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The History Extending in Retrospection --An Overview of the Art of ’85 New Wave in Jiangsu

Gu Chengfeng

Abstract

This paper provides an overview of’85 new wave art in Jiangsu in 1980s. The focuses of the narrative are Nanjing, Xuzhou, Suzhou, Wuxi, Changzhou, etc. Some important historical facts are summarized, many contents of art history without record in the past are supplemented, and different views on some previous formulation are also put forward in this paper.

Kev words

Art of ’85 New Wave in Jiangsu; Chinese modern art; media; group; exhibition

Design in the "New Period" -- Observation of the Phenomenon of Chinese Design in the 20th Century (Four)

Cao Xiaoou

Abstract

This observation takes the perspective of reviewing the thirtyyear history of the “new period”, makes a comprehensive investigation on the phenomenon of the development of contemporary Chinese design, summed up the meaning and value of contemporary Chinese design becoming the important characterization on the road of China’s growth in the “new period”. Then it points out that Chinese design today sometimes linger between the "ideal" and the "reality", and the appearance of kinds of problems behind the rapid development might reflects the achievements and losses of the "leaping" development of design itself in the special historical background. This paper can be described as a featured writing on the design history of China in the last thirty years in the Twentieth Century, which is a very important historical research document.

Kev words

design in the "new period"; the starting point of the "Modernity" of design; the change of college education

Design: Producing “Existence” from“Nothingness”--- Discussion on the Research and Application of Ecological Design Concept in Art Design

Rong Shuyun

Abstract

Starting from the perspective of art design, combining ecology, anthropology, traditional ecological ethics, modern ecological design concept, this article tries to clarify the inner relationship between ecological culture and artistic design, and puts forward the idea of " design respecting ecology", and "ecology compensating design".

Kev words

Ecology; ecological design concept; artistic design; "nothingness"; "existence"

Textual Research on the Origin of Acuoye Kwan Yin Statues

Lu Ding

Abstract

There has been clues about the origin of Acuoye Kwan Yin statues in Nanzhao Tuzhuan. The author of this paper has made a textual research on issues such as the time of the Acuoye Kwan Yin’s appearance in Yunnan, the era of Nanzhao royal family enshrine and worship Acuoye Kwan Yin, and the origin of the shape and structure of the existing Acuoye Kwan Yin statues and so on.

Kev words

Acuoye Kwan Yin statues; origin; textual research

Sambo Images in the Early Buddhist Art History

Li Wenwen

Abstract

Sambo is one of the important symbols of Buddhism. Due to the lack of historical data and examples, this sign has been mentioned a lot, but it has not been clearly researched. This article makes analysis on pagoda reliefs in Sanchi, Baltimore Huth, Amara Waed in ancient India combining with the Sambo patterns in Baja and Beidesa Grottoes in southern India. Although the Sambo pattern in early days was absorbed by art of Jainism, it became a symbol of Buddhism at least in the 1st Century BC, and was absorbed in stone sculptures of pagodas, grottoes and Buddhist feet as a decorative pattern, and then spread to other Asian countries and regions.

Kev words

Sambo; India; Pagoda; Stone Grotto Temple

On the Religious Symbiosis in Tomb Art of the Tang Dynasty

Yang Yongjian

Abstract

The diversified religious forms in the Tang Dynasty penetrated into all fields of social life, and inevitably into the tombs. Chinese traditional Confucian culture, Taoist culture has extensive influence on the tomb art in the Tang Dynasty, and Buddhism also brought fresh air and made it of colorful appearances. Based on the archaeological objects and documents, through examining the visual materials in tomb art in the Tang Dynasty, focusing on analysis of religious funerary objects, murals and artifacts with the characteristics of the symbiosis, with the identities of the tomb owners, the article makes analysis on the interactive relationships among traditional Confucian etiquette, Buddhist samsara and the immortal thoughts of Taoism in the tomb art in Tang, and expects to grasp the basic characteristics of the burial art of the Tang Dynasty, which is based on the traditional Confucian etiquette thought, and care about souls of the tomb owners with the Buddhist and Taoist thinkings.

