专业色彩风景写生教学特色分析

专业色彩写生教学应根据专业基础、专业特色和专业岗位能力需求,来确定不同的课题内容。教学计划和教学方式应凸显观念创新和技法创新,努力做到按岗位能力要求来施教育才。     

The feminine in abstract painting reconsidered

This essay explores the complex gender issues embedded in abstract painting’s history as well as the present.     

秋天山清水秀风景(英文)

正Once November arrives in Beijing,the landscape changes.Beautiful golden秋叶(qiū yè),autumn leaves fringe the streets.It is秋天(qiū tiān),autumn,the season of burning straw in the fields after the harvest.This explains why秋has two parts–禾(hé),standing grain,and火(hu),i re.In northwestern Beijing香山(Xiāng shān),literally Fragrant Hill,is robed in flam-     

以苏轼为例：中国哲学语境中的诗画理论

中国诗画理论历来存在着诗评与画评标准的不一致性,但中国诗画理论又在美学精神上达到了对诗画共同艺术本质揭示的高度.苏轼"诗中有画""画中有诗"的命题就是对中国诗画艺术创作经验和理论的一次高度总结和归纳.在苏轼的这个命题中,前者揭示了中国传统诗歌追求"画境"的形下取向,而后者则揭示了中国传统绘画追求"诗意"的形上取向.中国诗画理论特别是苏轼诗画命题与中国哲学道器观有着深刻的内在联系,中国哲学道器观为中国诗画理论提供了哲学背景和言说语境.     

余光中文学创作与现代绘画艺术

20世纪60年代至90年代，余光中以一系列评论和创作，推介、汲取和表现西方现代绘画和台湾当代绘画艺术。现代绘画对余光中的艺术观念和艺术技法有持久的影响，是余光中创作艺术发展和变化的重要侧面。     

Ink Blossoms Renowned painter Guo Shifu soars to new heights in the traditional arts

正Guo Shifu was born in 1945 in Beijing.A member of the China Artists Association and an art commissioner with the Beijing Fine Art Academy,Guo is also the founder of Beijing’s first painters’association,which has since been renamed the Beijing Society for Bird-and-Flower Paintings.Guo is proficient in traditional painting,calligraphy,seal cutting,poetry and Western artistic techniques.The Ministry of Culture has listed Guo as one of the masters of contemporary Chinese art.     

Liu Ye:Childhood and the World Today

正"I may use certain references to things that infl uenced me as a child,things that fi rst attracted me to art.But these subjects,my‘little people,’are used to describe my world today and certainly far removed from childhood."     

Zhou Tiehai：It Is not Difficult to Make Art

正ZHOU Tiehai is an extraordinary facilitator and clever conceptual artist.Both of these traits have made him a successful contradiction in the contemporary Chinese art world of the past12 years.He has encouraged a younger generation of artists to think about new and unique approaches to identifying themselves.A graduate of the Shanghai College of Fine Arts in painting and design,     

福柯的绘画观

福柯认为15世纪到20世纪的西方绘画被两大原则支配:相似性原则与对等性原 则。《宫娥》集中表现着油画所代表的相似性原则起作用的过程,而马格利特的两幅《这不是 一只烟斗》则用可见的技术展示着福柯所指出的两大原则解体的过程。绘画所追求的应该是展 示绘画本身的知识,及生产极其丰富的形象,反对寻找绘画背后的意义。通过福柯对于绘画的 论述,绘画通过身体而呈现世界真理的神圣角色被瓦解了,传统的“凝神观照”观看模式也丧 失了崇高的地位。