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.

Cognitive Translation of Paintings of Lijiang Painting School Under the Guidance of Rewriting Theory

It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painters of various periods in China.In this context,some representative paintings of Lijiang Painting School in different periods were collected in this paper as the research objects.The rewriting theory was applied in the study because Chinese readers and English readers have different cultural backgrounds and diverse thinking.Based on the rewriting theory,these representative paintings were translated and the explained in English.In the study,it is found that as an intersemiotic translation,the translation of the representative paintings of Lijiang Painting School should be focused on those target readers who can’t comprehend directly from the paintings.In addition,the artistic integrity should be considered first before details in paintings.Therefore,the overall perception of target readers gaining from the translations should be paid more attention to rather than metaphrase.The translation under the guidance of rewriting theory will be helpful for the target readers to understand the connotation of source culture with some cultural images of target readers.

Analysis on the Homogeneities between Traditional Chinese Music and Painting Arts from Qichang Dong＇s ＂Theory of Southern and Northern Schools＂

Qichang Dong was a famous calligraphy and painting artist in ancient China. The theory of southern and northern schools proposed by him was a conclusion to traditional Chinese landscape painting art, and played an incomparable function in the traditional Chinese painting history in comparison with other painting theories. In the painting history, there were the theory of ＂pre-Dong＂ and the theory of ＂post-Dong＂ . In this paper, by starting from Qichang Dong＇ s ＂theory of southern and northern schoots＂ , the homogeneities between traditional Chinese music and painting arts are analyzed from the principle of spirit and the principle of technology, so that the homogeneities between traditional Chinese music and painting arts are explored in aesthetic concept and actual art creation.

Classroom Teaching Evaluation of Chinese Painting as a Form of Fine Arts in Rural Junior High Schools

Teaching evaluation is an indispensable part of the teaching system of junior high school.In order to inherit the excellent traditional Chinese culture and arts,traditional Chinese painting has been paid more and more attention to in the fine arts curriculum of rural junior high school.This paper takes the classroom teaching evaluation of traditional Chinese painting as a form of fine arts in rural junior high school as the research object,and analyzes the problems existing in the classroom teaching evaluation of traditional Chinese painting in rural junior high school.This paper puts forward the corresponding improvement measures from the aspects of comprehensive evaluation object,concrete evaluation content,flexible evaluation language and diversified evaluation subjects,in order to improve the evaluation level of fine arts teachers'classroom teaching,improve students'aesthetic cognition and learning interest in traditional Chinese painting,and cultivate students'innovative thinking and spirit.

Ecological Ideas Reflected in Landscape Paintings Produced by Xin'an School

With the worsening of our environmental problems, eco-criticism has become an important topic in academic circles.As an important source of information regarding the history of Chinese painting, the Xin'an School of Painting has created rich ecological ideas including love for nature, yearnings for rural life, and calls for environmental justice.Influenced by Taoism, many painters followed the slogan "effortless action." They indulged in the beauty of nature and minimized the troubles of real life.Analyzing the ideas reflected in these works can help us understand the creative connotations of the artists and provide helpful suggestions for solving real problems.

文艺评论助推创作繁荣的历史经验与现实意义——以“长安画派”为例

优秀的文艺评论通过问题聚焦、理论阐释和思想引领,不仅对受众有导向、提升的作用,而且对艺术创作亦能产生镜鉴、助推的效果。作为文艺评论助推艺术创作繁荣的一个典型案例,20世纪五六十年代《美术》杂志所刊文艺评论文章与“长安画派”绘画创作之历史钩沉,引起了新中国画推陈出新问题的激烈论争,触发了美术界关于文艺评论标准的讨论。由此延伸,建党百年以来,客观公正的文艺评论不断修正着文艺创作的发展路线,使得体现现实生活厚度,时代精神锐度和民族风格、中国气派高度的经典作品层出不穷。

乡邦意识、画学传承与美术教育——以民国时期无锡美专的办学活动为例

清末民初,无锡一地画学人才鼎盛,涌现了吴观岱、丁宝书、胡汀鹭、贺天健、钱松喦、徐悲鸿等一批近代画史上的书画大家。其中,胡汀鹭、贺天健、钱松喦等为发展无锡乡邦画学传统,于1925年创办了无锡美术专门学校。该校以无锡本地画家为班底开展现代美术教育,造就美术专门人才。然囿于各种原因,无锡美专在创办五年后停办,并逐渐消失于近现代美术教育史中。通过文献梳理与察访,得以重溯无锡美专的办学历程,还原这一近代美术教育史中的“失踪者”与现代国画教学的先驱面貌。

