浅析中、西传统绘画的时空模式与文化观念

不同的文化观念造就了中、西传统绘画时空模式不同：中国传统绘画倾向时间性的时空模式,西方传统绘画侧重于空间的关注。它们各有所长,我们应兼收并蓄,以开辟艺术新视野、创造艺术新时空。     

中西绘画艺术的审美取向——论郎世宁与徐悲鸿的艺术

在美术领域中出现异国色彩,是不同文化间碰撞交流时的必然现象。在这些现象中我们不难发现美术交流活动是在不同层次上展开的,不断在向纵深发展,规模在不断扩大,相互影响也在与日俱增,即按自身的文化传统、思维方式或现实需要,去解读、选择另一种艺术。概而言之,这其实是一种文化选择的差异问题,艺术同哲学、宗     

从费丹旭绘画看许氏家族之女性文学

浙江省博物馆收藏的清代画家费丹旭的《兰秋夫人听秋啜茗图》,画面及题跋者中所涉人物,兰秋夫人庄氏、许延、黄履、汪玢等,不但均存在亲戚关系,而且都是接受过教育的女性,从一个侧面反了清代女性文学的发展与繁荣。     

徐光聚绘画审美概览

看徐光聚那疏朗、清逸、玄远、旷达、圣洁的绘画,如同品茗。只需静静地品味那份清香与美妙。感受那份宁静、含蓄与深邃,那种别样的“空灵”与“澄净”便会抵达我们情感的最深处。轻轻地叩击着我们的心灵。     

广告设计中绘画艺术的研究

广告设计是进行广告宣传的前提,如何以简短的内容表达魅力的主题,是广告制作人费尽心追求的。广告设计的表现手段除了有文字外,还会借助绘画艺术来为广告效果增添色彩。     

色彩与绘画

色彩与绘画的依存关系,以及色彩与绘画的认知、表现手法的结合运用,作品赏析理解以及中西方绘画差异。     

克里姆特的绘画艺术

克里姆特是维也纳分离派绘画大师,他的绘画作品—反传统,注重内在情感的自由表达与倾诉;同时,在艺术形式上力求创新,融入了工艺美术装饰艺术的因素,这一切使其绘画作品个性鲜明、独树一帜。这与他个人对情感的体悟及其家庭影响有很大关系。     

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。     

丝绸之路与新疆古代绘画艺术

新疆古代绘画种类丰富,主要有岩画、石窟壁画、佛寺壁画、墓葬壁画、木板画、绢画、纸画和麻布画,题材多为佛教内容,也有少量摩尼教、景教、道教和伊斯兰教内容。新疆古代绘画多与佛教联系紧密,但是在风格和手法上则相差甚远。     

佛教艺术与现代绘画

本文主要阐述中国本土思想受到了佛教哲学思维的很多影响并得到了很好的融合与发展,艺术家们在受到古代及传统佛教艺术作品的震撼影响下,运用现当代艺术创作表现方法对佛教艺术的再创作。     

浅谈中西绘画艺术的差别

数千年以来我们都在凭借幸存下来的艺术作品了解人类文明史的线条。虽然艺术的起源是基本相同的,但中西绘画各有渊源,自成体系,差距甚巨。     

中国画谱与绘画

中国画谱是中国绘画教学的重要教材,也是中国画家艺术创作的一种样式。画谱的启蒙作用和艺术价值以及在中国画史中的地位不容忽视。     

The Convertible Saint: Expeditus through Time and Space

Expeditus, a Roman soldier who was for centuries simply a name on a list of early Christian martyrs, took on new life in the late eighteenth century in a Catholic cult that expanded greatly in the late nineteenth century and has continued to spread since then. His name linked him with time and the answering of prayers for urgent causes in particularly modern ways, despite growing scholarly scepticism about him. His unforgettable image — a Roman soldier crushing a crow or raven underfoot — has been adopted by Italian fascists and practitioners of Haitian vodou, among many others. Expeditus?s popularity on the internet is only the latest version of this unusual devotion.     

Exemplary Cities in China: The Capitalist Aesthetic and the Loss of Space

ABSTRACT

Since the late twentieth century, the subject of China becoming urban has appeared in the scholarship across the disciplines while spectacular images of China’s cities, and narratives about their developmental achievements, have proliferated in global media. Simultaneously, the parallel “spatial turn” in social thought invigorated geographical approaches to cities and urban change. Yet at this promising meeting ground, between contemporary geographical thought and urban-industrial transformation in China, research has tended to demonstrate a “loss of space” through patterns of dependence on analog circulation of exemplar paradigms that derive from the history of the capitalist city and liberal political economy. What drives this condition and what do we know about its practices and proliferation? This inquiry challenges research design and the politics of theory to consider how routine adoption of capital-centric concepts for research on cities in China arguably reflects the priority of paradigms in the disciplines and their conjunctures with exemplarity in Chinese society and political philosophy. These interstices facilitate application of analog models, and selective adoption of empirical information to suit them, with the paradoxical result of portraying cities in China through multiple capitalist aesthetics including a relatively narrow range of empirics framed by market-based social thought.     

从“无我之境”到“有我之境”中国文人园林的美学表述

人园林,是中国传统人追求人生至高精神境界的感性诠释。其美学理念是从“画境”到“意境”;其美学特征是情与景溶,天人合一;其最高审美理想和审美追求则是从“无我之境”到“有我之境”。     

以诗窥画——试论唐代花鸟画的审美价值取向

唐代是中国花鸟画科的正式形成时期,据考证,当时擅长花鸟画的画家高手如云．但因年代久远,作品真迹早已遗失,今人已无从得知其庐山真面,通过唐代题画诗这扇窗口,对唐代花鸟画的审美价值取向作一探索。     

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。