La semantique politique du jeu de couleurs merinide: pureté et clarté, blancheur et verdeur (xiiie–xve siècles)

This article highlights the establishment of political legitimacy of Marīnid Sultan authority (1265–1465) using their symbolic colours, white and green. In order to examine the significance of these colours, we use the available historical material so that we are able to interpret colour in the context of this legitimacy. We consider literature as presented in ?genres such as historiography, poetry and political and religious texts and demonstrated in the symbolic aspects of the new sultan's power within a ceremonial space. Marīnid scholars have studied such symbolic politics and have composed a ‘poetics of royalty’ – a metaphorical arrangement linking colours and emblems of royalty that are purified and regenerated. These are embodied in certain emblems: norias, water-clocks, white flags (or lanterns) indicating the hour of prayer and the sword of the caliphate as a shining light on the summit of the mosque in al-Qarawiyyīn. The arrangement of the colours has a political dimension developed by sultans and their scholars that demonstrates the legitimacy of a dynasty emerging from nowhere, heir to a missing imām, that of Idrissid, the founder of regenerated monarchy. Finally, the white colour of the Marīnids is a symbolic re-appropriation of the Almohad white. Tīnmal, ‘the one who belongs to the Whites, to the Pure’, also known as the White City (al-madīna al-bay?ā') – founded by the Marīnid sultans on what became the city of Fes.     

客家妇女服饰与青花瓷的装饰关联

客家妇女服饰与青花瓷在装饰上有着共同的对装饰的装饰"部位"的精心布局,注重装饰纹样的线条美、吉祥意,色彩上又有着共性的追求蓝色调等装饰关联。开发蕴含青花瓷元素的又具有时代精神的新客家妇女服饰,加强对外交往,促进精湛的艺术、文明的成果的共同传播有着积极的现实意义。     

新时期瓷器装饰工艺综述

象征着东方文化的中国瓷器闻名世界,极大丰富了民族文化和世界艺术宝库,推动着人类文明的进程。随着时代的变迁和审美观念的变化,人们正不断地探索和追求装饰的多种语言、形式、技法的综合应用,在泥胚处理、施釉技、釉彩结合等多方面、多层次地精思巧制,以达到更多丰富多彩的艺术效果。     

构成和意境——西方油画赏析

西方油画的发展已经有几百年的历史,然而对其的赏析方法却与国画有很大的差异。文章首先探讨了西方油画作品的流派,然后从西方油画的构成——笔触和色彩两个方面探讨了其美学赏析方法,最后从油画的灵魂——意境方面讨论西方油画的美学赏析。     

李斯特艺术歌曲中风格化转调手法的展现

以李斯特部分代表性艺术歌曲为研究对象,通过对作品中转调手法的分析来展现其个性化的和声语言,为探究其音乐作品中戏剧性因素的表现提供理论依据。     

图案艺术与净乐宫建筑装饰

净乐宫建筑的图案艺术,是具体而丰富的事实材料．图案艺术与净乐宫建筑于瞬间永恒、超越时空的心灵颤动中,将与人的生命和价值关联、与丰富的时间存在结合,将体验与构造作为生命时间的标尺,从而蕴示价值与生存意义．     

审美心理疗法初探

按照黑格尔说的审美“带有令人解放的性质”,审美心理疗法将审美活动中绘画、喜剧形式的审美活动引入到心理教育与心理治疗中来,使受治者产生一种审美心理反应,从而矫正受治者的病态心理与扭曲人格,提高心理治疗的可接受性与效果。     

试析波斯细密画对新疆油画的潜在作用与影响

古代波斯流传于新疆的细密画是新疆地区古已有之的一个独特画种,它也是新疆地区魅力独具的一种视觉文化,它在主观精神的营造和装饰色彩的使用等方面都对新疆油画有着潜在的影响和作用。本文从以上两方面论述了它们之间的关系和渊源,并对细密画的文化背景作了整体论述。     

Rendering Visible: Painting and sexuate subjectivity

Abstract

In this essay, I examine Luce Irigaray’s aesthetic of sexual difference, which she develops by extrapolating from Paul Klee’s idea that the role of painting is to render the non-visible rather than represent the visible. This idea is the premise of her analyses of phenomenology and psychoanalysis and their respective contributions to understanding art and sexual identity. I claim that Irigaray assembles an aesthetic of sexual difference that exceeds these familiar intellectual traditions, one that articulates the encounter of non-visible, material (human and non-human) forces that engender modes of sexuate being and becoming. I further claim that this encounter is the very matter of artistry and art-making.     

即墨方言词缀研究

即墨方言词缀很丰富 ,由词缀构成的词汇有特定的语义内容和感情色彩。名词前缀有尊敬意 ;形容词前缀在表达语义内容和感情色彩上分工很细腻 ;动词后缀轻化动作 ,并附有说话人的感情色彩。