关于现代工业设计和中国传统民间工艺的比较

文章从主导现代工业设计生产的原动力出发分析其存在的问题,找出利益驱使造成违背原则的现象,以中国传统民艺为参照,提出以中国传统民艺功能至上、尊重自然、尊重劳动等精神引领当代工业的解决思路。

Complete Collection of Traditional Chinese Arts and Crafts(Zhongguo chuantong gongyi quanji中国传统工艺全集):A Work of Ingenuity

In 1996,the Institute for the History of Natural Sciences of the Chinese Academy of Sciences began work on the Complete Collection of Traditional Ounese Arts and Crafts(Zhongguo chuantong ongyi quanji中国传统工艺全集).In 2016,Elephant Press published this twenty-volume magnum opus under the chief editorship of Lu Yongxiang路甬祥.This rich and informative book series systematically details traditional arts and crafts in over ten main categories that demonstrate Chinese scholars'mastery of fields such as lacquerware,ceramics,metal crafts,machinery,spinning and weaving,dyeing,brewing,processing of traditional Chinese materia medica,papermaking and printing,sculpting,and armor restoration.The authors are well versed in traditional Chinese arts and crafts and have the pertinent academic credentials,elevating research on the subject to a new level and breadth.However,the Complete Collection has not yet covered all significant arts and crafts,and the cultural implications have still to be explored.

传统艺论视野下当代华语电影的节奏生成

节奏是电影艺术的重要表现。艺术综合性使得电影节奏存在多重维度的表达,丰富的节奏营造不同的电影意韵。电影节奏与创作理念存在紧密联系。在不同美学观念下,电影节奏的质感与感知都不尽相同。受建构中国电影学派及共建“一带一路”审美话语之号召,本文尝试从中国传统艺论视野出发,以传统文化审美意识探寻当代华语电影节奏的特征与方法,并期望得出具有启发价值的经验总结。

Contemporary Chinese Calligraphy Between Tradition and Innovation

Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.

From Zi Wei （滋味） to Qi Yun（氣韵）, and Yi Jing （意境）： Rethinking of Chinese Traditional Artistic Category System

The Chinese traditional aesthetic culture not only pay attention to the overall sense of He Xie （Harmony, 和谐）, and pay attention to a kind of artistic conception as Zi Wei （滋味）, Qi Yun （氣韵）, and YiJing （意境） as well. Mr. JI Xian-lin had tried to start from Zi Wei （滋味）, a new comprehension to open a new understanding on Chinese aesthetics. Hence, we embark from the Chinese aesthetic culture and its basic spirit, the humanistic connotation of Zi Wei （滋味）, which sounds with the basis, put forward it into a Music-Dance Spirit （乐舞精神） in Chinese art through this unique view, has made a new thinking to the Chinese traditional aesthetic artistic category system.

A Holy Hall of Chinese Traditional Arts——Hong Bao Tang & Its Host Mr.Cheng Maoquan

The Chinese traditional cultures are es- sential part of the 5,000-year civilization of China.It has become more and more important how to pass on the quintessence of the Chinese traditional culture when the national economy is advancing by leap and bounds.

Applied research of Chinese traditional culture in art and design

With the persistent efforts of the emerging concepts as well as new types of decoration materials, modem interior design concepts usher in a new round of innovation. Facing the impact of the new innovative ideas, the Chinese traditional culture and art urgently need a way to combine efficient with the modern design concept.

Analysis on the Homogeneities between Traditional Chinese Music and Painting Arts from Qichang Dong＇s ＂Theory of Southern and Northern Schools＂

Qichang Dong was a famous calligraphy and painting artist in ancient China. The theory of southern and northern schools proposed by him was a conclusion to traditional Chinese landscape painting art, and played an incomparable function in the traditional Chinese painting history in comparison with other painting theories. In the painting history, there were the theory of ＂pre-Dong＂ and the theory of ＂post-Dong＂ . In this paper, by starting from Qichang Dong＇ s ＂theory of southern and northern schoots＂ , the homogeneities between traditional Chinese music and painting arts are analyzed from the principle of spirit and the principle of technology, so that the homogeneities between traditional Chinese music and painting arts are explored in aesthetic concept and actual art creation.

Reverberating Chinese Traditional Folk Art in a Contemporary Context

Envisioned as a practice-based research, this paper explored Chinese traditional folk arts and crafts with a focus on traditional decorative patterns, vivid colors, and symbolic motifs that enliven Foshan style paper-cuttings, New Year wood block prints, paper kites, festival lanterns, and Shiwan pottery figures from the areas of Foshan and Shiwan, near Guangzhou, China. The goal of this research was to create a series of original paintings by investigating Chinese traditional folk arts and handcrafts and integrating them physically or ichnographically on Ho＇s new body of paintings. Chinese traditional motifs including Chinese characters and Buddhist iconographies had already been important motifs in the contemporary Western paintings of Kong Ho for the past 10 years. This paper examined not only the artistic, cultural, and historical values but also the impacts of Chinese traditional folk arts and era~ on Ho＇s painting through a personal research travel and studies of a certain amount of Chinese paper-cuttings, folk prints, pottery, and handcrafts found in the famous Foshan Folk Art Studio and Foshan City Shiwan Ceramics Factory in Foshan, China. Furthermore, this paper investigated the symbolic meanings founded in Ho＇s spiritual paintings with strong Chinese heritage and how he reinterpreted those artifacts in a contemporary context.

