Conceptual art is one of the twentieth century art movements that has gained popular attention in the contemporary artworld. It has received much scholarly prominence in the Western world, and perceived as an emergent...Conceptual art is one of the twentieth century art movements that has gained popular attention in the contemporary artworld. It has received much scholarly prominence in the Western world, and perceived as an emergent art of European origin. What has been given little or no scholarly attention is the African essence of root of conceptual art movement. This article addresses the historical epochs of conceptual art in Africa and delves into the critical question of whether or not conceptual art is an emergent art in Africa. With the help of the images of African artworks, this article attempts to fmd visual answers by examining the art-historical account of the art through visual analysis in simple narrative format in telling the African side of the story. It concludes that the adoration and idolization of Marcel Duchamp as the father of conceptual art is contestable since the art was many centuries old in Africa before the twentieth century artists began to practice it in the West. Duchamp＇s attempt at dematerialization of art, and showing distaste to the traditional aesthetics of Western art at the time through conceptual exploration had been in practice in African art and, therefore, not an invention.展开更多
从古代到现代,从现代再到后现代,人类文化和艺术以不以个人意志为转移的规律发展变化着,正如邓小平所说“发展是硬道理”（Deve1opment is absolute）。我们知道,继承与创新（遗传与变异）的矛盾始终为人类艺术所共同面临,然而,在不同...从古代到现代,从现代再到后现代,人类文化和艺术以不以个人意志为转移的规律发展变化着,正如邓小平所说“发展是硬道理”（Deve1opment is absolute）。我们知道,继承与创新（遗传与变异）的矛盾始终为人类艺术所共同面临,然而,在不同历史时期尤其在不同民族的艺术之间,矛盾双方孰强孰弱却不尽相同,这种不同也是形成各民族艺术精神及其差别的原因之一。中国是一个注重守旧、注重师古的民族,以致造就了几千年不变、辉煌但却僵化、完美但却没落的封建文化,并形成了鲁迅先生所指出的“搬动一把椅子也要流血”的可怕的禁锢保守现象。与此相反,酉方文化以求变、创新为主旨,千变万化、奇异谲诡成为西方艺术特别是西方现代艺术的显著特色。中西艺术各有千秋,本无优劣高下之别,但不同艺术观念（意识形态）却会导致不同民族之间彼此不同的生存状态,导致国家之间生存竞争能力的强弱之别。正因为如此,反叛传统,学习西方成为一百多年来中国文化的主旋律,成为中华民族救亡国存的必由之道。我们认为,反叛传统不是抛弃文化遗产——我们强烈谴责阿富汗塔里班悍然炸毁巴米扬大佛的野蛮暴行;而继承传统又不是制造假古董——我们必须创造不同于前人的崭新的艺术。在我们看来,吴冠中在当代中国画坛上的意义。展开更多
一、简介。这篇东西的起源是因为经常看到网上流行的所谓“东西比较”，例如马其顿与秦.罗马与汉等等。虽然有人认为这类讨论属于毫无意义的行为，不过我对此一直颇有兴趣，所谓Art of war研究。无非是由历史事实总结出一般规律，然后...一、简介。这篇东西的起源是因为经常看到网上流行的所谓“东西比较”，例如马其顿与秦.罗马与汉等等。虽然有人认为这类讨论属于毫无意义的行为，不过我对此一直颇有兴趣，所谓Art of war研究。无非是由历史事实总结出一般规律，然后用这个总结出来的理论来进一步分析具体问题，展开更多
The Western Abstract Painting has a dynamic, constantly-changing, and non-entity beauty. It focuses on the visual process, artistic feelings, and beauty of form as its creative core. The Chinese Cursive Calligraphy ...The Western Abstract Painting has a dynamic, constantly-changing, and non-entity beauty. It focuses on the visual process, artistic feelings, and beauty of form as its creative core. The Chinese Cursive Calligraphy （草书）, on the other hand, aims to create a vibrant beauty resulting from sweeping wrap-around and continuous changes. It also pays attention to the personality stretch, the lyrical and expressive, and the abstract beauty within images. In both arts, there is a rhythmic beauty running through the works, allowing the charm of lines to fully express the artist＇s creative thoughts and feelings, making them stand out impressively.展开更多
Both mathematics and art consistently reflect the spirit of the age in which they arise. Consequently, the mathematics in China and in Korea during the Joseon Dynasty, in contrast to the deductive western mathematics,...Both mathematics and art consistently reflect the spirit of the age in which they arise. Consequently, the mathematics in China and in Korea during the Joseon Dynasty, in contrast to the deductive western mathematics, does not function on the basis of proving something deductively. Rather, the Chinese mathematics from this period was based upon making observations about problems by combining patterns with specific examples. In this paper, this author attempts to compare the differences in mathematics between the East and the West, and also to study the different perspectives in art between the East and the West, in order to identify the relationship between civilization, culture and the spirit of the age. This will explain the reason why the Western ＇One Point Perspective＇ had spread in China and the Chosen Dynasty, yet could not be permanently established in these countries.展开更多
