重彩画兴衰说

重彩画在我国有着悠久的历史和辉煌的成就 ,并以此卓立于世界美术之林。但自元初清末的七百余年间 ,却几度沉沦、日渐衰微。近现代以来 ,始得以复延 ,及至当代 ,更有了长足的发展与质的提升 ,堪称重彩艺术的中兴盛世。然而在中西绘画激烈碰撞并相互融合的艺术潮激流中 ,重彩艺术的可持续发展及价值取向又面临新的抉择与亟待解决的问题 ,这是每一个有志于重彩画的续承与创新的人都要面临的现实。而以史为鉴、鉴古知今 ,今应胜古 ,古能开今的治艺态度与方法。将会给我们以有益的启示     

重新追寻剥蚀的美感

经济意识和思想独立意识觉醒，竞争、实利和信仰的选择自由被普遍认同，但随之而来的是道德价值体系的坍塌，中国美术如何发展?在迷茫和彷徨之间，我们不妨回眸一下中国美术的起源和发展进程，我们发现传统文化和民间美术是中国艺术追求永恒不变的基础，在跨入现代化的今天，我们应重新追求这一剥蚀的美感，不要让后代只在美术史中看到记载这些精粹的只言片语。     

Interrupting Everyday Life: Public Interventionist Art as Critical Public Pedagogy

In this article we explore two urban interventions art projects in the public sphere designed by our Masters’ students at New York University as they set the stage for a discussion on how urban art interventions can function as a form of critical public pedagogy. We argue that these kinds of public art projects provided a space for dialogue with people on the streets about the increased corporatisation of the public sphere. This kind of urban interventionism, we believe, is needed in art education today, as the public sphere is increasingly being eroded by private interests and it is only by reclaiming the public sphere that we can develop a cultural politics that in turn renews our democracy.     

中国艺术史学科的可能性、路径及艺术史学

中国艺术史学科虽然自成立以来就遭受质疑,但也不难予以合理的回应:西方的艺术史正在从艺术门类史而变得越来越具有艺术门类综合性和文化多元性;中国自身的文化、学术及艺术传统本身则具有艺术史书写的动力。中国艺术史学科的可能性来自于两方面:艺术史学科制度建立本身,中国式门类艺术汇通及古今学术汇通传统。艺术史学科路径可以有门类艺术史、宽视角门类艺术史、观念艺术史、比较艺术史、跨门类综合艺术史等。对艺术史学科路径的反思可能引导出艺术史学——对艺术史研究方法或路径的反思。中国艺术史学科可以由三个分支构成:艺术通史,跨门类、跨媒介或跨学科的艺术史,艺术史学。     

舞蹈元素与杂技元素的完美融合——浅析国家级非物质文化遗产:建瓯挑幡

挑幡是福建建瓯特有的具有三百多年历史的民间表演艺术。由于建瓯称之为中国竹子之乡,因此挑幡这一民间表演艺术采用了本土特有的大毛竹作为主要道具,从而形成了别具一格的地方特色。从挑幡这一民间表演艺术的形成和表演特色入手进行研究,分析其舞蹈元素与杂技元素的融合,并探讨挑幡的艺术价值与传承意义。     

论小说艺术的发展历程

小说作为文学作品的一种类型,从其肇始到今天,展开了多种多样的文体实验。这些开拓和尝试使小说艺术离传统小说艺术观念越来越远。以此为着眼点,以情节、心理情绪、叙述实验三种艺术模式来分析小说在其历史发展进程中的艺术演变。     

‘Can art save the world?’ The colonial experience and pedagogies of display

ABSTRACT

The quote in the title of this paper is taken from the first line of Marc Depaepe’s article “An Agenda for the History of Colonial Education”, published in The Colonial Experience in Education (Ghent, 1995). This presentation takes as its focus the informal learning space of the museum and the art gallery, and the emergence in recent years of curatorial activism. It seeks to explore the changing discourse and politics around addressing through display the history of colonialism and its meaning in today’s globalised world.     

Development education through the looking glass

This paper considers the ‘state of the art’ of development education in British schools. After a short introduction raising the problem of definition, the paper briefly traces the history of development education from its genesis in the early 1960s to its position today where it is seen as more of a perspective than new subject discipline. The next section looks at future prospects and suggests a number of approaches. The paper concudes with a focus upon the relationship of development education to three priority areas: examination reform; curriculum content; and individual child development.     

