Complete Collection of Traditional Chinese Arts and Crafts(Zhongguo chuantong gongyi quanji中国传统工艺全集):A Work of Ingenuity

In 1996,the Institute for the History of Natural Sciences of the Chinese Academy of Sciences began work on the Complete Collection of Traditional Ounese Arts and Crafts(Zhongguo chuantong ongyi quanji中国传统工艺全集).In 2016,Elephant Press published this twenty-volume magnum opus under the chief editorship of Lu Yongxiang路甬祥.This rich and informative book series systematically details traditional arts and crafts in over ten main categories that demonstrate Chinese scholars'mastery of fields such as lacquerware,ceramics,metal crafts,machinery,spinning and weaving,dyeing,brewing,processing of traditional Chinese materia medica,papermaking and printing,sculpting,and armor restoration.The authors are well versed in traditional Chinese arts and crafts and have the pertinent academic credentials,elevating research on the subject to a new level and breadth.However,the Complete Collection has not yet covered all significant arts and crafts,and the cultural implications have still to be explored.

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.

Research on Developing Traditional Chinese Martial Arts Culture and Effectively Penetrating Moral Education

In order to implement the requirement of Minislry of Education, ＂further deepen the reform of moral education courses, and play a role in the classroom main channel＂, with literature analysis, case studies and other methods, we make an objective analysis of the real issues of ＂sports disciplines teaching moral education ＂. The results show that physical teachers should effectively improve the penetration ideology and moral education wisdom and teaching skills; they should grasp the connection between moral and discipline and integrate ＂moral goals＂ organically into a three-dimensional target subjects, and implemented it in accordance with the corresponding dimension specific content; in the implementation process, we should focus on using a variety of learning styles, making clever use of resources and make the best use; we need to persevere, to strengthen the sports discipline of moral norms infiltration operations, and better protect the effective penetration of Physical Education in Moral Education.

A Holy Hall of Chinese Traditional Arts——Hong Bao Tang & Its Host Mr.Cheng Maoquan

The Chinese traditional cultures are es- sential part of the 5,000-year civilization of China.It has become more and more important how to pass on the quintessence of the Chinese traditional culture when the national economy is advancing by leap and bounds.

Pictorial Versions of the Mulian Story in East Asia （Tenth--Seventeenth Centuries）： On the Connections of Religious Painting and Storytelling

In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions of the Mulian story in these countries, and comparison shows close proximity of several such works. All of them are related to the narrative texts that represent elaboration of the originally scriptural story （it originated in the apocryphal Buddhist scripture that circulated in China） in vernacular languages. Images of the Mulian story in the countries of East Asia had diverse nature： they could appear as separate scenes in devotional religious paintings, multi-scene handscrolls, and illustrations in the manuscripts and editions. I argue that the subject of Mulian rescuing his mother was of primary importance in the popularization of Buddhist ideas among different layers of society. The related images were used for both storytelling and reading practices and helped different audiences to comprehend the Mulian story.