During A.D. 776 to 848, Dunhuang was occupied and ruled by Tubo political power, a special painting style, spread via the Tibetan silk road, appeared at same time, and which is related to the art style of India and Ne...During A.D. 776 to 848, Dunhuang was occupied and ruled by Tubo political power, a special painting style, spread via the Tibetan silk road, appeared at same time, and which is related to the art style of India and Nepal; It is worth noting that the Tibetan painting style during this period have no relative unified model actually, especially the mural and the silk painting preserved in Library Cave, the painting style of which had obvious difference between each other, and the reason behind this is very hard to explain. Until the late Tang Dynasty （A.D. 848-907）, sheer Pala style of eastern India appeared in Dunhuang, however, whether those East India painting style still belong to Tubo remain for further discussion. The art style of East India appeared in Dunhuang during from the late Tang Dynasty to the early period of Northern Song Dynasty, probably propagated from the ways other than Tubo, and this art style was deemed as the one has nothing to do with Tibet＇s art in this study.展开更多
TEN years ago the notion that Chinese contemporary art could so much as raise a flicker of interest in foreign climes - never mind drive Western cultural pundits into a delirious frenzy - would have been dismissed a...TEN years ago the notion that Chinese contemporary art could so much as raise a flicker of interest in foreign climes - never mind drive Western cultural pundits into a delirious frenzy - would have been dismissed as pure fancy. At that time Chinese art was assumed to be nothing more than classical calligraphy,展开更多
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 easter...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.展开更多
Through the comparative analysis of freehand brushwork oil painting and expression oil painting, the similarities and differences between the two sides are understood. As a result, when the characteristics of the two ...Through the comparative analysis of freehand brushwork oil painting and expression oil painting, the similarities and differences between the two sides are understood. As a result, when the characteristics of the two sides are effectively known, the blend and complementation of the two sides are realized, and also the space for expressing both freehand brushwork oil painting and expression oil painting is expanded, which are not the simple blend and mix of ＂freehand brushwork＂ and ＂expression＂ .展开更多
Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese ...Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.展开更多
MUSIC education in China and the West may differ in approach, but when combined are complementary in outcome. China＇s music programs excels in training young artists under 18, while the Western focus is on musicians ...MUSIC education in China and the West may differ in approach, but when combined are complementary in outcome. China＇s music programs excels in training young artists under 18, while the Western focus is on musicians no younger than 18. This explains why so many outstanding Chinese musicians study at, and are welcomed by, Western schools after receiving their initial training in China.展开更多
文摘Conceptual art is one of the twentieth century art movements that has gained popular attention in the contemporary artworld. It has received much scholarly prominence in the Western world, and perceived as an emergent art of European origin. What has been given little or no scholarly attention is the African essence of root of conceptual art movement. This article addresses the historical epochs of conceptual art in Africa and delves into the critical question of whether or not conceptual art is an emergent art in Africa. With the help of the images of African artworks, this article attempts to fmd visual answers by examining the art-historical account of the art through visual analysis in simple narrative format in telling the African side of the story. It concludes that the adoration and idolization of Marcel Duchamp as the father of conceptual art is contestable since the art was many centuries old in Africa before the twentieth century artists began to practice it in the West. Duchamp＇s attempt at dematerialization of art, and showing distaste to the traditional aesthetics of Western art at the time through conceptual exploration had been in practice in African art and, therefore, not an invention.
