Genyue Imperial Garden represents the Royal Garden in Northem Song Dynasty, and it has an important position in the Chinese classical garden history, as well as high values in history, culture, art. In this paper, the...Genyue Imperial Garden represents the Royal Garden in Northem Song Dynasty, and it has an important position in the Chinese classical garden history, as well as high values in history, culture, art. In this paper, the significance of the gar- dening art of Gsnyue Imperial Garden to modem landscape design was explored through the analysis on the macroscopic layout and microscopic gardening art of Genyue Imperial Garden.展开更多
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 a...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.展开更多
English is the most widely used language in the world and is abundant in rhetorical devices, among which parallel structure is of paramount importance. Hence the mastery of the characteristics of parallel structure fa...English is the most widely used language in the world and is abundant in rhetorical devices, among which parallel structure is of paramount importance. Hence the mastery of the characteristics of parallel structure facilitates one＇s appreciation of English literary works. Based on the appreciation and analysis of the artistic expression of parallel structure in some of the most famous English sayings and classic prose, this paper investigates the aesthetic value of parallel structure in creating emotion-and-rhythm-packed discourse.展开更多
The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engr...The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.展开更多
文摘Genyue Imperial Garden represents the Royal Garden in Northem Song Dynasty, and it has an important position in the Chinese classical garden history, as well as high values in history, culture, art. In this paper, the significance of the gar- dening art of Gsnyue Imperial Garden to modem landscape design was explored through the analysis on the macroscopic layout and microscopic gardening art of Genyue Imperial Garden.
文摘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.
文摘English is the most widely used language in the world and is abundant in rhetorical devices, among which parallel structure is of paramount importance. Hence the mastery of the characteristics of parallel structure facilitates one＇s appreciation of English literary works. Based on the appreciation and analysis of the artistic expression of parallel structure in some of the most famous English sayings and classic prose, this paper investigates the aesthetic value of parallel structure in creating emotion-and-rhythm-packed discourse.
文摘The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in Giorgio Vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on Vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, Vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. Vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay： （1） discussion of Vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.
