Life and Cultural Pattern behind Paintings of Female Subject in the Song Dynasties

Gao Ping

Abstract

A lot of paintings of female subject appeared in the Song Dynasties, known as “beauty portrait”.The appearance of beauty portraits has obviously changed the previous performance of focusing on the images of “intellectual women” and “woman virtue”, and return to the life style of female as a “gender”.This was a new atmosphere brought about by the vigorous development of literati culture in the Song Dynasties.People pay more attention to the as “emotional” factors of a human being,and the existence of women's special temperament, and nature became the object of daily concern, thus there were new changes in cultural patterns.

Kev words

painting in the Song Dynasties; female subject; life; culture

Multiple studies on naming style,regional change and wearing groups:the shape of“Chanyu” in ancient China

Zhou fang

Abstract

“Chanyu” is a changing concept of clothing, which is based on regional differences and different wearing groups,The material and style of“Chanyu” are all adjusted.Its basic feature is that the straight line clothes are close to the skirt, not the robe.“Chanyu”is a more conventional daily dress, which is worn by people from the top to the generals of marquis Wang, the bottom to the border soldiers and cooks.In the process of combing the literature, we found that there is a deep origin between“Chanyu” and half sleeve clothing,The half sleeve long clothes on the terracotta warriors in Yangjiawan of the Western Han Dynasty are the cloth worn by the soldiers,It shows that half sleeved clothing is an inherent clothing category in ancient China, not influenced by western region clothing.

Kev words

Chanyu;straight line;single layer;long coat;half sleeved clothes

Clothing and Textiles are Exported from Eastern Countriesfrom the 17th to 18th Centuriesand Modern Cultural Construction

Song Yang

Abstract

The paper uses the research methods of pictures and literature of supporting each other, to analyzes the influence of the export clothing and textiles from eastern countries on the western clothing and textile culture, include “Chinoiserie” silks, Indian cotton, Turkish clothing.Through these perspectives, we can rise from the study of material and cultural exchange between the east and the west to the consideration on the social system level, thus demonstrating the significance of the exchange and collision between the east and the west in the process of culturalconstruction in themodern world.

Kev words

clothing and textiles exported from eastern countries;“Chinoiserie”silks; Indian cotton; Turkish clothing; modern cultural construction

Witchcraft and explanation -- craftsman's belief and spiritual world Du You Yang Yingting

Luo Yifei

Abstract

Witchcraft is a secret technique that has existed in craftsmen for a long time, which is described in Luban Sutra.The craftsmen's witchcraft once caused a lot of panic in the society, but in fact,it's just a tool for craftsmen to resist injustice and intimidate employers, and it's a way to describe their self-identity and labor value.But in the farming society, the status of craftsmen is low,and they are deliberately suppressed by the whole society.Their process of self deification is doomed to be impossible to complete.With the deepening of people's understanding of craftsman's witchcraft, the art of solving witchcraft also came into producing.The mysterious aura of craftsman disappeared completely, and only the traditions and rituals were preserved.

Kev words

witchcraft;explanation;craftsman;faith

Boating In The Painting: The Paintings And Poems of NatsumeSouseki

Cui Can

Abstract

NatusmeSouseki was very into painting at the evening of his life.He wrote poems on paintings based on the principle of “The trinity of Poetry, Calligraphy and Painting” The poem, which was crafted from the painting itself, illustrated the author's vision and co-constructed the immaterial world they envisioned.Occasionally, the poems could slightly differ from the paintings,such as replacing a forest of bamboo with a single bamboo.Also, he repeatedly expresses his inner self by writing the same poem onto different paintings.His work in paintings is different from those that was drawn on Tang-era poetry painting and by doing so, the spirit of his was reclused from reality and set free in the imagery world.His “F+f” theory is therefore applied to help readers to experience the link between visual image and his emotions.

Kev words

NatsumeSouseki;literati painting;Chinese poetry;impersonal

“Meta-Painting”:As a Mode of Visual Cognition Discussion around Victor I.Stoichita's The Self-Aware Image

Lu Mingjun

Abstract

“Painting within Painting”or “Image within Image”is a unique phenomenon in the history of art, but until the 1990s, as a theoretical issue of “Meta-Painting” or “Meta-Image”, it began to attract the attention and discussion of many art historians and theorists.Victor I.Stoichita's The Self-Aware Image:An Insight into Early Modern Meta-Painting is one of the most representative works.This book revolved around a large number of cases of“Painting within Painting” in northern Europe in the 16th and 17th centuries, and draws out three “Meta-painting” modes of “division”, “collection” and “reversal”, and thus reaffirms the side of painting as knowledge.At the same time, it reminds us that the so-called “Meta-Painting” is not so simple as the“Painting within Painting” in the form.It often contains multiple intertextual relations between images and images, images and words, vision and symbol,etc.So as a complex “visual machanismbody ”, “Meta-Painting” is not only a discourse of image or visual discourse, but also a paradigm of knowledge or “Meta-Knowledge”.

