Brief History of Painting in Modern China

Dianshizhai Pictorial,originated in 1884,is the first pictorial of news and current affairs in China’s modern history.Its elegant and prevailing expression forms greatly broadened the audience range of the publication and became an important graphic material for studying the transformation of social life in the late Qing Dynasty of China.This paper claims to give a brief account of the“history of painting”in modern China and provides a spacious research perspective for the above studies.

The New Result of Studies in the History of Medieval Calligraphy:A Review of The Manual of Calligraphy by Sun Guoting of the Tang:A Comprehensive Study on the Manuscript and Its Author

The Manual of Calligraphy by Sun Guoting of the Tang:A Comprehensive Study on the Manuscript and Its Author is one of the representative monographs by the Italian sinologist Pietro De Laurentis,which includes the textual and historical research of Sun Guoting(a famous calligrapher and calligraphic theorist in the Tang Dynasty)and his calligraphy.The integrity and circulation of Shu pu(one of Sun Guoting’s most famous calligraphic works,which is an important work of traditional Chinese calligraphic theory)and its textual content and visual form,featuring meticulous historical analysis and unique insights,have created a dialogue with the existing studies of Shu pu in China.The English translation of Shu pu and historical records regarding Sun Guoting are presented in this monograph,with informative notes in the translation that convey Sun Guoting’s aesthetic ideas and experiences while learning calligraphy.This book enriches the studies of calligraphy history in China by presenting a new perspective and approach,and the research-based translations provide inspiration and reference for the transmission of Chinese calligraphy in the West.

Zhang Quanwen and His Painting, Five Thousand Years of History

Recently,the Ezhou Municipal Government provided the funds for Zhang to mount Five Thousand Years of History,so that Chinese.people everywhere may have the chance to see and appreciate his work.

The Modern History of England in Art

Images are the key for us to sort out modern British history and study the development of early industrial civilization.This paper takes the most classic representative works of those immortal artists in the long river of British art to create a section of immortal history,and review the historical fragments of modern Britain from the painting brush of art masters,and intuitively feel the historical customs,dress etiquette and natural scenery of Britain at that time.

Development and Evolution of Papermaking in Ancient China based on the Uses and Forms of Paper

In the past,scholars have divided the history of Chinese papermaking into different stages based on the development of ancient papermaking technology,emphasizing the development and progress of papermaking in different historical periods but paying less attention to the changes in the form of paper.Here,the stages are defined based on changes in use and function rather than technological developments.When this approach is combined with the history of printing,books,calligraphy,and painting,the history of Chinese papermaking can be divided into the writing paper,writing and printing paper,printing paper,and calligraphy and painting paper periods.Different periods of paper have significant differences in texture,form,and performance owing to their different applications.This significant difference provides a reference for the identification of ancient papers and reveals the internal connection between the history of printing,books,calligraphy,painting,and papermaking.

Review of Tongyu Year Painting Value

Tongyu year painting has an important influence on national folk painting field, and the works have stronger culture and art research value, In 60s of 20th Century, Tongyu year painting has entered its prosperous period, with many authors, lots of creation amount, large circulation and high winning level has become the major influence reason. Thus, in 1991, Tongyu County was awarded as ＂Chinese modem folk painting village＂ by the Ministry of Culture. Tongyu year painting is to reflect the meaning and connotation of year culture background, which is an important organization part of Jilin western Horqin grassland year culture, which shows the thick black soil land, Kanto feeling hot, the northeast wind rough, forming its own unique artistic style.

The Art Hero Made International --Benjamin West Constructs Wolfe＇s Death on the Plains of Abraham

Globalization is a topic much discussed today with the explosion of cell phones and instant messaging. This exchange of information causes the art historian to ponder the speed with which ideas spread in past centuries. The eighteenth was a century of colonial expansion made possible through the ships that sailed the great oceans Sea travel between Europe and North America drastically increased the spread of populations and their ideas between the old and new world. A good way to trace the exchange of ideas in picture painting in the eighteenth century would be to follow an artist like Benjamin West from his Quaker background in Pennsylvania to the center of the neoclassical style in Rome and a prolific career in London at the Royal Academy. West＇s travels and career offer an example of how an American pursued the artistic style of contemporary Rome to make images of North American history from a base in England. It was globalization eighteenth-century-style made possible by an ambitious artist connecting across the sea-lanes of international travel