Excluded and dropped in: habitus and biographical identity in vocational adolescents’ life transitions

The ideal–typical distinction of normal/choice biography has been adopted by many youth researchers over the last 17 years as a means of approaching how vocational adolescents take decisions in a context in which life transitions are reversible and unsafe. In this article, we aim to show that this distinction is overestimated, by focusing on a specific problem current research has brought to the fore. While the agency of working-class adolescents until the 80’s resulted in social reproduction without their habitus being threatened by this intergenerational class continuity, what can we say concerning how today’s working-class adolescents’ identities are formed, given that they remain in vocational schools for a long time? Through life history interviews with 18-year-old vocational adolescents, we examine the reasons why biographical reflexivity plays a crucial role in habitus formation in ‘normal’ biographies and in their decision-making when they face turning points during their school years. We throw light on the narrative devices through which vocational adolescents are trying to reconcile in their identities the embodied skills they acquire in disadvantaged lifeworlds with the official knowledge vocational training offers. We argue that these devices set in motion a kind of biographical ambivalence which we consider to be crucial regarding their life transitions.     

Art,ordinary work and conceptuality: sculpting the social relations of the art world

ABSTRACT

This research reveals the social relations of the art world through an investigation of visual artists’ ordinary art-making practices. Drawing on extended ethnographic research, the article attends to art and ordinary work, clarifying how visual artists’ work, is not only shaped socially and historically, but also reveals tensions about what counts as art and who counts as an artist. The article clarifies how today’s art world valorises conceptual approaches – centred on mobilising concepts and ideas, while devaluing expressivist approaches – centred on accessing intuition or inspiration. The article makes visible an increasingly conceptual, academic art world in which an expressivist practice is harder to sustain. By tracing shifting forms of work and shifting social relations, the study contributes to educational research on art, while calling attention to organisational processes that deeply shape artists’ lives.     

浅析中国传统文化在现代艺术设计中的应用

艺术设计是在人类进行物质生产和实践的基础上形成并发展的一种文化。它是一定的历史时期中一个民族的精神和物质文化相结合的产物,并且得以传承和发扬。而辉煌灿烂的中国民族文化和文化精神是在历史的长河中形成的,这种文化即使在现代化和全球化的今天仍未消失,反而得到人们的更深入的认可。事实证明只有通过对传统文化的学习借鉴并基于一个民族的文化研究的基础上所进行的艺术设计才有可能在世界上产生深远的意义并发挥重要的作用。     

Young People and Contemporary Art

In this article empirical examples are used to connect theories about young people, contemporary art forms and learning. The first part of the article introduces the new forms of consciousness which, according to the youth researchers Birgitte Simonsen and Thomas Ziehe, characterize young people of today. In the second part, the qualities of contemporary art forms experienced by young people are connected to the theories of the French art critic Nicholas Borriaud regarding ‘relational aesthetics’. Finally, the third part of the article discusses four preconditions for learning, which were experienced as positive by the young people included in the empirical material: ‘the hook’, ‘the experience of otherness’, ‘social interaction’, and ‘meta‐reflection’.     

茅盾论小说中的人物描写及其当代意义

随着时间的推移和岁月的冲刷,茅盾及其文本似乎渐渐离我们远去而沉入历史,然而,作为一种精神文化资源,只要我们去挖掘,40卷本的《茅盾全集》仍有许多值得挖掘的精神和思想,即便是在当今的时代风尚和审美选择下,茅盾的从创作到理论的某些方面仍有当代意义。仅从以往较少注意的小说中的人物描写引申和生发开去,描述茅盾的主张并阐释其在当代的借鉴和启示意义,可以发现茅盾的观点不仅正确,而且具有意义。特别是联系当代乃至当下的小说创作如何对待人物、如何描写人物以及在此所存在的种种问题,重温茅盾的观点,更有借鉴和启示意义。     

