陶瓷绘画中的审美意境及写“意”

“意境”是贯穿陶瓷绘画艺术作品的灵魂。透过作品的审美意境，陶瓷绘画的文化内涵与艺术价值得以更生动地传达和更广阔的延伸。集结独特的陶瓷品性和文化内涵。陶瓷绘画艺术创作独具魅力。本文着重介绍了陶瓷绘画的艺术特色，从表现陶瓷绘画审美意境的层面解析了陶瓷绘画的写“意”手法。为陶瓷绘画艺术创作提供一些思路。

陶瓷绘画中的审美意境及写“意”研究

在中国传统的陶瓷绘画装饰艺术中,最高的审美理想就是"意",其与美学思想之间有着密切的联系,在陶瓷绘画中占据着重要的地位。超越现实,在有限的场景和事物中进入无限的时间、空间,对整个历史、人物甚至宇宙都形成了一种哲理性的感悟,就是所谓的意境。贯穿陶瓷艺术作品的灵魂就是意境,了解陶瓷作品的审美意境,有利于其文化内涵和艺术价值得到更广泛、更生动的延伸与传达。文章通过分析陶瓷绘画的艺术特色,从其审美意境层面对写"意"手法进行研究,望能与业内人士进行交流。

中国画花鸟画的“意写观”辨析

本文对中国花鸟画中的写意和意写进行了辨析,提出意写观既是工笔画与写意画的共同点,同时也是不同点。意写观是花鸟画教学和促进花鸟画发展的一条较为明晰的思路。

“形”与“意”——谈工笔花鸟画的创作

工整写实的工笔花鸟画在宋代达到顶峰,形成了一种程式化的套路,之后几代没有较大的突破。严谨、细致、真实是工笔花鸟画的特点之一。但如果不注重情意的表现,一味强调面面俱到,在形象的刻画上追求细致、具体、真实,那何谈绘画的本质意义?而中国画的本质是写"意"的,这也是中国文化的传统美学。工笔花鸟画脱去写实的外衣,其本质也应该是写"意"的。

论青花釉里红的装饰艺术

青花釉里红是景德镇四大名瓷之一,其对我国高超的瓷器绘画装饰技艺进行了充分展现,特别是青花的绘画技艺,在世界范围内都处于领先水平。通过有效结合釉里红的浓艳与青花的静雅,可以使二者的特点得到有效融合,从而进一步提升装饰效果。本文针对青花釉里红装饰的写“意”形态进行分析,分别介绍了元代、明代、清朝的青花釉里红瓷器特点,探讨了近当代青花釉里红的装饰特点,并从意象和韵致、飞白和禅境、工艺和画艺等方面阐述其装饰的写“意”形态,希望可以为相关研究人员起到一些参考作用。

文人画的三维视界

"写意"、"比兴"、"体道"是文人画的三维视界。"写意"作为形式层面,从符号学角度确立了文人画的形式特征,它的内涵构成文人画的形式视界;"比兴"作为情感层面,从现象学角度规定了文人画的形象构成,它的内涵构成了文人画的情感视界;"体道"作为意蕴层面,从本体论高度确定了文人画的人文价值,它的内涵构成了文人画的人生视界。

“Even I Can Do It”:Chinese Ethnolinguistic Minority Learners’Investment in Creative Writing and Its Impact

Although much is known about the benefits of providing creative writing courses to English learners, little research is available on Chinese ethnolinguistic minority learners’ creative writing in formal education. In response, this ethnographic study explored three ethnolinguistic minority learners’ engagement with a three-month elective English creative writing course at a Chinese university. Data(drafts, interviews, and reflection) were analyzed to reveal the three learners’ investment in creative writing and its impact. It was found that creative writing helped the learners to develop more confident writer identities, that they became more proficient in writing, and that their language proficiency also grew. The study suggests creative writing can serve as identity texts,which reflect back on their emergent creative writer identity, and can be a beneficial pedagogical option for ethnolinguistic minority learners.