TV DirectorWho Paints Chinese History with Cameras

THE large-scale TV program, Gems of the Country, has had several airings on prime time CCTV, and has been warmly received each time, winning the unanimous praise of viewers. The program actively promotes Chinese national culture, boosting national morale, and bringing the splendid culture of China to the world.The initiator, chief planner and chief director of this program is Li Dongge, a graduate of the Xi’an University of

Giorgio Vasari’s Mercury: God of Magic and Wisdom

In 1555,assisted by Cristofano Gherardi,Il Doceno(1508-1556),Giorgio Vasari(1511-1574)designed and painted a mythological and cosmological theme in the Sala degli Elementi,an apartment of Cosimo I de’Medici(1519-1574),Duke of Florence,at the Palazzo Vecchio in Florence.The Apartment of the Elements is dedicated to the four elements(air,earth,fire,and water),which in antiquity were considered to be the basis of the material of the world.The four elements are personified as a history painting theme on the ceiling and the walls of the chamber.Accordingly,on the ceiling is the element of Air,personified by several events:Its center depicts Saturn Mutilating Heaven and surrounding this scene are The Chariots of the Sun and the Moon,the images of Day and Night,and the virtues of Peace,Fame,Justice,and Truth.On the walls of the chamber,there are personifications of the elements of Earth(north),Fire(east),and Water(south).The frescoes on the left hand wall relate to the element of Earth.In the center of the north wall,the first fruits of the Earth are offered to Saturn.1 On the adjacent wall,east wall,above the fireplace,are scenes relating to the element of Fire:Vulcan’s Forge is depicted in the center of wall.2 On the adjacent wall,south wall,the element of Water is symbolized with The Birth of Venus.3 On the window wall,west wall,are two large niches containing simulated sculptures of Hermes-Mercury and Hades-Pluto.These two images connect thematically with the wall decoration of the elements and the pantheon of the gods on the ceiling.This essay will focus only on the image of Hermes-Mercury.It consists of two parts:the stylistic impact of classical and Renaissance sources of this astral and pagan god in Vasari’s imagery,and the signification of the personification of Mercury associated and interconnected with Cosimo I de’Medici,Duke of Florence.

画中佛罗伦萨——韦基奥宫与文艺复兴时期的“城市图像史”

16世纪的佛罗伦萨,瓦萨里与其团队在韦基奥宫中绘制了一批关于佛罗伦萨城市的历史以及现实的画作。虽然它们分布于不同房间,尺幅也大小不一,但在有意无意间构成了一部佛罗伦萨的城市图像史。这部图像简史固然是美第奇家族建构权力合法性的某种宣传手段,但瓦萨里借此机会在历史知识层面上梳理了佛罗伦萨城市空间形态的演变过程。并且,他还隐晦地对这座堪称“艺术品”的城市产生的深层逻辑进行了个人化的解释。

从法书文献到童蒙读物的流传轨迹——以启功先生《说〈千字文〉》为线索

智永的《千字文》以楷书和草书体书写,有多种版本。启功的研究展示了法书文献的复制方式及流传轨迹,还强调《千字文》具有启发童蒙、流传广远的实用价值。这有助于人们了解古代法书文献的版本知识、认识“王羲之这个角色”、拓展法书文献出版物及书法教学“启发童蒙”的功用,同时也为研究中国特色的阅读史提供了一个有意义的案例。

张彦远仕履与《历代名画记》成书考述

迄今,罕见对张彦远仕履与《历代名画记》(下文简称《画记》)成书之间关系的专门探讨,本文将《画记》成书纳入一般熟知的张彦远左补阙、祠部员外郎、主客员外郎、舒州刺史、兵部员外郎、大理卿等职任中考察,以揭示其仕履与《画记》成书之间的互动影响关系。

体认在原著与修订之间——重读钱锺书《中国诗与中国画》

重读《中国诗与中国画》1978年修订版,大体有“版本学”“学术史”两种视角。20世纪90年代以降,学界主要着眼于前者,确认此文在1949年前后的版本有六种。至于1978年修订版与1947年开明版原著相比,除篇幅增加一倍外,著者注入修订版的深意究竟何谓,这需诉诸“学术史”视角。从“学术史”考辨修订版及原著,可得出三点结论。其一,原著重在论述王维为符号的“神韵派风格”,在“画品”系统所享有的影响暨地位,并不与它在“诗品”系统所占有的影响暨地位呈“一律”或“对称”。其二,著者敏锐地感觉到“‘诗品-画品’的古典对立”这一逻辑建模,拟可被用来隐含他所体认的“‘风气-风向’的今世疏离”这一学术史现象,这恐是他执笔修订版的内驱力。其三,有识者只需咀嚼修订版一再提及的那个“作者——他”,将其读作给定语境中的“钱锺书——我”,也就不难领悟其修订版究竟想给后世留下何种启示。

