研究勋伯格的学者几乎都把他的创作划分为"调性时期"、"无调性时期"和"十二音时期";也有将1933年后的作品另列为"美国时期"的。其实,勋伯格本人将无调性时期和十二音时期看作是同一时期,就风...研究勋伯格的学者几乎都把他的创作划分为"调性时期"、"无调性时期"和"十二音时期";也有将1933年后的作品另列为"美国时期"的。其实,勋伯格本人将无调性时期和十二音时期看作是同一时期,就风格而论,两者并无区别,十二音技法只是保证无调性风格的一种手段,是对同一风格的逐步完善的过程而已。笔者试图通过勋伯格的《风格与观念》(Style and Idea)中的有关论述,来证明他的这一观点。展开更多
On linen canvas and with oil pigment, He Duoling creates lyrical depictions of youth, women, villages, frontier communities, life and crows, expressing sorrows and confusions deep in his mind. It is impressive that he...On linen canvas and with oil pigment, He Duoling creates lyrical depictions of youth, women, villages, frontier communities, life and crows, expressing sorrows and confusions deep in his mind. It is impressive that he has removed his passion from paintings with his chisel and only left cold and distorted images for viewers to grief and ponder over. That is really the wisdom of Sichuan natives.展开更多
My camera lens is so illusionary that the authenticity of the Forbidden City is fading away. And my perspective is as narrow as an awl which slowly stings into the profundity of history... —Li
Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, Engl...Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China,展开更多
文摘研究勋伯格的学者几乎都把他的创作划分为"调性时期"、"无调性时期"和"十二音时期";也有将1933年后的作品另列为"美国时期"的。其实,勋伯格本人将无调性时期和十二音时期看作是同一时期,就风格而论,两者并无区别,十二音技法只是保证无调性风格的一种手段,是对同一风格的逐步完善的过程而已。笔者试图通过勋伯格的《风格与观念》(Style and Idea)中的有关论述,来证明他的这一观点。
文摘On linen canvas and with oil pigment, He Duoling creates lyrical depictions of youth, women, villages, frontier communities, life and crows, expressing sorrows and confusions deep in his mind. It is impressive that he has removed his passion from paintings with his chisel and only left cold and distorted images for viewers to grief and ponder over. That is really the wisdom of Sichuan natives.
文摘My camera lens is so illusionary that the authenticity of the Forbidden City is fading away. And my perspective is as narrow as an awl which slowly stings into the profundity of history... —Li
文摘Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China,