Comparative Study on Freehand Brushwork Oil Painting and Expression Oil Painting in Chinese Painting Art and the Western Painting Art

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＂ .

Creative Writing as a Best Way to Improve Writing Skills of Students

The present paper discusses the notion of creative writing skills. Its purpose is to present a study on the survey about the importance of using creative writing tasks in the academic environment. The paper is divided into two sections. In the first part some aspects of teaching of writing skills are discussed. The second part contains a practical study of the survey. A detailed discussion of the characteristics of creative writing skills are presented and analyzed in terms of the theoretical assumptions put forward in the paper

The artistic achievements and the influence of Xu Wei＇s freehand flower and bird paintings

In the late Ming Dynasty, the society was turbulent, and it was also the important turning stage in the history of the development of China＇s literature. Xu Wei was a painter with a spirit of the reform and innovation in the late Ming Dynasty, and his painting style pioneered the precedent of the Chinese freehand bmshwork. In his creation of the paintings and the painting theories, he gave the innovative development to the theories of the traditional Chinese paintings and the freehand brushwork in this period in our country, and also promoted the further formation of the freehand flower and bird painting styles. Xu Wei＇s t^eehand flowers and birds combined the strengths of each school, and in the painting style, he was bold and unconstrained, and the pen and ink was coherent, and the form and the spirit were assistant and bleeding. The pen and ink all embodied the wonderful skill of the Chinese traditional paintings, and boldly integrated the wild cursive of the calligraphy in the paintings. This approach was the innovation of the techniques of the Chinese traditional paintings and the promotion of the thinking. The author of this article will begin the research on the relevant contents of the artistic achievements and the influences of the freehand flower and bird paintings by Xu Wei.

Appreciation and Analysis of Traditional Chinese Painting＇s Freehand Brushwork Aesthetic Characteristics

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.

Study on Chinese painting freehand brushwork

In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with pluralism, varied painting idea and painting skill and technique of art is great and abundant, traditional in the canvas works ＂ The brush stroke in Chinese painting and calligraphy ＂ Already not merely can be spoken to the limit by the simple scribbling and wiping of pen, and Chinese comfortable brush stroke in Chinese painting and calligraphy, technique of writing incorporate visual language and spiritual intension created that can enrich the picture greatly in the canvas is created. This text attempts to canvass the canvas and create the feasibility that incorporated into comfortable brush stroke in Chinese painting and calligraphy and expansionary from two respect factors of cultural idea and skill and technique and tool material.

A Corpus-Based Analysis of the Animal Images in The Wind Among the Reeds

The Wind Among the Reeds, written from 1889 to 1939, is regarded as one of the most remarkable poetry collections of William Butler Yeats. It altogether includes 80 poems touching upon several themes such as love, religion, dignity, and life. Yeats is one of the most distinguished Irish poets throughout the world, whose works perfectly embody the incorporation of romanticism, modernism, and occultism. It is noteworthy that in some of his poems, animals are portrayed frequently or even taken as the title of a poem, such as bird, fish, swan and so on. Therefore, this essay attempts to study the meaning of animal images of this poetry anthology in terms of different writing phases of Yeats. Firstly, the author builds the corpus of The Wind Among the Reeds and employs corpus search software Ant Cone to check the number and distribution of the animal image. Next, the author focuses on certain prominent images and investigates them further by analyzing the concordance lines of them. Thirdly, according to the result of distribution information, the author also attaches importance to the phenomenon of image combination in the poetry and then explores its function and effect. To conclude, by exploring the animal image in The WindAmong the Reeds, a deeper understanding of the poetry and the writing style of the poet will be gained on another level. What is more, a more direct and objective data is provided through the method of corpus and its relevant software, thereupon a new research approach is introduced.