基于《清明上河图》的宋明清官宅平面布局研究

《清明上河图》作为中国传世名画,在宋代、明代、清代皆有不同演绎,是研究中国古代城市空间形态难得的素材。该文对比北宋《石渠宝笈三编本清明上河图》、明仇英本《清明上河图》与清院本《清明上河图》,并参阅史料记载及考古资料,力图通过研究探讨复原其中所绘三朝中国传统官员宅邸的平面布局,加深对中国传统官员宅邸的演变认识与把握。

忽必烈藩府书家群体在元代书法史上的独特地位

忽必烈藩府儒士文人群体,汇聚了元初北方经济、义理、词章各类人才,其中,怀卫理学家姚枢、许衡和郝经,邢州学派刘秉忠、张文谦,从汉族世侯幕府进入忽必烈藩府的徐世隆、宋子贞、王磐、商挺、王鹗、王博文等人,以及方外文士至温禅师等书家,构成了元初北方重要的书法家群。元初书法家群在政治、文化上的独特地位以及对元代文化和文艺政策的影响,使得他们的书法观念、书法理论与书法活动影响了有元一代的书法发展和书法教育,在元代书法史上具有重要的地位和意义。

元末绘画史编撰中的协作、差异与互鉴——以《南村辍耕录·叙画》与《图绘宝鉴》卷一为例

《南村辍耕录》与《图绘宝鉴》是元末两本重要绘画理论著作,作者分别是陶宗仪与夏文彦。两人是好友,在著书立说时也常有切磋。以往研究虽对两位撰述者和两部著作各有关注,却对两人的互动及其两部著作之间的关系有所忽视。本文以《南村辍耕录·叙画》与《图绘宝鉴》卷一为中心,考察元末绘画史编撰中撰写者之间的相互影响以及论著中观点的差异与互鉴问题。

希尔玛·阿夫·克林特与现代抽象绘画的开端

绘画大师希尔玛·阿夫·克林特创作的《原始混沌》系列被认为是世界上最早的抽象作品。通过对其抽象艺术创作的解读,可以窥见她在艺术史与艺术批评中的价值。与此同时,亦浅析神智学对现代抽象艺术带来的启示与影响,以及探讨此问题的价值。

岭南书法发展的先天性迟缓、后发性成就及当代思考

陈永正老师的《岭南书法史》较为详尽勾勒广东书法千年以来的发展概况和特征,先天性迟缓和明代以后发展迅速是岭南书法发展史的基本情况和突出特征。岭南书法接受中原文化影响,取得了足以与中原书法相抗衡的成就,具有典型的开放性、多元性、书家群体的广阔性等地域特色;重气节、重学问、重视创造等是岭南书家突出的内在特点,岭南书法发展凝结典型的岭南书法历史文化精神。深入总结和发扬岭南书法传统,在新时期中国特色社会主义文艺思想指导下,对于广东书法未来发展具有重要的实践和理论价值。

色彩的交响乐章:油画史中色彩运用与音乐性的关联研究

本文综合地研究了色彩与旋律在艺术制作领域内的相互联系起初依据色彩与旋律的理论根基展开,深度分析了它们在绘画历史上的发展以及互动关系,随后探讨了色彩与旋律感之间的联结以及艺术创作者们之间的交流。通过分析梵高与马蒂斯的具体事例本篇文章阐释了他们的画作中色彩是如何成为情感表达的重要媒介,同时这些色彩又是怎样在视觉上营造出音乐般的节奏与和谐。

音画流转烟雨繁花——民族管弦音画《听见江南》的视像表达

近些年来,中国民族音乐的演出样式已经从音乐厅演奏的单一模式转变为更多样的舞台表达方式。“视觉包装”已经成为国乐专场演出策划者和导演们关注的重要元素,无论是演奏员的服饰造型还是舞台美术都有了丰富多彩的样式,甚至有的民乐演出有了“戏剧”情节的导入,让国乐专场表演既是一场音乐会,又是一场具有中华传统文化元素的综合性表演。多种艺术样式的融入,让国乐表演更丰富、更具有跨界融合的意味。这是时代发展对传统演出需求转变的结果,也是中国音乐发展变化的新阶段。民族管弦音画《听见江南》的“视像”表达研究,既是从“视觉包装”来解析舞台视像的构成要素和组合方式,更是从中华文脉中提炼美学特征,继承和发扬优秀的传统民族文化。