Drawing Essence from Ancient to Nourishing the New A Study of REN Ping＇s Calligraphic Art

This paper expresses REN Ping＇s views on calligraphic arts and classical Chinese literature. Calligraphy and literature could not only express ideas, sentiments, and aesthetic charm, but also create harmony in relationships. The study focuses on his calligraphic styles such as Cursive Calligraphy （草书）, Regular Script （楷书）, Seal Script （篆书）, running style （行书） and so on. His calligraphic art creation lends a unique classical style to the Chinese movie, and shows a board and wide beauty of nature for pavilion ofZONG XIU in Hangzhou, which draws essence from ancient to nourishing the new. It is widely accepted that REN Ping＇s accomplishment results from, his accumulation of Chinese traditional culture, his rich knowledge in occidental philosophy and art, his outstanding artistic talents, and from his generosity, forthrightness, and sincerity, and his all-embracing humanistic feelings.

Exploration of the Spiritual Pursuit of Traditional Chinese Painting Similarity and Dissimilarity

Chinese painting has a long history and distinctive national characteristics, self-contained in the field of world art. It is unique and become the mainstream of oriental art. Traditional Chinese painting is artistic conception as the soul, melting into poetry, books, paintings as a whole, poetic romance as the connotation, expressing feelings and thoughts. It exhibited virtual static beauty in thinking of Taoist philosophy of nature, becoming a unique Chinese aesthetic art. Artistic spirit is an important part and aesthetic standard of Chinese painting aesthetics, in the ＂paintings goods recorded,＂ ＂Lively spirit＂ is defined as the highest state of painting, artistic spirit is not a very mysterious thing, it was born from the pen and ink. NO pen and ink, no artistic spirit. Pursuing vivid artistic spirit, emphasizing ink skills, giving vent to feelings of oneself for its purpose, Chinese painting has generated a large number of outstanding works of art in thousands of years, constructed a unique cultural spirit, shaped the nation ＇ s aesthetic temperament and character.

Research on the Development Dilemma and Response Strategy of Contemporary Chinese Classical Dance

Chinese classical dance contains a profound connotation of Chinese traditional culture, with distinctive forms of performance and aesthetic characteristics. In the world of multi-cultttral communion, the development of Chinese classical dance needs to be inherited on the basis of traditional culture to inject more innovation, highlight its unique artistic aesthetic value and deep national culture contains. In this paper, the development course, aesthetic characteristics and classical dance form of Chinese classical dance are expounded. From the perspectives of historical cultural inheritance, classical dance culture cultivation and dance culture innovation, the feasibility measures and measures are put forward in order to explore the effective path and methods to developing Chinese classical dance, which gives excellent national dance art inheritance, development and innovation.

The influence of ancient poetry on Chinese traditional culture

China traditional culture, our culture, the root of all the children of the Yellow Emperor. Ancient poetry, the essence of traditional Chinese culture, but also the world’s cultural and artistic treasure house of a bright pearl. Chinese culture has a long history, broad and profound, poetry is always the highbrow type of aesthetic elegant, attracted many devout followers, especially those in the thoughts and feelings, wisdom and creativity in a famous through the ages, although after thousands of years of vicissitudes of life still shine, while dancing alone in the modern civilization and tired of noisy. Never forgotten.

Discussion of the impact of folk arts on the art education in our country and the enlightenment of the creative thinking

In the face of various problems in the current art education, the targeted reform is very important. This reform can be embarked from the folk art handed down from the folk. In the classrooms, we should let the students contact the traditional arts and crafts, so that they know more about arts. In the history of China＇s bright and colorful folk arts, there flash numerous art forms, including the facial makeup art and culture, the shadow play art and culture, the paper-cut art and culture, and the kite drawing art and culture, and so on. These are the unique arts only of our nation with five thousand years of the development, and we need to well integrate them into the current art education, so as to form the unique system of the art education. This can not only play the role of inheriting the traditional Chinese cultures, but also can well arouse the children＇s interest in arts and their art creativity.

西安美术学院装饰艺术系基础课教学系列——超写实表现素描的分析研究与训练方法

西安美术学院装饰艺术系基础课教研室对基础素描教学进行了探索与改革。教师们在认真研究超写实绘画的同时,尝试着把超写实表现素描的方法与中国传统艺术的审美结合起来,并将其渗透到基础课教学中,学生作业的题材、构图充分体现了这一特点。通过几年的教学实践,学生的观察能力、理解能力、审美能力都有了实质性提高。这种教学方法得到了专家的广泛肯定。