文摘从古代到现代,从现代再到后现代,人类文化和艺术以不以个人意志为转移的规律发展变化着,正如邓小平所说“发展是硬道理”（Deve1opment is absolute）。我们知道,继承与创新（遗传与变异）的矛盾始终为人类艺术所共同面临,然而,在不同历史时期尤其在不同民族的艺术之间,矛盾双方孰强孰弱却不尽相同,这种不同也是形成各民族艺术精神及其差别的原因之一。中国是一个注重守旧、注重师古的民族,以致造就了几千年不变、辉煌但却僵化、完美但却没落的封建文化,并形成了鲁迅先生所指出的“搬动一把椅子也要流血”的可怕的禁锢保守现象。与此相反,酉方文化以求变、创新为主旨,千变万化、奇异谲诡成为西方艺术特别是西方现代艺术的显著特色。中西艺术各有千秋,本无优劣高下之别,但不同艺术观念（意识形态）却会导致不同民族之间彼此不同的生存状态,导致国家之间生存竞争能力的强弱之别。正因为如此,反叛传统,学习西方成为一百多年来中国文化的主旋律,成为中华民族救亡国存的必由之道。我们认为,反叛传统不是抛弃文化遗产——我们强烈谴责阿富汗塔里班悍然炸毁巴米扬大佛的野蛮暴行;而继承传统又不是制造假古董——我们必须创造不同于前人的崭新的艺术。在我们看来,吴冠中在当代中国画坛上的意义。
文摘The Western Abstract Painting has a dynamic, constantly-changing, and non-entity beauty. It focuses on the visual process, artistic feelings, and beauty of form as its creative core. The Chinese Cursive Calligraphy （草书）, on the other hand, aims to create a vibrant beauty resulting from sweeping wrap-around and continuous changes. It also pays attention to the personality stretch, the lyrical and expressive, and the abstract beauty within images. In both arts, there is a rhythmic beauty running through the works, allowing the charm of lines to fully express the artist＇s creative thoughts and feelings, making them stand out impressively.
文摘Both mathematics and art consistently reflect the spirit of the age in which they arise. Consequently, the mathematics in China and in Korea during the Joseon Dynasty, in contrast to the deductive western mathematics, does not function on the basis of proving something deductively. Rather, the Chinese mathematics from this period was based upon making observations about problems by combining patterns with specific examples. In this paper, this author attempts to compare the differences in mathematics between the East and the West, and also to study the different perspectives in art between the East and the West, in order to identify the relationship between civilization, culture and the spirit of the age. This will explain the reason why the Western ＇One Point Perspective＇ had spread in China and the Chosen Dynasty, yet could not be permanently established in these countries.
文摘During A.D. 776 to 848, Dunhuang was occupied and ruled by Tubo political power, a special painting style, spread via the Tibetan silk road, appeared at same time, and which is related to the art style of India and Nepal; It is worth noting that the Tibetan painting style during this period have no relative unified model actually, especially the mural and the silk painting preserved in Library Cave, the painting style of which had obvious difference between each other, and the reason behind this is very hard to explain. Until the late Tang Dynasty （A.D. 848-907）, sheer Pala style of eastern India appeared in Dunhuang, however, whether those East India painting style still belong to Tubo remain for further discussion. The art style of East India appeared in Dunhuang during from the late Tang Dynasty to the early period of Northern Song Dynasty, probably propagated from the ways other than Tubo, and this art style was deemed as the one has nothing to do with Tibet＇s art in this study.
文摘TEN years ago the notion that Chinese contemporary art could so much as raise a flicker of interest in foreign climes - never mind drive Western cultural pundits into a delirious frenzy - would have been dismissed as pure fancy. At that time Chinese art was assumed to be nothing more than classical calligraphy,
文摘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.
文摘Through the comparative analysis of freehand brushwork oil painting and expression oil painting, the similarities and differences between the two sides are understood. As a result, when the characteristics of the two sides are effectively known, the blend and complementation of the two sides are realized, and also the space for expressing both freehand brushwork oil painting and expression oil painting is expanded, which are not the simple blend and mix of ＂freehand brushwork＂ and ＂expression＂ .
文摘Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.
文摘MUSIC education in China and the West may differ in approach, but when combined are complementary in outcome. China＇s music programs excels in training young artists under 18, while the Western focus is on musicians no younger than 18. This explains why so many outstanding Chinese musicians study at, and are welcomed by, Western schools after receiving their initial training in China.