Kev words

“Meta-Image”;Reformation;“Self-Referentiality”;“Meta-Knowledge”

Two Faces, One Positive and One Negative:Reflection and questions on Lu Xun's design criticism

Huang Houshi

Abstract

As a design critic, Lu Xun not only greatly promoted and cared for young designers such as Tao Yuanqing, but also left an intriguing argument with Ye Lingfeng in the design history.In this very different critical attitude, Mr.Lu Xun created two faces, one positive and one negative, which has long influenced researchers'cognition and judgment of the design of the Republic of China.However, behind this series of design criticism, what kind of understanding of the noumenon of modern Chinese design is contained in the accidental events, and with what purpose and motive may not even be noticed by critics? This paper attempts to present these two “faces” in one “mirror” at the same time, from which we can examine, secretly speculate, compare and analyze them, so to try to find out their truth.

Kev words

Lu Xun; design criticism; Tao Yuanqing; Ye Lingfeng

A Study on the “Picture of Immortals Riding an Animal” in Caves 6 and 38 of Yungang Grottoes

Yu Xiangdong Chen Aman

Abstract

“Picture of Immortals Riding an Animal”in Yungang Grottoes appeared earlier than Longmen Grottoes, Mogao Grottoes and Maijishan grottoes.It had obvious regional characteristics and was the product of the fusion of foreign cultures and local culture and art as well as that of Hu and Han ethnics.According to the pattern features and combination patterns, the author thinks that the immortal riding a beast on the top of Cave 6 of Yungang may be a family member of the multi-armed immortal, and belong to an ordinary immortal with relatively low divinity.The immortal riding on a phoenix and holding the sun and moon on the top of Cave 38 may be Asura and Indra.On this basis, this paper discusses the causes of the patterns in a further manner.

Kev words

Yungang Grottoes; Picture of Immortals Riding an Animal;identity; cause of formation; cultural integration

Further Discussion About the Age ofTwenty-four Celestial Statues in Shanhua Temple, Datong, Shanxi——Using Eight Military Generals Statues As an Example

Cai Lijie

Abstract

The twenty-four celestial statues in the Mahavira Hall of Shanhua temple in Datong City, Shanxi Province have always been perceived as the representative works of the statues in the Jin Dynasty by the academic circles.However, the author found that the eight military generals statues in many of the statues are actually show a typical Ming Dynasty style.In this paper, the author systematically combed the facial shape, body posture and decoration details of the eight statues,In order to revised the traditional view, preliminarily clarified the age of the statues of the eight military generals statues in the temple, and tried to make a preliminary exploration of the historical context and era background of the reconstruction project of the eight statues.

Kev words

Shanhua Temple;Many Celestial Statues;The Ming Dynasty

The origin of Liu Haisu's title of “Art traitor”

Chen Tianbai

Abstract

Liu Haisu was very avant-garde in spreading Western paintings and implementing new art education.He was called “Art traitor”by the public opinion at that time,and has been crowned to this day.However, the origin and spread of the term“Art Traitor” has been biased in academic circles for a long time.Through combing and analyzing the historical records, this article examines the true source of Liu Haisu's title of“Art Traitor”.

Kev words

Liu Haisu;Art Traitor;Model

The “Intuition”of Objects—The Formation and Derivative Meaning of Japanese Folk Art Aesthetic Mechanism

Peng Rong Wu Tao

Abstract

“Intuition”is the basic approach of understanding “Crafts” in the Japanese folk art ideology, and it is also a prerequisite for guiding the practice of folk art.Accurate grasp of it is the key to dialysis the core of folk art spirit and its practical value.This article mainly researches in the generation path, logical structure and subsequent derivative meaning of the “Intuitive” aesthetic mechanism of folk art established by Soetsu Yanagi.First, its source of thought has the dual characteristics of integrating the East and the West, and transcending duality.It is not only influenced by the intuitive thoughts of Western Bergson and Black, but also absorbs the “unity” view of things from the East.On this basis, Soetsu Yanagi completed the construction of the aesthetic mechanism of the early Folk Art Movement through the structural foundation of the logical relationship between “intuition”, “knowledge” and “freedom” and “sensible knowledge”.While Soetsu Yanagi and Naoto Fukasawa inherited and developed the “intuitive” idea of folk art in the field of industrial design, and completed the derivative meaning of modernity and post-modernity.

Kev words

folk art, aesthetic mechanism, intuition, sensible knowledge,formation and derivative meaning