Realistic Painting Depicting Grass and Insects by Master Artist Qi Baishi

<正>Master painter Qi Baishi began to paint grass and insect in the late 19th century. In 1899, he obtained an album on grass-and-insect paintings by an old painter surnamed Shen and started creating     

Ma Mingxin Elaborates on Snuff Bottle Collection

<正>"Every elite scholar envisions a paradise in his mind." For collectors, snuff bottles are their paradises. Small and delicate, snuff bottles integrate various forms of art, including poetry, calligraphy, painting, seal carving and engraving, embodying Chinese culture     

Mo Mingxin Eloborotes on Snuff Bottle Collection

Every elite scholar envisions a paradise in his mind＂ For collectors, snuff bottles are their paradises. Small and delicate, snuff bottles integrate various forms of art, including poetry, calligraphy, painting, seal carving and engraving, embodying Chinese culture and craftsmanship within tiny boxes. Over the past century or so, snuff bottles have always been favored by art collectors, thanks to their unique values for appreciation and collection.     

Art Reborn from Ashes Stories of a Contemporary Artist in China

Xue Song＇s works have great visual strength, triggering spontaneous pondering on the underlying meanings. The scenes in his works combine elements in western paintings with images from traditional Chinese painting and do so with utmost delicacy. When observed closely, images and characters on the background offer more information： black ashes stand out of the picture, forming shadows of the times.     

Heavenly Mountain Portrayed in Chinese Ink Painting

Man pursues elegance while painting highlights charms. An .artist＇s vitality lies in hiscontinuation of traditions and breakthrough in innovative techniques. Chinese ink painting is a result of traditional culture, which is represented by harmonious concepts of Confucianism, simplistic ways of life by Taoism and adherence to nature by the Zhuang school of thinking. All these ancient philosophical concepts comprise aesthetic and artistic principles governing evolution of Chinese ink painting and are visualized in painting creations. Chinese ink painters not only emphasize physical realness but also highlight sensibility and spirit of life.     

Chinese Landscape Painting in Blue and Green Colors

Blue and green are natural colors and favored by ancient Chinese painters. Landscape painting in blue and green coors represents an important genre of Chinese Ink painting. Based on mineral pigments of blue and green, this painting genre primarily depicts motifs like valleys, hills, forests and springs. Painters first outline contours of depicted subjects with ink of various thickness and then paint mountain rocks with light ruby as the background. The finely grinded mineral pigment of green is applied to the painted subjects and after it dries,     

A Master Scholar in His Nineties Cherishes Higher Aspirations

Ji Xianlin, a master scholar at age 95, has dedicated his whole life to the study of Oriental cultures. He is expert in not only modern Western languages but also a number of ancient Oriental languages such as Sanskrit, Veda, Pall, ancient Indian and Tochafian languages. Thanks to his outstanding achievements in Oriental studies and his ＂Collected Works of Ji Xianlin＂ totaling more than lO million Chinese characters, Ji has been reputed as ＂national treasure＂. In his nineties, Ji spends every minute in doing research work, even when he is now nursed in the hospital ward.     

Leng Shixiang:A Master Craftsman in Kite Making

Whenever his kites fly in the sky and fascinate viewers,Leng Shixiang would feel happy and proud.Leng Shixiang,a master craftsman in kite making,has assimilated the best of     

园仁入唐在城镇乡村所见茶事

日本学问僧慈觉大师园仁在唐文宗开成三年（838年）随遣唐大使藤原常嗣一行“入唐求法”，历时9年7个月，于大中元年（847年）离开长安踏上归途。回国后，著有日记体裁《入唐求法巡礼行记》四卷，书中对他们一行抵达扬州府后，经淮安、登州、青州、淄州、齐州、德州、冀州、赵州、五台山、忻州、太原、绛州，由龙门渡过黄河，经朝邑到长安的沿途见闻，记述颇详。     

敦煌壁画中的儿童骑竹马图

在敦煌晚唐第9窟的东壁门南,可以看到一幅反映1000多年前古代少年儿童骑竹马游戏的画面。画面内容描绘的是晚唐时期一群贵族供养人礼佛的情景,但在供养人行列中,一位贵妇人的右下侧画了一个身穿红色花袍、内着襕裤、足蹬平头履的小顽童,一条弯弯的竹     

Image of China Exhibition of Contemporary Chinese Painting and Sculpture in Beijing

“The Image of China： Exhibition of Contemporary Chinese Painting and sculpture” was recently on view at the National Art Museum of China, following its display at the Grand Palace in Paris this March, as an event celebrating the 50th anniversary of the establishment of China-France diplomatic ties. The exhibition displays contemporarv works by 61 Chinese ink painters and 21 sculptors, representing the greatest achievements o[ the Chinese art communitv and dynamics of contemporary China.     

当代国学大师张岱年

20世纪90年代的中外化交流史上，这是一个令人激动的时刻——1995年8月3日在北京人民大会堂湖北厅，坐满了来自美国、德国、日本、新加坡、澳大利亚、港澳台等10多个国家、地区和国内研究中国传统化的专家学，这里正在举行儒家思想与市场经济国际学术研讨会。“对于中国传统化、     

The construction of national identity in South Korea and the tradition of masculinity in Korean Abstract Painting

ABSTRACT

Korean Modern Art History began to be produced in the 1970s, when Western Modernist Art History, based on Formalism, was introduced as a matrix to map the ‘evolution’ of 20th century Korean Art. Korean modern art history is based in the same paradigm as the West, beginning with Impressionism and ‘ending’ with Abstract Expressionism. First introduced to the country from the West immediately after the Korean War, Korean Abstract Expressionism is now deemed as South Korea’s ultimate ‘progressive’ and ‘modern’ art form, a ‘Korean’ painting style combining the Western art form with traditional artistic concepts of ‘Scholarly Painting’ (muninhwa). Japanese‐influenced painting styles originating in the colonial period (1910–45) are rejected as ‘non‐authentic.’ The problem is that Scholarly Painting was a gender and class specific art born from the rigid Confucian culture of pre‐modern Korea, and thus its revival as an ‘ultimate modern’ and ‘Korean’ form has the consequence of locating traditionally‐gendered notions of art and artist at the core of the South’s modern art. This essay uses a Semiotic approach to deconstruct this gendered modernist rhetoric by tracing the emergence of the sign ‘Koreaness’ in South Korean modern art, showing how it is defined within Korean Abstract Painting as an ‘ultimate Korean sign’ and how its use of anti‐Japanese rhetoric covers up the traumatic history of the Korean War.     

李方屯木版年画“全神图”

2010年国庆节期间,我和同事一行三人乘车前往河南滑县李方屯村考察当地木版年画。时值金秋时节,一路上随处可见农民们收秋的忙碌身影,走在乡间小路上,浓郁的乡土气息迎面扑来。在李方屯村民的介绍和带领下,我们分别走访了李存琦、韩清亮等年画制作艺人,     

中外交流史的文物見證吴哥窟壁畫中的宋朝軍隊

一 前言 柬埔寨吴哥窟,這個位於柬埔寨暹粒市的聯合國世界文物古迹,自公元1432年真臘(Cambodge)王朝遷都金邊後,就逐漸被埋没在熱帶森林中.一直到1850年,法國探險家波耶服(C.E.Bouillevoux)發現并開始發掘,吴哥窟這才重見天日①,成為了世界級的觀光名勝之一.