忘形得意,生相随心——关于“心境水墨艺术”

艺术是艺术家的心灵写照,这是古往今来所有艺术家的共同认识.水墨艺术自然也不例外,应该是艺术家心灵境界的展现. 水墨艺术作为世界美术的一个独特画种,有着数千年的发展历程.一部中国绘画史其实就是一个由对物象的形体临写逐步到解脱形体禁锢的过程.中国绘画很早就形成独特的渊源,新石器时代的岩画与仰韶文化的装饰性彩陶纹饰,反映当时...     

Chinese Fan Culture It Is More Than a Small Piece of Paper

<正>Chinese people like fans, not only for their cooling function, but also for the culture they reflect. In Chinese traditional painting, drawing on fans has al...     

物我相融:早期中國人的信仰、生活和動物觀

一早期中國人生活之地域與環境 早期中國人生活地域之遼闊,遠遠超出今人的想象.原來人們認為,流經亞洲大陸東部的黄河流域是中國文明的發源地.但是,持續近百年的考古發現和民間遠古器物(特別是玉器)收藏顯示,這個文明有着多樣的文化來源.     

Bend It Like Beckham: Dribbling the Self Through a Cross-Cultural Space

Bend It Like Beckham revolves around a middle-class, Indo-British, Sikh girl and her struggle to beat the odds to play professional football. Analyzing the film using postcolonial theories of diaspora helps reveal the limitations of an understanding of “culture” as homogenous and static. Implications for multicultural classrooms are discussed.     

Culture and Composure: Creating Narratives of the Gendered Self in Oral History Interviews

ABSTRACT

This article tracks the development of French social history from its Labroussian origins through to the uncertainties that beset the subject in the 1970s and 1980s, and the call for a tournant critique (‘critical turning point’) in response to the conceptual challenges to its traditional methodological approaches. It then describes the responses that emerged in the wake of the tournant critique, as social historians attempted to renew their field. Instead of pursuing the debate about whether ‘class' or ‘order’ was a more useful category of analysis for early modern historians, French social historians have attempted, like their colleagues in the social sciences, to make the individual rather than collectivities the central focus of their research. The article outlines three approaches which try to capture the agency of individuals: prosopography, micro-history, and network analysis. Finally, the article makes the case that longitudinal studies can provide a means through which social history's traditional concerns with explaining the ‘social’ can be met whilst not losing sight of the exciting questions posed by cultural history in the last two decades.     

Painting and Erasing: A Way of Self Cultivation and Purification

Bian Qing has developed a painting method of his own.He first paints on a canvas with ink so that it is filled with unique black images.These images feature distinctive characteristics.They can be perceived as concrete objects,vague landscapes or simply color blocks with no significant meanings.Then he paints on the canvas with light pigments repeatedly until the original ink images become almost invisible,or in other words,to an extent that he is satisfied with.The original ink images are so blurred and     

简繁字中的“一对多”

我国大陆推行简化汉字已经50多年,半个多世纪来成绩是显著的。60岁以下的大陆中国人都是在推行简化字的大环境下认字学习的,新中国成立以后出生的大陆公民在国内都在用简化汉字阅读书刊,用简化字作为书写工具。汉字简化是汉字发展总趋势的观点,已经为广大群众所接受。     

重论阴阳五行之学的形成

阴阳与五行开始各有其不同的来源，但在后来如春秋时代起，已非阴阳自阴阳、五行自五行的状况，而是在二间出现互渗、融合的趋势。最初阴阳说之影响大于五行说，后来五行说被纳入阴阳说，于是二结合起来被用于解释世界。五行概念在此过程中有很大变化。即五行原被视为构成万物的物质元素，继则转换成宏大的宇宙结构框架，即一个万物在其中按五行法则生克流转的时空世界系统，于是五行在战国末作为骨干支撑性概念确立起阴阳五行说体系。