“闽习”与“闽派”之辨

明清之际,中国绘画批评史上曾有过“闽才”与“闽派”的提法。本文通过文献与史实的相互参证,认为“闽习”是福建绘画的泛传统,“闽派”是黄慎之后的一个地方流派;并对“闽习”和“闽派”的文化特征给予界说,探讨“闽派”问题为什么在中国绘画批评史上没有引起足够注意的原因。     

吉祥绘画发展概况

吉祥绘画是中国绘画史上一个重要的美术现象,它的出现是与中国传统的思想观念紧密相关的,反映了古代人们追求吉样幸福的美好愿望。从汉代直至明清,吉祥绘画适应了社会的需求,取得了长足的发展。     

中国绘画程式略论

世界上任何一种成熟的艺术都表现为一定的程式,中国绘画尤其如此。本文通过对中国绘画史及世界绘画史以及对当代中国绘画的研究,对中国绘画程式的起源、发展过程及发展趋势进行了分析和论述。     

略论中国山水画理论体系之嬗变

山水画的发展本身就是中国传统文化发展的组成部分,没有传统文化的引导,不可能产生独具特色的山水画艺术。研究山水画创作过程中追求空灵、意境等表现动机,研究画面构成中的虚与实等的真正内涵,无不从传统文化谈起,尤其是山水画的创作进入我国经济文化空前发展的二十一世纪之后,梳理山水画发展的理论体系,将有十分重要的指导意义。     

Southern African San Rock Painting as Social Intervention: A Study of Rain-Control Images

Many aspects of southern African San rock art images can be understood in the light of nineteenth- and twentieth-century ethnography. San beliefs about different kinds of rain-animals and the secrecy that attended rain-control rites informed different kinds of social relations between rain-controllers themselves and between them and other people. San communities were less egalitarian than is often supposed, though ongrounds that are commonly overlooked. These points are made in reference to a hitherto unknown painted site.De nombreux aspects de lart rupestre sud-africain peuvent être compris à la lumière de documents ethnographiques des dix-neuvième et vingtième siècles. La croyance des San en différentes sortes danimaux de pluie et le secret environnant les rites de contrôle de lapluie ont révélé plusieurs types de relations sociales entre les faiseurs de pluie eux-mêmes, ainsi quentreceux-ci et les autres personnes. Les communautés san étaient moins égalitaires quon le suppose souvent, bien que cela napparaisse que sur des bases généralement négligées. Ces points sont développés en référence à un site orné jusquà présent inconnu.     

关于《“扬州八怪”批判》的思考

由徐建融《扬州八怪批判》引发的争论,是近20年扬州八怪研究中最值得引起重视的争论。归纳起来,这些争论和分歧主要集中在扬州八怪成员的人品、画品、绘画商品化、师承、在中国绘画史上的地位几方面。     

Frontier Landscape – Lapland in the Tradition of Finnish Landscape Painting

Abstract

Finnish artists depicted Lapland as a frontier. The position of the Lappish landscape as a part of the Finnish landscape painting tradition is explored through a framework based on art and cultural history as well as humanistic and cultural geography. Paintings from three historical periods are analyzed: the early and later period of Finland as an autonomous Russian Grand Duchy (1809–1917), the first decades after the independence of Finland (1917–1939) and the Second World War (1939–1945). Lapland is today the borderline of leisure and work and the frontier of Finnish and Sámi cultures. Earlier Lappish landscapes were places of Sámi nomadism and Finnish farming, which can be seen in the Lappish landscape paintings from the 1890s to 1920s. Finnish art tradition, however, was not ready to accept Lapland, the northern frontier, as a part of Finland. During the 1920s, 1930s and 1940s the meaning of the northern borderline grew and Lapponism, the golden years of Lappish landscape and tourism, began. During the Lapponism period there were few paintings depicting Sámi culture, because the Sámi were thought to be primitive or Mongolian, and were not accepted as part of Finnish culture.