic relationship of frame and picture. Analysis on frame by modernist art builds its art value