明末清初侨日僧的中国叙事——以日本“唐绘祖”江南禅僧逸然为例

日本“唐绘开祖”逸然明末东渡,任兴福寺住持期间精研佛法并暗中支持明末志士。退隐后,他潜心习画,兼收并蓄中日画风,200余幅藏品以中后期佛画人物居多,有效弘扬中华佛教美学精神。其门下谱系一派繁荣,聚多社会角色跨界艺术家,生发出“若芝派”“渡边派”两分支,画风承传二百余年,绘写和传播具有鲜明特色的中国故事。

清末吴曾祺编《中学国文教科书》述评

我国近代国文教科书演绎了传统文化突破旧式教材、兼容西方文化内涵和体式的百年文化追求。吴曾祺编《中学国文教科书》(1908年版)是近代影响最大的国文教科书之一。它的主要内容、编纂特色充分展现了社会转型时期国文教科书中体现和传承的“考古、易古却不弃古”的复杂多元、抗争迂回的文化特征。对其进行研究梳理,可以镜鉴历史,反思当下,指引并进一步坚定党的二十大报告中“推进文化自信自强,铸就社会主义文化新辉煌”的历史依据和当代信仰。

国画色彩鉴赏在小学生审美能力培养中的作用与策略

在当前教育环境中,美术教育在促进学生全面发展、提升综合素质方面有着举足轻重的地位。小学美术欣赏课作为其中的关键一环,尤其关注学生审美能力的培养。据此,本文以色彩为切入点,系统梳理国画色彩的基础理论,深入探究国画色彩在培养学生审美能力方面的作用,并据此提出具有针对性的教学策略与方法,以推动小学美术教育的发展,为培养具有审美情趣和创新能力的新时代小学生贡献力量。

TCPVis:基于谢赫六法的传统中国绘画画派可视分析系统

传统中国绘画(国画)在历史的发展中形成了多种多样的画派体系。对画派的分析有助于人们更好地理解与赏析国画的价值。然而,现有工具无法直观高效地表现画作集合的绘画风格等一系列代表性特征。基于“谢赫六法”,提出了一个国画画派可视分析系统TCPVis,以支持用户分析国画画派的笔法、物象、赋彩等多维度特征。系统能够自动分析画派作品在六法维度上的特征共性,并推荐维度的权重。同时,它可视化了六法维度的标签分布以支持用户验证。基于六法维度权重,系统对画作集合进行降维聚类展示,帮助用户探索更多风格相似的画作,并支持画作的画家关联性分析。通过两个案例研究和领域专家访谈,证明了该系统对于分析画派特征与探索画派更多画家的有效性与可用性。

文化品牌建设视阈下“江西画派”新时代创新发展路径研究——以景德镇陶瓷绘画为例

文化品牌是地域文化的集中体现,是推动文化产业、提升文化软实力的重要抓手。景德镇陶瓷绘画作为新时代“江西画派”的重要组成部分,通过分析其发展现状和存在的问题,提出了从文化品牌建设角度促进景德镇陶瓷绘画艺术创新发展,并讨论其发展路径,以进一步推动新时代“江西画派”传承与发展,促进江西文化强省建设。

吴冠中绘画作品中的色彩:从再现到抽象

吴冠中受到林风眠等早期留学海外的艺术家所提出的“中西融合”的思想,在他留学归国后,结合了自身五十年的西画学习经历探索中西文化交流融合的可行性。在吴冠中的作品中我们能看到西方现代主义和中国水墨语言表达形式的交融。本文以对吴冠中有较深影响的两位西方艺术家:梵高、蒙德里安为例,讨论吴冠中对于西方艺术家作品中线条形式的利用与借鉴。结合吴冠中的理论观点与艺术实践,讨论其作品中的色彩构成关系。

宋代重建越州学宫始末考

绍兴自唐代始设立官学,至五代废,仅有司庙祭先圣而已。北宋初期,采取兴文教、抑武事的国策,主要是重视科举而非教育,地方官学仍未受到真正重视,越州官学也是名存实亡。后虽在有识之士的推动下修复越州官学,但学宫狭小且处于喧闹之地,严重影响教学和人才的培养。北宋中期,师从胡瑗的越州监簿吴孜毅然捐献自己的宅第作为越州学宫,这在当时释、道兴盛,而地方官学尚未真正得到重视的大背景下,确实可称为惊世骇俗之举。吴孜的远见卓识和崇高品德不仅深受人们赞赏,且对引领社会风气,提倡重教尚学带来了深远影响。

