李的绘画与作品分期

本文对清代画家李的绘画风格进行了研究,并李画风的变化将其作品分为三个艺术时期。     

独辟蹊径为创匠——辽宁省博物馆藏高其佩指画《怒容钟馗图》

我国绘画艺术博大深邃,源远流长,每个时代的画风和画家们的独特风格,有如万舸争流,奔腾不息。传统的中国绘画,大多以毛笔作为主要的使用工具。人们基于对独特艺术风格的潜在追求,不断探索用新的表现手段来体现对艺术的感受。清代康熙、雍正年间辽宁铁岭籍画家高其佩在绘画艺术领域师传统、     

元代画竹丛谈

元代在中国古代绘画发展史上是一个非常重要的时期,尽管历时仅近百年,但它却在继承唐、五代、两宋绘画艺术的基础上取得了更大的进步。其显著特点就是文人绘画的兴起。元代绘画重笔墨情趣,突出作品的文学性,着重体现诗、书、画的进一步结合,是中国画又一次创造性的发展。以竹石为题材的绘画作品和大批专擅表现竹石题材的画家的出现,也是元代文人绘画大发展的重要标志和显著特点。 元代画竹名家甚众。近人郑午昌先生在其所著《中国画学全史》一书中记述云:“元代四君子画,尤以墨竹为最盛。能作此类之画家,其泯灭不可考者不可知,以其可     

对赵望云绘画风格及画史地位浅析

赵望云曾经是长安画派的领军认为,他的绘画风格从写生入手,结合当地的地理环境运用新的笔墨技巧,创作出具有独特风格的绘画作品,引领了西北地区的一大批画家。后来很长一段时间他在中国画坛上被忽视,然而却是一个应该受到重新关注的重要画家,在关注社会和现代生活方面,在艺术表现民众和走向民众方面,赵望云拥有无与伦比的影响,成为艺术大众化的先驱是当之无愧的。     

另类郎世宁

意大利画家郎世宁在清朝宫廷中绘制了大量作品,题材多为纪实性绘画、人物肖像、动物和植物,风俗类绘画几乎未见。本文专门对收藏于美国斯坦福大学艺术博物馆中的《羊城夜市图》轴一画,从绘画风格到内容做了分析,认为此图毫无疑问应当是郎世宁的作品,并且对画作的名称提出了看法,认为是画家对东方太平盛世的描绘。     

明清宫廷绘画与宫廷画家——天津博物馆明清宫廷绘画展

明清宫廷绘画与宋元院体画风格体系一脉相承,作品多工整细致,注重写实并带有皇家的雍容华贵之气。宫廷绘画是一种与封建皇权体制息息相关的特殊的艺术形式。在以皇权为核心的封建社会的上层建筑中,代表意识形态的宫廷绘画艺术更多地被赋予了树立主流美学典范、弘扬封建正统思想,传达统治者政治意图的职能。宫廷绘画的创作受到诸多限制,宫廷画家一般要遵守作画前绘制稿本,待皇帝批准后再“照样准画”的绘画制度等,这些都导致了宫廷绘画整体风格的谨严性和统一性。     

十八世纪服务于京城王府宦邸的人物画家

在18世纪的北京,应王府和显宦之需,出现了相当规模的人物画家群。他们以冷枚父子、莽鹄立、陈枚、崔鏏、徐玫、徐璋等为代表,最早曾受清宫画家焦秉贞的人物画风的影响,他们之中的许多人或多或少地与宫廷有过关联,受过宫廷艺术的影响,因此绘画风格形成了具有院体人物画的写实技巧并融合了西洋绘画的透视技法。他们的怍品描绘了王府和市井生活的情趣,为一方所重。其风格取向、活动地域与谋生方式均有许多相近之处,是一个既有风格联系,又各自为阵的人物画家群。     

“穆夏——欧洲新艺术运动瑰宝”展在南京博物院开幕

正2018年5月17日,由南京博物院、捷克国家工艺美术博物馆以及捷克布拉格市艺术博物馆共同主办的"穆夏——欧洲新艺术运动瑰宝"展在南京博物院开幕。阿尔丰斯·穆夏(Alphonse Maria Mucha)是捷克共和国的国宝级画家,也是欧洲新艺术运动的巨匠。他瑰丽的绘画风格曾影响了一个时代的创作,也对后世的商业绘画影响深远。江苏省文化厅党组书记、厅长杨志纯在开幕     