“无徽不成镇”的经济学分析

“无徽不成镇”是对历史上徽商辉煌的形象诠释,创造这一辉煌的是徽商对儒家思想理念的践行和高超的经营艺术,它对城镇化快速发展的今天同样具有借鉴意义。     

On Art and Knowledge

I comment upon the recent blossoming of writing on art, knowledge and research and connect this to its material roots in the changing nature of higher education. I find much of this writing wanting in that it implies a division of art into ‘knowledge‐producing’ and ‘non knowledge‐producing’ art. I examine how art objects might be said to generate knowledge, particularly the kind of propositional knowledge which sits at the centre of both traditional epistemology and ‘knowledge transfer’ in the contemporary academy. Although there are many ways in which artworks might variously generate such knowledge, I conclude that there is none that is common to all. I go on to examine other kinds of knowledge, particularly Gilbert Ryle's ‘knowledge‐how’ and use this as a staging post to suggest that there is yet another kind of knowledge, produced by all works of art. Finally I borrow some ideas from recent work in the philosophy of science to suggest a concrete mechanism by which this knowledge is made available to us.     

政治视域中的文艺诉求——《在延安文艺座谈会上的讲话》与20世纪中国文论

在20世纪中国文论史上,毛泽东的身份首先是一个政治家,其次才是一个文艺理论家。在《在延安文艺座谈会上的讲话》中,毛泽东的文艺批评思想往往立足于政治的视域,在这种视域中,文艺工作是革命事业的一部分,是实现革命理想的＂文武结合＂的斗争方法之一。《在延安文艺座谈会上的讲话》在毛泽东的文艺批评思想中占据着十分重要的位置,并对20世纪中国文论产生了很大影响。     

中国美术文化传统的特点

中国美术文化是独立的、个性鲜明的。中国美术传统研究的对象是：中国美术的特点及内涵。它包括从中国古典美术与中国现当代美术中提取出来的内容。由于中国美术传统源远流长,如果仅用一两个视点是很难将中国美术传统的特征揭示准确的。如以元素论为指导,可从中国美术的精神、观念、情趣、表现、观看几个维度探讨中国美术传统的特征。中国美术文化的传统特征有：为人生而美术的美术精神、圆融辩证的美术观念、情理统一的美术情趣、立象尽意的美术表现、俯仰流观的美术观等。     

Assessment of Art Education in Hungary: Historical Problems in Contemporary Perspective

Although art teachers are mostly unwilling to undertake assessment procedures or examinations, the history of art education suggests that even the earliest art programmes ended in rather rigid trials of draughtsmanship. A group of researchers including the author of this paper was commissioned to develop new methods for final examinations and, after surveying the existing methods and work done during the 1980s when art became one of the electives at the school-leaving examinations of the secondary grammar school, we were struck by the similarity between current tasks and solutions and 19th century works and models. Changing the methods of examinations in our case will certainly involve the reinterpretation of the academic heritage that at the same time elevates and cripples Hungarian art education at the secondary school level. This paper illustrates and interprets the philosophy of the examinations and art concourses from important periods of Hungarian educational history and outlines the passage of the Hungarian art teacher from the supposedly ‘eternal’ world of the Academia to the ‘banal’, ‘transitional’, ‘vulgar’ realms of contemporary visual communication.     

论高校艺术设计人才匠心精神的培育

匠心精神是当代教育上的呼唤,是专业素养的新标准,而今高校艺术设计人才现状不容乐观,与时代教育所需的匠心精神相距甚远。在高校艺术设计培养中需要宣起一场新的改革,探寻人才缺失匠心精神的原由,从专业课程、培养方式、价值理念中解决,利用丰厚的传统文化土壤整合高校艺术设计的教学资源、建立班级责任导师制度、加强实践式教育模式和构建中式艺术设计学科体系。做到人文素养、匠心精神、技能传授的相互交融,为国家培育出具有文化自信的艺术设计人才,这也正是我国高校艺术设计教育的努力方向。     

传承、融合与超越——现代包装设计的传统回归

现代包装设计是一门以文化为本位、以生活为基础、以现代为导向的设计学科。在这个崇尚个性的时代,中国现代包装设计应更加注重民族文化内涵。顺应时代消费观念,将回归、寻根的民族意识融入其中,逐渐尝试继承发扬本民族悠久文化传统,将中国式传统艺术语言与现代设计语言重新组合,创造出民族特有韵味的包装艺术,直接表达本民族的心理,使之用于今天和未来的社会,为人类的文明做出贡献。