出己意,贵有我——论吴昌硕书画印的艺术融合

吴昌硕在书法、绘画和篆刻等多个方面皆有所造诣的背后体现的是艺术创新成功的共性规律。以“诗书画印四绝”著称的吴昌硕一方面极力凸显了艺术风格创新中主体意识这个关键因素,提出了“出己意,贵有我”的艺术主张,并将这种艺术观念始终贯穿于实践之中。另一方面,吴昌硕在具体创作中将书法、绘画、篆刻等不同艺术领域的技法语言相互融汇,彼此滋养,从而塑造出独一无二的“吴氏”风格。

云南吴氏扶阳学术流派辨治痛风的特色和理论探析

云南吴佩衡扶阳学术流派历经五代传承,在痹证的辨治方面积累了丰富的经验。流派第二代传承人、国家级名中医吴生元教授认为痛风可归属于中医痹证范畴,其基本病机为“脾虚湿阻,痰瘀互结”,疾病急性发作时的病机要点为“湿热壅盛、痹阻经脉”,据此提出了健脾渗湿和清热通络的治法,并创立了健脾渗湿方和清热通络方分别用于痛风非急性期和急性期的治疗。流派第三、四代传承人彭江云教授和李兆福教授则在此基础上进一步构建了以“清热通络-健脾渗湿”序贯疗法为主治疗痛风的辨治体系,经临床验证效果显著。该文从理论层面对流派的辨治思路及理论依据进行阐述,以期为痛风及其他慢性疾病的防治提供参考。

2022年某院10969张膏方处方临床使用分析

目的通过对昆山市中医医院2022年全年的膏方(包括四季膏方和冬令进补膏方)数据进行统计与分析,探讨昆山地区吴门医派膏方的组方运用特色以及使用情况和受众人群比例。方法收集2022年1—12月的膏方处方共计10969张,将数据导入Microsoft Office Excel 2022和SPSS 25.0统计学软件中,对处方中性别、年龄、就诊科室、诊断、单张膏方中药味数、不同中药饮片使用频率和用量等信息进行统计分析。结果膏方广泛应用于多个科室,膏方患者中女性数量明显多于男性,差异有统计学意义(P<0.05),患者年龄主要集中在30~39岁(41.83%)。妇科、推拿科、治未病科膏方数量排名前3。膏方中使用的中药以补气、活血、补血、补阳、安神药占主体;药性偏温,偏平,甘味药占比较大。结论本院膏方在不同科室、病种、年龄层均能满足患者的需求,具有广泛的临床应用价值。尤其是女性患者对膏方需求量更大。30~39岁人群已经成为使用膏方主体。昆山市中医医院传承的吴门医派膏方用药补攻兼施,以甘味药,补为主,顺应地区人群气虚为主的体质特点而注重扶正益气,调补肝脾,调节气血不足,是以固本补虚,佐以攻邪,非常符合叶天士“甘平补虚”“顾护脾胃”等使用膏方的特点。

百年来吴澄及草庐学派研究述评

元代由吴澄创立的草庐学派,向来被认为是在接武朱子学的同时,对陆九渊心学也有所吸收。百年来关于吴澄及草庐学派的研究,多立足于此重点分析学派思想中的朱陆关系。按时段与进度,大致可分为四个阶段:第一阶段为民国时期,多以哲学史书写的视角,简要辨析吴澄思想中的朱陆成分;第二阶段为1949年至1980年,主要以我国台湾地区及海外讨论吴澄在元代的身份问题为主;第三阶段为19世纪80年代至20世纪末,在研究深度、广度方面,均取得了超越前代的成绩;第四阶段为21世纪以来,突出了去“朱陆”化、重群体的新变。百年来吴澄及草庐学派的研究呈现出从无到有、从个人到学派、从思想单一到多元面向的发展趋势。

用色彩点缀人生——小学中国画色彩教学策略分析

中国画是我国的一种优秀传统艺术,中国画不仅有着意境之美,也有着色彩的和谐之美。目前,在小学素质教育中美术教学是提升学生素质涵养的重要课程,尤其是在中国画的学习中学生不仅可以展开美术知识和美术技能的学习,还可更好地了解我国传统优秀文化,增加文化自豪感,可以通过多彩的中国画学习展开灿烂的人生发展。因此,本文就以用色彩点缀人生——小学中国画色彩教学策略为关键点展开相关分析。