框中美人——清代绘画中的女性形象

本文以美国明尼阿波利斯艺术博物馆收藏的清代仕女画为例,讨论清王朝晚期绘画作品中的女性形象,文章试图跳出画派的梳理、画家风格的点评及对笔墨设色的剖析,而透过艺术形象与流行文学及社会伦理学的对读,挖掘出画家蕴含于美人倩影中的言外之意。     

一代新风 融古通西——中国美术馆藏任伯年作品导读

<正>19世纪晚期至20世纪中期,上海繁华的商业、活跃的文化、国际交往的频繁以及艺术市场的繁荣,吸引了大批画家聚集于此。这些画家在时代的感召下,力倡一种刚健雄强的画风,反对陈陈相因的僵化之风,在对中国文人绘画传统的创变过程中,吸收外来文化,也融合市民化的审美情趣,形成了面貌一新、雅俗共赏的“海派绘画”风格。任伯年正是海派绘画早期发展的一个高峰。     

The psychiatric works of Emil Kraepelin: a many-faceted story of modern medicine

A new English language edition of some of the major works of Emil Kraepelin (1856-1926), the famous German psychiatrist, appeared in 2002. This essay has been written to mark the occasion. Kraepelin is famous for his psychiatric nosology, specifically the demarcation of dementia praecox (schizophrenia) and manic-depressive insanity (bi-polar disorder). This essay deals not only with these topics but with many other aspects of Kraepelin's psychiatry: his talents as a writer and teacher; his unusual and intense concern with volition; his lack of psychological empathy with his patients, on the one hand, and on the other, his humane care for their physical well-being; his tangled involvement with psychoanalysis; his war on alcohol; his tradition-bound treatment of hysteria; his reflective attempt to understand paranoia; some criticisms of his work; the debate over the role played by his famous diagnostic cards (Z?hlkarten); his misuse of his psychiatric beliefs in the public arena. A conclusion addresses both his shortcomings and his assets.     

三岛由纪夫美学观的形成和变异

三岛由纪夫是一位非常复杂的作家,其作品中表现出的男性之美以及健壮的肌肉,大海的波涛和南国的太阳等象征性描述,往往使读者感到迷惑,尤其是晚年的政治表现和切腹自杀的那幕闹剧,要使得学界围绕其人和其美学观长期争论不休,本文试图从病迹学的角度解释这位作家美学观的形成和变异。     

Politician or Poet? The 6th Lord Byron in the House of Lords, 1809–13

Lord George Gordon Byron, 6th Baron Byron of Rochdale, is known internationally as, perhaps, the most famous Romantic poet of his generation. His work continues to be read across the globe. As a peer (succeeding to the title following the death of his great uncle, the 5th Baron Byron, in 1798) he was entitled to a seat in the Lords, and this article covers the period during which he was active in the House. He took his seat in 1809, but most of his work in the Lords took place between early 1812 and the summer of 1813. Thereafter, his financial troubles, his stellar literary career, and his personal problems, led him to spend little or no time in the House, and he lived abroad between 1816 and his death in 1824. In 1812, before he had become known for his poetry, except among a small London elite, he began actively to cultivate a political career, and he made his maiden speech on the Framework Knitters Bill in 1812. Byron was a prolific letter writer, and from his published correspondence as well as other sources of contemporary information, it is possible to document his growing career in the upper House, and to see how a young peer might make his way into politics in the absence of a particular sponsor.     

Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace

ABSTRACT

In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam. Not Started Completed Rejected.     

