The Art of Chinese Painting and Calligraphy Mounting

The history of Chinese painting and calligraphy mounting can date back to the Warring States period(475-221 BC).This unique craftsmanship saw its heydays in

Discussion on the Appraisal of Ancient Chinese Calligraphies and Paintings

Throughout Chinese history there have been many outstanding calligraphers and painters who have left behind numerous masterpieces.There have also been endless copycats,forgeries and ghost-creations bringing much trouble and chaos to the appreciation and study of ancient Chinese calligraphies and paintings.Based on certain theories and practices of calligraphy and painting appraisals,this paper summarizes eight basic approaches to the appraisal of ancient Chinese calligraphies and paintings used to separate the true from the false.

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.

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.

Poetic and Pictorial Splendor-Expression of Traditional Chinese Literati in Chinese Architecture

The expression of traditional Chinese literati is based on connection, seeking emotion and harmony. With various forms, though, this style of expression shares the same value in some art forms, like traditional Chinese poetry, calligraphy and paintings, and Chinese architecture. Based on the commonalities of various forms of literature and art, this paper offered an insight into Chinese architecture in light of poetic and pictorial expression of traditional Chinese literati. In order to illuminate the corresponding connection between traditional Chinese poetry, calligraphy and paintings, and Chinese architecture, this paper discussed the expression of Chinese architecture corresponding to the essence of traditional Chinese poetry, calligraphy and paintings respectively from the perspective of philosophy, aesthetics, and culture study of Chinese architecture. Via analogous analysis, which includes the analogy between the emotion of architecture and the feelings in traditional poetry, the analogy between the order of architecture and the spirit of calligraphy, and the analogy between the artistic conception and the picturesque scene, the poetic and pictorial expression of Chinese architecture was clarified. This paper emphasized that Chinese architecture needs to jump out of the concrete image, eradicate the interdisciplinary boundaries, and stress the integration of arts and humanities in a higher level, to express Chinese architecture in a Chinese way. That means making Chinese architecture modern in forms and techniques, and traditional in spirit and artistic conception.

100 Most Beautiful Chinese Paintings: Singing and Dancing

Editor's note:In cooperation with the Art Project by Google Cultural Institute,CCAD launched the online exhibition of "100 Most Beautiful Chinese Paintings".With CCAD as the leading academic team,the task force has selected 100 Chinese paintings from the millennia-long history of Chinese civilization;these works are not only the masterpieces best representing different stages of the Chinese painting,but also true pictures of the society and history of different historical periods,ranging from the Stone Age to modern times.

协同与重塑:AIGC时代中华传统书画艺术的传播策略

生成式人工智能的异军突起为中华传统书画艺术的传播带来了新契机,其内容生成能力协同参与并重塑了书画艺术传播的表达方式,由此也成为后者在新技术语境下创新、重组的强劲动力。基于此,可从传播的方式、内容、技术、美育、内在价值等方面提出创新策略,并思考其中潜藏的隐患与危机,以期有助于提升中华传统书画艺术的传播力。

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

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.

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。

古画字画题材的织锦画纹织CAD设计技艺

从应用纹织CAD设计古画字画题材的织锦画入手,探讨古画字画题材的织锦画在实际意匠设计及产品开发中的方法技艺。分析了在意匠的绘画、色彩方面的特点,特别强调细节的处理方法,强化需要突出的部位;分析了组织配置要求及特点。对应用纹织CAD。设计织锦画方面进行了经验总结。

论达米施对中国书画中“线”的阐释

当代法国艺术史家于贝尔·达米施在《论线》一书中从维特根斯坦语言哲学的视角阐述了西方艺术史中关于“线”的语法结构。借由“线”的视觉艺术符号,达米施将文艺复兴时期素描中的线与西方当代抽象艺术中有关平面上的线性划痕联系起来,以期重构一个以“线”为线索的非历时性叙事的艺术史体系。在这本关于“线”的艺术理论专著中,达米施用一章的篇幅迂回到中国古典绘画中毛笔所画出的线,并将中国文人书画中的线也纳入他的线性艺术语言系统之中。本文通过分析达米施在《论线》一书中的中国书画因素,探讨中西美学中“线”的问题及其两者的互释关系,以期呈现一种艺术符号学的跨文化研究范式。

关键词:中国书画史--英语世界海外华人中国书画思想研究文献叙录(一)

