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- 焕发的肌理
- 作者： 周子强 来源： 雕塑 年份： 2003 文献类型 ： 期刊 关键词： 八字墙 汉画像砖 明清徽州 民间故事 发展史 砖雕艺术 垂莲柱 明清之际 安徽南部 建筑装饰
- 描述： Artistic creation refers to artist's practice to pursue his dream. It is the very advanced, complicated and unique spiritual activities processed by humankind. Tracing back to the historical periods, even to the post-primitive time, whether the art in labor, in witch, in religion or in game, the original impulsion promoting artistic creation never departs from man's communicative wants. As society develops, artistic creation turns to be man's important communicative channel, the case in point is the Nanyang portrait-covered stone of Han dynasty. As a precious pearl in artworks, it displays resurgence in spiritual communication with audience. Since every art has its own theory and creating types, it is no wonder that every creating process is different. Researching on the texture of the Nanyang portrait-covered stone of Han dynasty, we could clearly find the artist's inspiration and his basic principle of creation. This article elaborates the texture characteristics of the Nanyang portrait-covered stone of Han dynasty by analyzing its texture. 艺术创作是指艺术创作者精神的实践活动,是人类高级的、复杂的、特殊的精神活动。
- 艺术与宗教
- 作者： 张朝阳 来源： 雕塑 年份： 2003 文献类型 ： 期刊 关键词： 八字墙 汉画像砖 明清徽州 民间故事 发展史 砖雕艺术 垂莲柱 明清之际 安徽南部 建筑装饰
- 描述： Huang Huazong's father and uncle are very famous folk artists. So he is affected deeply by predecessors' accomplishments of joss facture. His family influenced him deeply in his boyhood; with the increasing apperception for the art of Buddhism, Huang Huazong is attracted deeply with stately and magnificent temple sculptures. He mastered and used reborn skill for big-sized josses in practice, decreased the limit of temple sculpture materials further, increased the expressive force of josses and made it become more and more rich and colourful. Huang Huazong's artistic style of joss facture is influenced deeply with phylogeny of Buddhism art, especially the styles of Tang and Song Dynasty affected him directly. Huang Huazong's josses appearances are elegant and magnificent; we can easily find the style of later Tang Dynasty. About Huang Huazong's principal of joss facture, firstly it is "taking root in life"; secondly it is "imago" sculpt with style of romanticism. 在东西方美术史上,都曾有过一段很长的时期,艺术与宗教合而为一,以致于“宗教艺术”成为若干世纪内美术史上的主流,“宗教”艺术中“艺术”的问题,实际上是“艺术”在宗教中占据比例大小的问题。
- 徘徊在现实与意象之间
- 作者： 杰类·卡伦 来源： 雕塑 年份： 2003 文献类型 ： 期刊 关键词： 八字墙 汉画像砖 明清徽州 民间故事 发展史 砖雕艺术 垂莲柱 明清之际 安徽南部 建筑装饰
- 描述： life. 作为一个多年旅居美国并长期活跃于国际艺术展览的中国艺术家,商徐宏是中国在海外的艺术家极其冷静、毫无虚张声势地从事观念性及极简主义与抽象意识相结合的艺术创作和研究的为数不多的几个艺术家之一。
- 泥塑宇宙
- 作者： 东土 来源： 雕塑 年份： 2003 文献类型 ： 期刊 关键词： 八字墙 汉画像砖 明清徽州 民间故事 发展史 砖雕艺术 垂莲柱 明清之际 安徽南部 建筑装饰
- 描述： Xu Min was born in a family fuU of artistic atmosphere; both of his parents were students in Shanghai Arts Institute of Liu Haisu. His father was one of the early domestic cartoon producers, and worked in Chuangli Cartoon Workroom of Shanghai in early 1940s, drew and filmed many short cartoon films. Xu Min’s mother was dedi- cated in canvases research and creation. His father affected Xu Min deeply, his interest for art was aroused from a child and had been started to study drawing from his five-year-old. After the gradua- tion from his middle school, his was engaged in scenograph and tinct result picture drawing in technique department of alarm. Itl 1978, he got into art of ceramic department of Central Academy Of Arts And Design with excellent score, and had stayed there for teach- ing since his graduation in 1982. And then expatriated to us. Xu Min has very independent style in ceramic art, not only has the spirit of western traditional culture, but also has the intense charac- teristics of the time. With strong artistic convulsion, to mom life in abiotic figuline; through his skillful mastering for glaze and chroma, we can find his apperception for Laozi’s philosophy of"both useful- ness & uselessness are favorable". Besides, it is a pioneering work that he applied the subversion skill of by inside to many of his works; it reflected the social transparence and the metaphor of people's essential cognition for traditional concept in the new century. He pursues nature, purity simplity his working, it is just as what China paintings believed "saving paper as gold", "saving ink as gold", and he also believe that "saving glaze as gold". He thought that fully glazed potteries were like " a raddled person " and lose the natural sense. So he tried his best to display the artistic effect of "like the lotus from the clear water, nature and unselfconsciousness" in his pottery making, to pursue unpretending and natural aesthetics. Xu Min thought one of the most suitable materials for shaping in the world was argil, it can resist the time and the testing of water and fair. Chinese people use gold, wood, water, fair and soil to represent and explain universe, and ceramic facture and composing process are also the process of gold, wood, water, fair and soil integrating. So a ceramic works can be explained as the concentrate of all universes. Development of art is to find new artistic modality and language, and potteries are most closed to the nature of human being, so the potteries is also trated as one of the most important representation materials with iron and stone. Xu Min has been engaged in the creation of ceramic art more than ten years, and integrated core skills into eastern ceramic art, dis- played a various ceramic world to people. 徐敏出生在上海的一个充满艺术气氛的 家庭,父亲和母亲都是刘海粟先生上海美专 的学生,父亲是我国早期卡通片制作者之一, 早在四十年代初期,就在上海创立卡通片工 作室,绘制与拍摄了许多卡通短片。
- 亨利·兰尼
- 作者： 暂无 来源： 雕塑 年份： 2003 文献类型 ： 期刊 关键词： 八字墙 汉画像砖 明清徽州 民间故事 发展史 砖雕艺术 垂莲柱 明清之际 安徽南部 建筑装饰
- 描述： 亨利·兰尼
- 一切归于形式感：论黄泉福先生佛教造像的形式美
- 作者： 张朝阳 来源： 雕塑 年份： 2003 文献类型 ： 期刊 关键词： 民族形式 造型形态 形式美 形式感 中国传统 木雕艺术 几何形体 传统形式 艺术形式 佛教造像
- 描述： 形式感在艺术上的表现就是形式美,形式美的许多规律是建立在人类共有生理和心理活动基础之上的。“形式感一般可用各种几何形体来概述,几何形体是人们对自然形象认识的一种概括”,它所引起的某种心理上的暗示,是由生活经验触发的一种联想,其中也包括长期艺术实践的经验。这种经验可触发一种联想,可以逐渐形成一种相对稳定的“民族形式”,成为一个民族形式感的积淀,体现在作品的构图形式以及人们的欣赏习惯之中。一个民族艺术性格的形