Ancient and modern, compatibility of Chinese and Western --Analysis of Huang Dufeng Painting Aesthetics Thought

Mr. Huang Dufeng is the master to paint landscapes, flowers, birds and people. In artistic practice, he clearly saw that in addition to using the ink to express the appearance, there exists its independence of aesthetic nature. In addition, Mr. Huang Dufeng is aware of vital importance of the spirit manifesting in the traditional painting. He has foresight in the face of treating the mutual development of Chinese and Western painting. In the meantime to advocate learning western painting, he all along emphasize that we should flourish the specific beauty of Chinese painting. He has showed a wide range of subjects, breaking the bondage of ＂four gentlemen＂ and pioneered the art image of angelfish. By discussion on Mr. Huang Dufeng through the painting features and process of thinking, he insisted on aesthetics concept of ＂Ancient and modern, compatibility of Chinese and Western＂.

环境-景观-生态美学的当代意义——从比较美学的角度看美学理论前景

在当代西方,有三个学派——美学中的环境美学,文学中的生态批评,景观学科中的生态美学——都把怎样进行生态型的环境审美作为研究主题,并且在批判西方传统美学的基本原则方面与中国美学的原则相契合。而环境-景观-生态美学又有小全理论和大全理论之分,研究其对西方传统美学的批判和与中国美学的异同,有益于推进美学理论建设。

图像艺术的历史传承及其在中国的发展

本文所讲的图像艺术主要是指后现代社会即图像时代的特有的艺术现象,因此,也可称之为图像时代艺术。图像艺术具有鲜明的当代特征,又有其深刻的历史根源。本文试图在东西方传统美学资源中挖掘图像艺术的历史印迹,揭示图像艺术对传统美学和文化的反拨与冲击,理出这一特有的艺术文化现象在当下中国的发展路径。

批判与创造的统一

对“否定主义”这个概念好奇的读者,可能开始需要用以下的观念来理解它:如果批判不能导向创造,那么这种批判只是伪否定或传统否定,而与“否定主义”(即“本体性否定”)的否定观无缘;反之,如果创造不诉诸于否定主义所说的特有的批判及其方法,那么这种创造不仅将是凭空的、只能诉诸于灵感的,而且也不能保证创造的结果是“对世界的独特理解”、从而具有立身之本的意义。“否定主义”作为当代中国人自己提出的一种个人化理论,不仅由此将与中西方既定的“否定”观念形成区别,而且还对中西方模糊的、神秘的、笼而统之的“创造”概念具有拓展作用;更重要的,是与中西方“批判”