Partisan identity in the French civil war, 1405–1418: reconsidering the evidence on livery badges

This article examines the efficiency with which John the Fearless used his personal badges during his conflict with Louis of Orleans and the Armagnacs, and questions current thinking on the relationship between the emblems of both parties. As early as 1405, he began distributing emblems that corresponded directly to his ideology: first the carpenter's plane, and from 1410 onwards, his mason's level, two symbols that were representative of his platform for reform. In August 1411, his urban supporters in Paris and elsewhere began wearing crosses of St Andrew, his patron saint, as a means of identifying themselves as Burgundian partisans. This study argues that in making a conscious decision to link his symbols to his ideology, and in making them available to his vassals and urban supporters alike, John the Fearless forged a strong Burgundian community that transcended social barriers. In so doing, he also manufactured an Armagnac anti-community, a tangible entity against which his partisans' animosity was directed from 1411 onwards. As badges of allegiance, the symbols helped fuel a war that had, thus far, remained a private conflict between the princely houses of Burgundy and Orleans.     

Partisan identity in the French civil war, 1405–1418: reconsidering the evidence on livery badges

This article examines the efficiency with which John the Fearless used his personal badges during his conflict with Louis of Orleans and the Armagnacs, and questions current thinking on the relationship between the emblems of both parties. As early as 1405, he began distributing emblems that corresponded directly to his ideology: first the carpenter's plane, and from 1410 onwards, his mason's level, two symbols that were representative of his platform for reform. In August 1411, his urban supporters in Paris and elsewhere began wearing crosses of St Andrew, his patron saint, as a means of identifying themselves as Burgundian partisans. This study argues that in making a conscious decision to link his symbols to his ideology, and in making them available to his vassals and urban supporters alike, John the Fearless forged a strong Burgundian community that transcended social barriers. In so doing, he also manufactured an Armagnac anti-community, a tangible entity against which his partisans' animosity was directed from 1411 onwards. As badges of allegiance, the symbols helped fuel a war that had, thus far, remained a private conflict between the princely houses of Burgundy and Orleans.     

The Riddle of Paul de Man

The discovery in 1987 of Paul de Man’s pro‐Nazi literary activities in wartime Belgium prompted a debate over the fact that de Man neither publicly declared his collaboration, nor clarified the relationship between his wartime experience and his post‐war work. De Man’s detractors argued that he insidiously hid his past. The evidence of his concealment, they maintained, was his silence and unwavering conviction in his mature work that the meaning of every text contains its opposite. De Man guaranteed the impossibility of knowing the original meanings of his wartime articles. In contrast, de Man’s supporters argued that what appeared to be de Man’s silence masked his life‐long critique of his wartime errors. His heroic analysis, they maintained, was expressed in his post‐war work. In contrast to these interpretations, it is argued that de Man’s silence and post‐war work resulted from his rejection of his former self and the influence of its unacknowledged presence. The unintentional presence of his past caused de Man’s inability to speak openly about his coll aboration and shaped the content of his late work.     

Jean le Bel: portrait of a chronicler

The Old French chronicle by Jean le Bel of Liège in Belgium is one of our most important fourteenth-century historical sources. The author was a pain-staking and self-effacing writer, his aim a reliable and truthful narrative, his language and style remarkable for their directness and purity, his hallmarks clarity, order and intelligence. A canon of the Church and a notable figure in society, he was a man of his time and his narrative is mainly concerned with the ruling classes, yet for the attentive reader there are interesting glimpses of the life of the common man. The portrayal of the figures in the chronicle and Jean le Bel's comments on them show a remarkable capacity for accurate observation and independent thought, and provide evidence of sharp psychological insight. We look at these aspects of his work and at his attitude towards God, his views on great kings, good knights and noble ladies, and the characteristics of different nationalities. We consider judgments about him by his contemporaries and by modern critics, and evaluate his qualities as a writer.     

The playwright who dramatised his own war record: a reassessment of William Douglas-Home’s accounts of his refusal to fight for the liberation of Le Havre

At a court martial in October 1944, William Douglas-Home was convicted of wilfully disobeying a lawful command because he claimed a moral justification to do so. Cashiered and jailed for his offence, he would return to the events that occasioned his refusal throughout a long career as a playwright. In his post-war accounts, Mr Douglas-Home developed a defence of his decision that depicted it as principled. He submitted petitions in which he sought to overturn retrospectively the court martial ruling. This essay argues that he concocted the accounts of his actions on which his efforts to revise the record were based.