Discussion on Color Features of Painting in the Tang Dynasty

In the Tang Dynasty, all economy, politics and culture had a profound influence on painting, and promoted its development, which formed a unique painting charm of Tang Dynasty. For the painting thoughts and aesthetic orientation, the foreign religious art has brought the fresh blood for the painting of the Central Plains of China, the open & diverse culture exchanging between foreign and China broadened people’s horizons, enriched the integration and collocation of color. At the same time, the Tang Dynasty's own social fashion made people purchase the luxury, comfortable life, while the noble & elegant and rich & colorful color style were shown in the painting. Therefore, the changes of painting thoughts and aesthetic orientation in Tang Dynasty enriched the painting color and developed the painting naturally.

Study on Decorative Patterns of Ceramic Landscape Paintings in Qing Dynasty

Compared with the previous generation,the ceramic art of the Qing Dynasty made a great breakthrough in modeling and decoration,reaching the peak of Chinese ceramic production.At this time,the ceramic decorative patterns continued to innovate in inheritance and add new themes.Among them,the emergence of landscape painting decorative patterns reflected the unique artistic charm of ceramics in the Qing Dynasty,which not only found a new space for Chinese landscape painting,but also added new vitality to Chinese ceramic art.This paper makes a preliminary introduction to the development of ceramic landscape decoration in the Qing Dynasty.

Research on the Landscape Painting in Ming and Qing Dynasties of the Art of Wu School

In this paper, we conduct research on the landscape painting in Ming and Qing dynasties of the art of Wu School. The Wu School of art is full of creativity, they worship nature, between large vigorous refined landscape painting in the real world with fast red green courtyard, this spirit of the innovation to future generations of artists with great inspiration, Wu school opened up the artistic development for future generations, direct and profound infi uence after the landscape painting and flower and bird painting. Today, we are in the pursuit of the traditional Chinese painting of change, innovation, modernization, “Wu door school” this group of literati painter to do a historical retrospect that is a positive significance. Based on this historical time, we analyze the corresponding theories to provide the systematic research that will be meaningful.

Study on the Kind and Character of Mongol Hats in Yuan Dynasty

In the thirteenth century the Mongols created a vast, transcontinental empire that intensified cultural, art, craftwork, garment and commercial contact throughout Eurasia. Hats were so indispensable parts of formal Mongol dress that were seen as a symbol of Mongol traditional garment. Roughly Mongolian men＇s headgear can be divided into two groups, which are Li and Mao. In addition, Mongolian women＇s Gu-gu-gwan, a kind of bonnet, was the head-dress for the empress, concubines of the emperor, and wife of high ranking ministers. This study, based on the analysis of image resources and existing evidence, discusses the hats of Yuan period in the context of its group, origin, decoration and cultural influences.

Painting the Bodhisattva Guanyin with One Thumb Missing

Zhao Guang,a native of Hefei,had been a studio-boy at the home of the famous painter Li boshi during the Northern Song Dynasty.When Li Boshi

Research on the Social Custom of the Jurchen of the Yuan Dynasty

In the Yuan Dynasty,the Jurchen and the Han nationality had already blended,but as the place of origin of the Jurchen,there are still some social customs of the Jurchen in some places in Liaoyang Province of the Yuan Dynasty.From the analysis in this paper we can see that in the Yuan Dynasty,although the Liaoyang Province of that time was ruled by the Mongol nationality,the Jurchen nationality stilled lived there after the Jin Dynasty perished because the Liaoyang Province was the cradle for the Jurchen nationality.From the character of the Jurchen,the custom of chewed wine,singing and dancing and costumes of the Jurchen,we can have a deeper understanding of the unique social customs of the Jurchen,which places the role of a connecting link between the preceding and the following for the inheritance and development of the Jurchen culture in the coming generations.

Yangliuqing New Year Painting

The Tianjin Yangliuqing new year painting is one of China’s most outstanding traditional wood-block paintings. The Tianjin Yangliuqing new year painting originated in the Ming Dynasty (1368). It is a treasure of the Chinese tradition of wood-block colour-drawn new year painting, is rich and unique in artistic style, and has strong local characteristics. The 1,000-year-old town of Yangliuqing is located in the Xiqing District of Tianjin, home of the new year painting. During the middle period of the Qing Dynasty (1616-1911), there

Development of Gongbi Painting

Gongbi painting is a tra-ditional Chinese real-istic style of paintingcharacterized by fine brush-work and close attention todetail.It has a long history,asit flourished and dominatedChinese painting circles be-fore the Yuan Dynasty(1271-1368)and was called“superb art.″Characteristics of the gong-bi style are seen in the totemsthat appeared in matriarchalsociety 40,000 years ago;indesigns of fish and insects oncolored pottery in the NewStone Age 5,000 years ago;in pictures depicting war andhunting scenes on bronzeware4,000 years ago;in silk paint-ings of the late Zhou Dynasty(11th century to 221 B.C.),

Modecn Golt and the yuan-Dynasty Game ot Chuiwan

GOLF is popular all over theworld,and as early as the14th century China was al-ready playing a form of the game.Evidence for this is recorded in WanJing(Ball Canon),a book of rules forthe sport,and the equally informa-tive Piao Tongshi Yanjie(TranslatorPark’s Guidebook to Chinese Dialects),Written by a Korean translator namedPark and Published in the mid-14thcentury as a guide for Koreans in-tending to come to China.The latterinvolves every aspects of life inDadu(present-day Beijing),includ-ing commerce,books,handicrafts,acrobatics,folklore,food,drink andentertainment.A game called chuiwan(hitting the ball)described in thebook is very similar to modern golf.

