弗洛伊德与超现实主义绘画

本文以弗洛伊德的精神分析学说为理论支撑,从艺术心理学角度对超现实主义绘画进行了回顾．尝试论述潜意识、梦对超现实主义绘画创作的影响,从而帮助我们更好地了解这个在西方现代艺术史上颇具影响力的画派。     

嘉祥木版年画及灯画

嘉祥位于鲁西南,是宗圣曾子的故乡,现属济宁市,东揖儒都曲阜,西览菏泽牡丹,北依代出好汉的梁山,面朝烟波浩淼的微山湖,文化古迹众多,自然环境优美,富有人文历史文化特色,是齐鲁文化研究区域的重要组成部分。嘉祥木版年画及灯画,就是在这片传统文化和民间文化沃土上绽放的一朵小花。     

南宋宫廷绘画中的“谍画”之谜

本文根据宋代的文献材料,从大量的宋人册页中甄别出一些在军事上具有特殊功用的绘画。据考,在南宋出使金国的使团人员中,潜藏有擅长山水画、人马画的画院画家,他们奉命描绘金国的山川地形和女真人的军事活动,笔者称此类带有间谍用途的南宋宫廷绘画为“谍画”。本文阐述了“谍画”的发展历史,特别是南宋出现”谍画“的政治、军事等方面的历史原因,对此类“谍画“进行了详细的剖析,发现宇文虚中、萧照和陈居中等是可知的南宋”谍画“的作者。此种从军事角度认识某些宫廷绘画,尚属尝试。     

Rock Paintings in Tibet

Rock paintings in China can be divided into south-ern and northern schools.Southern school rock paintings depict mainly religious rituals and are painted in red. They are distributed in an area from southwest to south China.Northern school rock paintings, carved into rocks, show hunting activ-ites in north China. They are distributed in an area from the northeast to northwest and southwest. The part from northeast to southwest China extends from Heilongjiang to Inner Mongolia, Ningxia, Gan…     

浅谈担当书画的真伪识别

<正>担当(1593-1673年)是云南明清之交伟大的艺术家,他为后人留下了丰富的作品,近年来,"担当热"愈演愈烈,我们一方面为之欣慰,另一方面也不免有些担忧,忧的是一些担当书画伪作也沉渣泛起,鱼目混珠,有的甚至堂而皇之地出现在专业的书籍上,给研究者、文物爱好者带来了不少迷惑。由于大多数人无法亲自批阅担当真迹,仅通过印刷品来赏析比较,失误难免。借助于在云南省博物馆工作的便利,本人通过对担当书画作品的真伪对比,简单地介绍鉴定担当书画真伪的方法,谈一点     

宋代绘画中的穷款、隐款现象研究

宋代绘画中普遍存在穷款、隐款的现象,有的学者认为是宋代画家的书法水平不高所致,其实,这仅仅是其表面现象,而非主要原因。形成这一现象的原因有三:其一、宋代绘画所追求的真、格物致知的审美境界;其二、绘画中题款艺术发展的自律性;其三、宋代画家的地位、审美、性格的局限性。     

古书画的门道

在这收藏的热潮中,文物的身价涨了,文物专家也得到了社会广泛的认可和尊重--收藏者需要他们来掌眼--即鉴定文物的真伪.文物鉴定是专门的学问,其中又以书画鉴定最为不易.很多复杂的情况,并不只是简单的"真伪"二字就能说得清的.     

谈江南綵衣堂建筑彩画的艺术独特性

翁同龢故居"綵衣堂"的建筑彩画是中国现存明清建筑装饰艺术中的精品。"綵衣堂"彩画普遍运用了宋锦纹饰和包袱锦形式,在继承传统的基础上又有艺术创新;其"瑞鹤祥云"的主题纹饰体现了独特的精神内涵;工艺上也综合运用了不同等级的作法。綵衣堂是建筑艺术和装饰艺术结合的成功范例,值得后人深入研究。     

The Armada Paintings in the New Palace of Westminster

In June 2008 a team of artists began the gargantuan task of creating the series of Armada mural paintings for the house of lords. They were embarking on a two-year project, which would bring to completion the original decorative scheme planned for the prince's chamber by the Royal Commission on Fine Arts ¹ during the 1840s. This, in turn, would reconnect the original historical association, which the Armada tapestries had held with the house of lords since the mid 17th century until their destruction by fire in 1834. This article places these Armada mural paintings within the historical context of this project at the Palace of Westminster and documents some of the methodology behind the programme of work to re-create this celebrated series for the walls of the house of lords.     

