笔墨倩冶 独写性情——陈洪绶绘画艺术探微

Cheng Hongshou, agenius painter in the late Ming Dynasty, had great achievements and reputation on the traditional Chinese calligraphy and painting, whatever in respects of birds, flowers, andscape or figure. The author briefly introduces the artistic style of his painting and analyzes cause of that.     

谈集锦墨——御制棉花图诗墨

Jijin inks is a famous product in Hui ink family of Qing Dynasty. The imperial ink stick with farming and weaving design is the gem of Jijin inks for its perfect unity of poem, calligraphy and painting. The ink is skillfully made by the famous handicraftsman and selective in materials.     

千禧龙年话龙画

Dragon,in Chinese traditional beliefs,is the highest fairy beast,which is the symbol of luck and happiness.It has been the everlasting subjec tin painting for a long time.Especially in the Five Dynasties and Song Dynasty,the dragon painting approached to its climax.Obviously, the profound meaning in the dragon painting is rather complicated.Examined from all angles of Chinese Culture,it reflects the unique Chinese thought and traditional belief.     

NEW BOOKS

<正>The Art of Tibetan Painting The author Yang Huiling is a member of the Tibetan Branch of the Chinese Association of Writers.He has 28 years experience in the military since 1969.This book broadly introduces the advancement,evolution,genre and styles of Tibetan painting in order to reveal the enduring charming of Tibetan fresco and Thangka's eternal vitality.     

Tangka Painting of Gesar

Rope and other patterns on pottery unearthed from the Karub cultural sites, dating back some 5,000 years, are considered to be the earliest examples of painting art known so far. Rock paintings believed to have come later constitute the embryo of Tibetan painting art.Tangka painting is closely related to frescoes in terms of painting art. Tangka is created to reproduce what is painted in the fresco. Cultures prevalent in China's hinterland, India and Nepal exerted deep influence on Tibetan painting art.Both Princess Wencheng and Princess Jincheng brought the Han Chinese culture into Tibet, which proved to be a boon for the development of Tibetan painting art. With construction of the Potala Palace, Jokhang, Qamzhub and other monasteries, Tibetan painting art developed apace. Frescoes in Jokhang Monastery, Qamzhub Monastery and Potala Palace, still visible today, feature a simple nature, with rich colors and concise lines, while figures were painted in an     

成也萧何 败也萧何——解读盛懋及其绘画

Sheng Mao was an important landscape painter in the late period of Yuan Dynasty, learning from Dong and Ju. His style was minute and delicate, gaining great reputation at that time. However, his position was shaken since four maters of Yuan Dynasty grew up later. Anyway he is a great painter with unique style. The author draws an instructive opinion on his painting.     

Emperor Qianlong''''s Painting to the 6th Panchen Erdeni

In the 11th month of the 45th year of the reign of Qing Dynasty Emperor Qianlong (1781), he gave the 6th Panchen Erdeni a painting of a Saba tree complete with a Chi- nese text when the latter came to Beijing to celebrate the imperial birthday. The ink-water painting, 204 cm wide and 90 cm long, bears words written in the Chinese, Tibetan, Manchurian and Mongolian languages. Each of the four sections ends with a seal text meaning Qianlong in corresponding language. Also stamped on the painting are four seal texts of the emperor, such as the one meaning "Treasure of the Emperor in His Advanced Age."     

Double-body pottery pot

The double-body pottery pot was unearthed in 1977 at the Karub ruins in Chamdo,Tibet,and has a history of more than 4,000 years.The shape of the vessel is made of two identical bag-shaped gallipots connected together,so it is named"double-body pot".According to the fibet Museum,the pot mouse has a diameter of 11.3cm,a bottom diameter of 8.4cm and a height of 19cm.Its texture is yellow pottery with sand.The mouth is horn shaped,straight neckt abdomen is con nected bag shaped double body,cervical shoulder has a pair of holes for tying rope.The surface of the pot is exquisitely decorated;with the use of carved lines and Cinnabar black painting decoration.The ware is full and beautiful in shape,ingenious in conception and skilled in craftsmanship,which represents the highest level of pottery production of Karub culture at that time and is known as the representative work of neolithic pottery in Tibet.     

Restoration of a calligraphy work by Yang Jisheng北大核心

While traditional techniques are still used for the restoration of calligraphy and painting works, modern analytical technologies can also be included to achieve cultural relic restoration effects by following the relevant principles. This paper takes the restoration of a calligraphy work by Yang Jisheng in the collection of Fengxian Museum as a case to show how the combination of modern analytical technologies and traditional restoration techniques—by selecting suitable materials for restoration and conservation through the analysis of disease types, paper materials and mounting characteristics of the work—can achieve the best restoration effect. © 2023, Sciences of Conservation and Archaeology. All Rights Reserved.     