海外华人学者对中国书画的研究是一门颇具深度和广度的学问,这些学者分布在不同的国家和地区,使用不同的方法和理论,以及从不同的角度来审视和探索中国书画的艺术和文化价值。这些学者的研究成果丰硕,他们的研究成果涉及中国书画的各个方面,如中国书画的历史发展、技法、风格、题材、艺术家以及传承等问题。这一篇文献叙录以历时的顺序选编20世纪90年代前英语世界海外华人学者对中国书画史的研究,由此可见:(1)海外华人学者者关注点主要集中在:海外著名馆藏中国书画作品的研究、特定历史时期中国书画艺术的研究、著名书画作品的探索;(2)英语世界中国书画研究的发展历程:从早期对中国画家和书画的基本介绍到对中国不同历史时期书画的创作介绍,到试图描绘中国书画发展的全貌及对中国艺术史的反思等。总之,研究者主要探讨不同朝代、地区和社会背景下中国书画的变化和发展,以及不同书画家和流派对中国书画发展的贡献。

中国书法在陶瓷绘画中的联系与运用

瓷器和书法是中国最具代表性的艺术形式,书法和陶瓷绘画之间存在着相辅相成的关系,正所谓书画不分家,书法和陶瓷绘画都是中国母亲孕育出的两个胞胎兄弟,书画本同源,笔者就从中国书法和陶瓷绘画的形式和特点方面着手,在陶瓷绘画与书法的相通之处做重点的阐述和分析。

从书法看中国画笔墨形式及色彩的审美意蕴

笔墨在书法及中国画中,有着深远的意义。文章从书法视角探讨中国画中笔墨形式的审美意蕴,在分析书法与中国画笔墨的联系基础上,针对二者进行深入对比,并分析笔墨在书法和中国画中的应用,在此基础上切实研究中国画笔墨形式的审美意蕴,指出中国画中笔墨线条的生动性、节奏感以及空间感、留白技巧、墨色的浓淡和情感表达等都是一种独特的美,能增强中国画审美。

清代书画活动中的民族交融及其中华文化认同功能探析——以清代西园文人交游圈为中心

清代出现了大量多民族共同参与的书画活动,展现了各民族对中华文化的认同与共塑,以允禧为核心的西园文人交游圈便是其中的一个范例。他们的书画活动及书画文学作品展现了清代多民族交往交融的历史图景,呈现出各族文人对中华文化认同的具体表征,揭示了清代多民族书画活动所具有的中华文化认同功能。

慧眼识珍——高岛菊次郎藏中国书画研究

高岛菊次郎是近代日本著名的实业家、书法家和篆刻家,平生热衷于收藏中国书画,他的收藏不仅数量大、品种多而且质量高,以“槐安居”收藏著称。本文以东京国立博物馆的“高岛藏品”为中心,较为系统地梳理和考察了高岛购入这些书画的主要时间、地点、价格、旧藏者等具体的细节和经过,试图通过探究高岛购藏中国书画的动机和原因,管窥近代日本的中国书画鉴赏品味从“煎茶趣味”转向“新舶载”的收藏和研究动向。

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。

中国画“写意”新诠:基于生存论的视角

“写意即抒情”和“写意即表现”,都有所见,但也都所见未彻。写意不是心理学的行为,而是现象学的行为;不是主体性的行为,而是存在性或生存性的行为。写意不仅是一种言说方式和艺术创作方式,还是一种生存方式,并且是本真性的生存方式。从艺术创作的角度看,写意就是将艺术家的内心冲动在第一时间内表达出来的创作方式。就艺术创作而言,写意的“意”是“意兴”;就艺术作品而言,写意的“意”是“意象”。意象造型介于具象与抽象之间,是一种不求形似、取其大意的造型方式。在“引书入画”之后,为了适应书法笔法的发挥,意象造型变成了程式化造型。程式化造型,其意不在造型,而在笔墨。写意的“写”本是“抒写”,即抒写意兴。随着写意的“写”被理解为“书写”,写意的“意”也被缩小为笔情墨趣。中国画的“写意”是一个意义系统,这系统有三个维度:乘兴遣画是美学观念,意象造型是艺术风格,引书入画是绘画技法。中国画的写意传统不等于笔墨传统。中国画,不变的是写意精神,可变的是笔墨技法。

藏族传统绘画“青绿山水”艺术技法的发展与中华民族历史文化认同

“青绿山水”是中国古代绘画艺术的主要表现形式和重要绘画内容之一,它强烈的视觉效果和独特的表现技法对我国各少数民族绘画艺术尤其是藏族传统绘画产生了深远影响。本文概述了藏族传统绘画中“青绿山水”技法的起源、发展和演变,通过对藏族传统绘画主要画派中“青绿山水”技法的比较分析,探讨了“青绿山水”技法在汉藏绘画艺术交流交融中的历程。研究认为“青绿山水”技法发展在藏族传统绘画中的融合是汉藏民族文化认同、共同繁荣的历史见证,为中华民族共同体意识的形成和发展提供了绘画领域的史实依据。