Sources for the Kederminster Library Paintings

Abstract

Although a great deal has been written about the painted panelling in the Kederminster Library, there has been very little discussion of the influences and sources chosen by the patron and used by the painter.     

画染敦煌

在敦煌壁画里,没有一幅作品留下画师的名字,甚至,没有记载他们; 事实上,只有临摹壁画的画师们才能真正读懂敦煌壁画;现在,终于可以听他们说说……     

中国民间绘画中的现代趋向

中国民间绘画的现代趋向所体现出的艺术魅力、品质价值与西方现代绘画是相似的,其美感意识主要源自作者的美感体验和对美好生活的认识。     

Mural and Other Paintings,in English Churches

In 1825 Lewis Nockalls Cottingham removed Romanesque carvings from the spandrels of the great west window at Rochester Cathedral as part of a comprehensive programme of restoration and repair. The architect's preliminary drawings for this project (held by Avery Architectural Library at Columbia University in New York) permit the accurate reconstruction of these spandrels, and this reconstruction, in turn, reveals some of the principles which guided this important early nineteenth-century restorer. It can be shown that in attempting to clarify the several styles of medieval building at Rochester, Cottingham repressed some features which he saw as hybrids and emphasized others which he judged insufficiently prominent. This desire to make the fabric history more clearly legible as a sequence of stylistic cues reflected recent advances in the writing of architectural history, in particular the taxonometric approach pioneered by Thomas Rickman.     

Tense Layering and Synthetic Policy Paradigms: The Politics of Health Insurance in Australia

This paper analyses the substantial financial subsidy, alongside other regulatory changes, introduced to support private health insurance in Australia at the end of the 1990s. The concept of policy layering is developed and refined theoretically in terms of changes in policy paradigms in order to chart a lengthy period of tense layering in Australian health-care politics between private and public health insurance and the bipartisan convergence on a universalism plus choice policy paradigm during the 1990s. This is the key dynamic underlying the Coalition's support of private health insurance after 1996 rather than a neo-liberal ambition to dismantle the health-care state and return to a predominately privately financed health-care system with a residual, public safety net.     

乾隆时宫廷画家严宏滋及作品

画家严宏滋的姓名,令人十分生疏,即便是研究古代绘画史的人,也会要去查一下相关的画家人名词典之类的工具书才能知晓。经查阅,他是一位清朝的宫廷画家。他的姓名即使能在工具书中查到,他也不是一位知名度很高的画家,是根本无法和焦秉贞、唐岱、冷枚、郎世宁、金廷标、徐扬等知名的清朝宫廷画家相提并论的。不过,嘉庆初年成书胡敬所著的《国朝院画录》一书内,还将画家严宏滋的姓名、简历及作品等相关材料记上了一笔,     

日本所藏有关夏圭的资料

本文介绍了日本美术界对夏圭绘画的研究现状,进而对日本收藏的《山水图》、《江城图》与台北故宫所藏的《溪山清远图》做了对比研究,指出了三图的相互关联与区别,为夏圭山水艺术与南宋宫廷绘画的进一步研究提供了新的资料。     

Pagoda-Shaped Pictures in Tibetan Rock Paintings

In 2004 we, with our colleagues, went to the Helanshan Ranges in Ningxia to conduct a rock-painting survey for more than a month. We were members of the Rock-Painting Research Center, Ethnology and Sociology College of the Central University for Ethnic Minorities. In the central and northern sections of the Helanshan ranges, we accidentally came upon quite a lot of ＂pagoda-shaped＂ rock paintings of the Xixia period （1038-1227）. These rock paintings consist of two different types.