Assessing Creative Writing in a Postmodem Era

How to teach creative writing at school？ If the procedures inherited from writing workshops have undoubtedly proved efficient as regards text production, it is also clear that in Switzerland, as elsewhere in Europe and in the Anglo-Saxon world, the present use of evaluation grids with their numerous items prevents secondary school pupils from adopting the stance of an author. Why？ Simply because the most innovative and ＂literary＂ texts are always surprising： They are ＂different＂, and could not possibly result from writing guidelines devised only to facilitate a mechanical evaluation itself conceived for the sake of some illusory objectivity... Now, in our postmodern age with its rejection of models, what is more difficult than assessing the quality of creative writing？ In our approach, we suggest restoring confidence in the teacher, an expert reader if any, who, acting as a publisher, dramaturge, or mere aesthete, knows how to take his pupils＇ texts seriously, acknowledge their aesthetic value, and look at apparent clumsiness as a possible promise of innovation. The teaching of creative writing lies both in this specific reception of budding works and in the teacher＇s performative utterances that, then and there, make the pupil a writer.

Advocating the Need for Incorporating Critical Pedagogy and Critical Literacy in Teaching English for Specific Purposes

The axis tlhesis of this paper is that, today, it is ESP （English for Specific Purposes） in particular, rather than General English, that is the agent of the spread of globalization. Currently, ESP is witnessing an unprecedented spread, to a point of almost taking over the relevance and frequency of teaching of General English. Hereby, we look at the phenomenon of globalization as a social concept that demands of education that students are taught performativity, therefore just skills needed for the global economy functioning, and not education as a move towards change, refinement, and individuation of a personality. ESP is taught as a sort of socially neutral language, as it presumably deals only with the language of some specific science or profession. Relying on the relevant work of the acclaimed social theorists, it is our claim that as there is no socially and/or ideologically neutral language, and that this fact applies for ESP. It is because of this, that we hereby advocate a strong and urgent need for the application of critical pedagogy and critical literacy stances in the practice of ESP, and we give some broad directions of how that can be achieved.

ON CONSTRUCTING NEW CONCEPT OF ENGLISH WRITING INSTRUCTION

This paper deals with the importance of constructing new concept of English writing instruction owing tothe need of reforming English teaching. The paper also points out that instructors should transform their idea,enlighten the students on creative thinking, carry out the training of creative thinking and cultivate creativeawareness so as to raise the English writing level of the students.

THE FACILITATING EFFECT OF TRANSLATION ON EFL (ENGLISH AS A FOREIGN LANGUAGE)WRITINGⅡ:WRITERS' ATTENTION PATTERNS

This study is undertaken to find out writers' attention patterns in these two different writing methods (the direct method and the translation-based method) during the writing process through the think-aloud method and EFL learners' perception of the advantages and disadvantages of those two writing methods.The results show that the subjects' attention patterns in the direct method and in the translation-based method are quite different and the differences are mainly embodied in the linguistic level attention and personal comment.As far as the subjects are concerned,writing directly in English is easier and faster than writing through translation,and the direct writing method often helps them learn English language and forces them to focus on English expression.In contrast,for the translation-based writing method,the subjects as a whole relate that they have a wide range of vocabulary and expressions,have a greater number of ideas,and can think through ideas clearly.

Poetry Translation as Rewriting:A Case Study of Zhang Zhizhong’s Reading English Literature to Translate Classical Chinese Poems

In the summer of 2023,Zhang Zhizhong’s Reading English Literature to Translate Classical Chinese Poems got published as one of the“Comparative Literature and World Literature Research Series”edited by Cao Shunqing.It presents Zhang’s latest theory and praxis of translating classical Chinese poems.As a kind of rewriting,Zhang’s translations are similar to modern English poems—with creative expressions in contemporary English,the enjambments from free verses,the form of concrete poetry,and the artistic conceptions of classical Chinese poetry,but without the rhymes in original works.How this poetry translation as rewriting generates in the constraints of ideology,poetics,and patronage is to be analyzed in the light of AndréLefevere’s rewriting theory.By examining the non-textual factors related to Zhang’s rewriting,it aims to reveal how this rewriting,as an experimental approach to poetry translation,can shed light on the global circulation of Chinese poetry.