似唐非唐——关于《簪花仕女图》成画时代及作者的考辨

Zhou fang was famous for his beauty painting.“Beauty Wearing Flowers”was the more outstanding one among his works whether in respect of the artistic manifestation or of the aesthetic value,which was a classie masterpiece among Chinese ancient paintings in the recent years different oppioions appeared on the ereating time and painter of this works the anthor made texlual rebearh on it and made relative eonclusion.     

复见新人忆旧友

Mr. Fu Youxin is a famous artist of Jiangsu Province. His works is poetic and full of freshness. The landscape in his painting is meaningful and vigorous, while the flower and bird in his painting are full of life and elegance. Nowadays, by learning widely from others, Mr. Fu has accumulated a wealth of life experience and his painting skill is approaching perfection day by day.     

Painting and Photography in Foreigners' Construction of an Image of Qing Dynasty Law

In recent years,with the spread of the internet and the booming auction markets,combined with our new age of so-called "picture-reading," paintings and photographs concerning Qingjustice have overwhelmed our view.Scholars and nonscholars are attracted by them,and believe them to be showing real historical scenes.Pictures seemingly facilitate our grasp of the world more than mere facts do,but they actually demand readers' careful discrimination.The author of the present article has discovered that the initial British construction of a discourse about the cruelty of China's criminal punishments was related to this topic having been exposed by Chinese themselves.The seemingly real images or pictures have an unknown back story,and even contain a serious distortion of the truth.Such imagistic constructions by foreigners in fact directly or indirectly served the establishment and maintenance of foreign extraterritoriality in China.The living images recorded by foreigners' cameras not only constructed Western impressions of China and Chinese people as distant,thus strengthening contemporary Westerners' mental images of Chinese culture,but still urge us Chinese today to interpret the past in the light of such images.An icon of a blood-thirsty Qing legal system constructed through painting and photographic procedures became an objective fact,a collective consciousness that penetrated people's hearts and eventually led to modifications of those Qing laws.The mental construction of an icon influenced actual institutional movement.     

A COMPARATIVE STUDY OF TIBETAN AND HAN OPERAS

Tibetan opera is an ethnic and unique theatrical genre in the system of Chinese operas. All the ethnic operas in China are directly or indirectly akin to Han operas, so is Tibetan opera. As a member of the big family, Tibetan opera necessarily absorbs some artistic nutrition from other Chinese operas. As a result, it acquires the common style and some common formal characteristics of Chinese national operas as a whole. The generality just lies on the level of cultural genre and overall flavor, however. As for the entity of the theatrical art itself, Tibetan opera is basically and independently derived from Tibetan culture and art except for some indirect influences from Han operas. During Emperor Qiaulong＇s reign, some leaders of the Qing troops stationed in Tibet used to organize soldiers from Shaanxi and Gansu to perform Shaanxi opera in the army In the period of the Republic of China, the office of Commission on Mongolian and Tibetan affairs in Lhasa promoted opera performance to celebrate victory in the Anti-Japanese War, New Year＇s celebrations,     

New Perspectives on the "Dao" of "Huidaomen": Redemptive Societies and Religion in Modern and Contemporary China

This essay uses research in Chinese religion,and specifically Chinese "redemptive societies," to challenge and enrich the received history of "sects and secret societies" in modern and contemporary Chinese history,and suggests that a future "history of cultivation movements" might be a helpful means to steer between competing narratives of state-building and personal religious experience.The discussion is illustrated with a brief biography of Li Yujie (1901-94),founder of the redemptive society Tiandijiao who devoted his life to cultivation and religion,but also to independent journalism and the Guomindang.     

随意性笔墨建构的形式意蕴

The Casual Brushes, which began in the Yangtze River area, has long been existed. The aspiration, feeling and deliberation from hearts of the painters enrich the optic forms of the Chinese painting from the respect of the casualty, which displays profound trends of form structure of the Chinese painting.     

常熟彩衣堂彩绘保护研究

The color painting of Caiyi Tang is an excellent representative for that of south Jiangsu area in the middle and late of Ming Dynasty. That drawing directly on the wood surface is more difficult for protection. This passage provides a successful example on this point: how to improve the ingredients and overcome the problem of fading. Meanwhile, more advanced technique made out better color than that of past.     

“MARRYING” TIBET

<正>Editor's Note:Han Shuli,modern painter and first-class national artist,has worked on art in Tibet since 1973.He has worked on quite a number of paintings on Tibet,and is honored as the"leading figure of the Tibet highland school of painting".It is often said that disposition decides destiny or your hobby foretells your fate.I do not entirely agree with this.For my part,before I was 25,it had never occurred to me that my life would have any     

Tsering Drolma:Every Painting Is My Child

正On the wall of her room,which is no bigger than twenty square meters,she has hung all her paintings that she has worked out while in a different spirit and state,most of them in a series of a few pictures.The paintings were finished in the past one or two years during her free time after lectures.Pointing at her paintings,she smiled and said,"Each painting is my soul work,to which I have devoted