Langma Gyidu and Langma Artists

On May 8th 2004, in a serene house beside the Lhasa River, we met Xoikang Soinam Tagyi, a famous Tibetan Langma musician.He is 83 years old and was     

Paintings by Contemporary Artists

Cloth painting:Cultivationby Soinam Cering(Fine art teacher ofXigaze No.3Middle School)     

Tibetan Artists Visit Taiwan

ＴｉｂｅｔａｎＡｒｔｉｓｔｓＶｉｓｉｔＴａｉｗａｎ￥ｂｙＯｕｒＣｏｒｒｅｓｐｏｎｄｅｎｔＬｉａｏＤｏｎｇｆａｎＯｎＤｅｃｅｍｂｅｒ９,１９９３,ＺｈａｎｇＸｉａｏｍｉｎｇａｎｄｍｙｓｅｌｆ,ｗｈｏａｒｅｂｏｔｈｓｔａｆｆｆｌｅｗｔｏＣｈｅｎｇｄｕ,ｔ...     

Angono的家族艺术家

Nemlranda是马尼拉市郊Angono颇具名望的艺术家,自从他1975年搬到这里以后,Angono便逐渐成为马尼拉乃至菲律宾的一个艺术家聚集区。     

Tibetan Farmer Artists In Europe

ＴｉｂｅｔａｎＦａｒｍｅｒＡｒｔｉｓｔｓＩｎＥｕｒｏｐｅＹＥＸＥＩＫＡＮＧＺＨＯＬＡｇｒｏｕｐｏｆＴｉｂｅｔａｎｆａｒｍｅｒｓｆｒｏｍｔｈｅＹａｒｌｕｎｇｍｙｅｒＶａｌｌｅｙ,ｃａｒｒｙｉｎｇｓｉｘ－ｓｔｒｉｎｇｅｄｍｕｓｉｃａｌａｎｄａｖａｎｉｔｙ...     

Albert Einsteln as Seen by Artists

Abstract

To commemorate the 80th birthday on 9 December 1980 of Dr Joseph Needham – a Member of our Editorial Board – we are here publishing a somewhat condensed progress report of what has been rightly called ‘the greatest single act of historical synthesis and intercultural communication ever attempted by one man’. After describing its contents, Dr Needham gives a preliminary outline of his methodology, how he has quarried Chinese literature and iconography, how he has immersed himself in China's living tradition to interpret correctly her past and how he has mastered the often century-old technical terminology of Chinese science – only thus could he build his oecumenical university. He concludes here with the hope that this vast study, so felicitously begun, will continue ‘as limitless as is all history’.     

在世书画家作品的投资

近年来,伴随着去世书画家的作品在市场上价位的不断飙升,书画的收藏家、投资人,开始越来越关注在世的书画家,以期在20年后能有一个大的收益和回报。而借“古”鉴今,我们可以发现,在上世纪的80年代和90年代初,     

The Reappearing Masterpiece: Ranking American Artists and Art Works of the Late Twentieth Century

A survey of the illustrations in textbooks of modern art produces the startling finding that art scholars consider Robert Smithson's Spiral Jetty to be the most important individual work made by an American artist during the past 150 years. More generally, quantifying the evidence of the textbooks reveals the source of the pluralism, or stylistic incoherence, of American art since the late 1960s. A persistently high demand for artistic innovation has produced a regime in which conceptual approaches have predominated. The art world has consequently been flooded by a series of new ideas, often embodied in individual works, usually made by young artists who have failed to make more than one significant contribution in their careers. The monumental Spiral Jetty, made in 1970 by a young artist who was killed soon thereafter while in the process of making his art, brought together a remarkable number of the central themes of the advanced art of the time and has become a symbol for that art.     

Phantoms in Artists: The Lost Limbs of Blaise Cendrars,Arthur Rimbaud,and Paul Wittgenstein

There have been an increasing number of reports of postamputation pain and problems linked to phantom limbs over recent years, particularly in relation to war-related amputations. These problems, which are often poorly understood and considered rather mysterious, are still relevant because they are difficult to treat medically. Functional neuroimaging techniques now enable us to better understand their pathophysiology and to consider new rehabilitation techniques. Phantom limbs have often been a source of inspiration to writers, particularly in the period following the First World War, which was responsible for thousands of amputees. Some artists have suffered from postamputation complications themselves and have expressed them through their artistic works. Blaise Cendrars (1887–1961), one of the greatest authors of the twentieth century, suffered from stump pain and phantom limb phenomena for almost half a century following the amputation of his right arm during the First World War. He suffered from these phenomena until the end of his life and his literary work and personal correspondence are peppered with references to them. Arthur Rimbaud (1854–1891), one of the most famous poets in world literature, developed severe stump pain after his right leg was amputated due to a tumor. He survived for only six months after the procedure but left behind an account of the pain he experienced in correspondence to his family. The famous pianist Paul Wittgenstein (1887–1961), whose right arm was amputated during the First World War, became a famous left-handed concert pianist. The phantom movements of his right hand helped him to develop the dexterity of his left hand. The impact on the artistic life of these three men provides an original illustration of the various postamputation complications, specifically phantom limbs, stump pain, and moving phantom.     

Reflections on the Identities and Roles of the Artists in European Paleolithic Societies

In an attempt to introduce concerns with social identities into the discussion and understanding of the making of what we call Paleolithic art, this article considers issues of gender, skill, apprenticeship, and tradition. We note that, as in every period of history, Paleolithic art can be seen as embedded in the society that studies it. Over the last 20 years, the research attention given to women in Paleolithic societies has grown considerably, leading us to ask what could have been the roles of women in Paleolithic art. On what criteria could we base a determination of those roles or of other social identities that were likely part of the making and viewing of Paleolithic art?Thanks to our microscopic analysis of engravings, it is possible to identify the skill level and expertise of the artists and thus to address the question of apprenticeship and how these techniques were transmitted. We observe many similarities that allow us to group together various works of art, sometimes from very distant sites, which indicate a movement of ideas, objects, and people. Are we talking about “imitation”? How can we define an “invention” within a social context strongly bound by traditions?