Identification of 13th-14th Century Chinese Handmade Paper Fibers Collected in Yuan Dynasty Paper Currencies

The earliest paper currencies in existence in China were handcrafted during the Yuan dynasty.These currencies were scientifically excavated from different ruins or tombs,whereas scientific analyses of the papers are rare.This study used optical and scanning electron microscopy to examine the fibers collected in Yuan dynasty paper currencies in conjunction with the Herzberg staining method.Despite differences in circulation period,paper fibers in both Zhi Yuan Tong Xing Bao Chao(two Guan)and Zhong Tong Yuan Bao Jiao Chao(one Guan and 500 Wen,issued in Zhi Zheng period)were identified as similar papermaking materials,bast fibers of mulberry bark.The results indicate that mulberry bark,a durable papermaking material used since ancient times,was mainly utilized as a raw material in these Yuan dynasty paper currency.This fiber identification work solved the critical problem of papermaking material in the Yuan dynasty paper currency and provided important information for conserving these precious cultural relics.

Sino-Thai Relations in the Yuan,Ming and Qing Dynasties

This paper takes Thailand recorded in Chinese ancient texts during the Yuan,Ming and Qing dynasties(12th-19th centuries A.D.)as the main source of research,especially the interactions between China and countries in the Thai region as recorded in these ancient texts,namely Yuanshi,Xin Yuanshi,Daoyi Zhilüe,Mingshilu,and Qingshi Gao.The relationship between China and Thailand is studied in three aspects:(1)tribute relations;(2)folk commerce;and(3)Chinese immigration.

Image Style of the Tianping Mountain Landscape in the Ming Dynasty

Starting from the Tianping Mountain theme painting in Suzhou in the Ming Dynasty, we explore how did the painters and literati in this period shape the image of the Tianping Mountain through their works, thereby reflecting their understanding on many landscapes on the Tianping Mountain. By exploring a series of paintings and poems, we try to analyze the characteristics and cultural connotation of landscape paintings of the Tianping Mountain in the Ming Dynasty, which is conducive to improving position of the Tianping Mountain natural and humanistic landscape in Suzhou.

Xuzhou’s Stone Reliefs Bring the Han Dynasty to Life

SCATTERED in the outskirtsof Xuzhou,Jiangsu Province,are Han tombs on a grandscale with stone reliefs,regarded byarchaeologists as rare treasures,thatdepict life 1,700 years ago and,atthe same time,display superb skillsin painting and carvingAt the end of the third centuryB.C.Xuzhou was the home of Em-peror Liu Bang,founder of the HanDynasty.and also the home of

Wu Changshuo,Famous Poet and Painter

WU Changshuo (1844-1927)was an outstanding poet,painter and seal cutter wholived at the end of the Qing Dynastyand in the eary day of the Republicof China. He started out as a sealcutter, specializing in“official script,”an ancient style of calligraphy currentin the Han Dynasty (206 B.C.-A.D.220). In his painting he emphasizedmeaning rather than form. This style,known as the Seal-Cutting School ofFreehand Painting, produced a far-reaching whuence on later genera-tions of artists.Wu was born into a scholar’s fam-ily in Zhangwu Village, Anji County,Zhejiang Province. He showed his ar-tistic talent when he was still young.At 17 he wandered around Anhui,

南宋和元代龙泉窑粉青瓷釉色比较研究

为了研究南宋与元代龙泉粉青瓷釉呈色机理,采用colorimeter,XRF,XRD,Raman spectrometer,XPS等对南宋和元代龙泉粉青瓷釉进行对比分析。结果表明,南宋粉青瓷L*值大于元代,而a*、b*值小于元代粉青瓷。南宋粉青瓷的烧成温度低于元代。龙泉粉青瓷乳浊如玉的质感主要是受釉层内小而密集气泡与大量石英晶体对光的影响所致。Fe2O3的化学色主导了龙泉青瓷的呈色,且南宋粉青瓷的Fe2+与Fe3+的比值高于元代粉青瓷,是南宋粉青瓷偏蓝而元代粉青瓷偏绿的主要原因。

论元宫词的新变

元代宫词的新变表现在四个方面:一是内容与作者方面,写作内容由后宫嫔妃宫人的生活逐渐转移到宫殿文武百官的政治活动,具有承前启后的作用,作者为多民族构成。二是民族特色,表现在名词事物、宗教信仰两个方面。三是创作主张,题材扩大,语言典雅,风格上要求清和雅正。四是形式上的创新,表现为宫词中出现详细自注、以宫词唱和、语言多样和形式多样等特征。

交往的情趣:元末明初江南诗人的风雅之好

元末明初诗歌创作呈现丰富、多面的色彩,江南诗人的题画唱和即为其中之一。在社会乱离背景下,江南诗人以题画表达时代之思、离别之情和隐逸之趣,体现出不同一般题画诗的创作趣味和文化内涵。他们以题画送别、交往唱和、共赏题诗等方式,共同促成了这一时期江南诗坛的兴盛景象。元末明初江南诗人在文学交往过程中展现的风雅之好,是构成该时期诗歌创作景观的重要面向。今人建构元末明初诗史图像,江南诗人的题画唱和之作应进入关注视野。