Kev words

tombs in the Tang Dynasty; burial art; religious symbiosis

From "two elements integration" to "self forming system"---Exploring on the design thinking of Chu in Chuci

Zhang Zongdeng

Abstract

Chuci (The Songs of the South) was a typical representative of Chu art in the pre-Qin Period, describing local customs and practices, historical stories, basic necessities of life, and life and social style, and reflecting the life style of Chu; through analysis on material forms of clothing, food, housing and transportation, we can see Chu creation art had the features of abstract form, combination of structures, scattered perspectives, stunning colors, moving forms, and showed artistic forms following the nature, with colorful and rich content and distinctive characteristics.

Kev words

Chuci (The Songs of the South); Chu culture; design thinking; creation wisdom

The Cultural Significance and SocialFunction of By-name Pictures’in Wu-school——Taking Wen Zheng-ming’s By-namePictures as an Example

Xu Ke

Abstract

This paper probes into the important significance of by-name pictures in both painting and social history in Ming dynasty, taking Wen Zheng-ming, one of Wu-school painters as an example. By-name pictures have rich content and profound meaning, far beyond the simple graphic illustration of by-names’literal meaning. These pictures summarize several common subjects of literati paintings, such as elegant gathering pictures, gardening pictures, reclusion pictures and studio landscapes to explain the by-names jointly, and reflect literati’s identity and elegant taste. By-name pictures can also be regarded as special portrait paintings. Besides, by-name pictures are not for painters’ self-entertainment, on the contrary, they have practical use and important social function. They were not only the medium of social interactions, but also themethod for literati of the time to maintain their superiority when they confronted the trend of secularization in mid-Ming dynasty, which obscured their identity and hardly differentiated elegance and vulgarity. Through this method, they fought against the secularization.

Kev words

Wen Zheng-ming;Wu-school;By-namepictures;Social function

Vision, Material and Methods: On Design Art Research of Late Qing Dynasty inJiangnan Area of China

Li Yinan

Abstract

In the late Qing Dynasty and the Republic of China, China's design art was in a critical period transforming from traditional to modern and from the classical to the modern. The Jiangnan region was the area where China's modernization process started from, the design history there was the typical epitome of the evolution history of modern Chinese design. Designers in Jiangnan of the past hundred years diligently worked and strived with success, and should not improperly belittle oneself. In the background of contact, collision, selection, communication, integration of thinking and cultures of the East and the West in Jiangnan area, the design culture here embodied as the development with rapidity, complexity, diversity and advanced manner, and in brilliant diversified patterns. The evolution of design art in the late Qing Dynasty and the Republic of China in Jiangnan area presented with the characteristics both of gradation and continuity, which implies the inheritance relationship. This study paper plans to start from cultural vision of a global history, focuses in the "marginalized" design data as research materials, observes from multi-dimensional macroscopic view of political, economic environment, social and cultural structure, comparison and communication between China and the west that the design works were from, makes the micro motif analysis on the creation aim, function, material, form and motif of the works, and increases internal tension of the research. The study methods are to make use of the advantage of interdisciplinary research methods especially in big data platform, emphasis on quantitative research methods, and the research ideas are to focus on design culture and mentality and cross-cultural comparative study, and to put forward a new point of view according to specific problems.

Kev words

Vision; material; method; the late Qing Dynasty and the Republic of China; the south of the Yangtze River; design art

Ruskin's Ideal and Chinese "Nostalgia" --- Aesthetics, Nostalgia and National Cultural Identity during the SocialTransformation

Wen Xiaojing

Abstract

The author takes Ruskin and his time as a reference for this paper. The British society of Ruskin’s time was facing a comprehensive social transformation after the Industrial Revolution, and formally stepped into the modern industrial civilization. China today in the process of urbanization is in a transition period of comprehensive modernization. Both the two times stand at the edge of traditional cultures facing critical challenges. Ruskin advocated aesthetic education and the reviving Gothic in more than 100 years ago in the Britain, and today China proposes reshaping "nostalgia" in process of urbanization, both of which are similar and related in a subtle manner to a certain extent. There is a certain significance to look at today's transformation of China's rural areas with a comparison to Ruskin.

Kev words

Social transformation; urbanization; nostalgia; cultural identity

The Study on the Creative Design of the Wooden Culutrue Ornaments

Lv Jiufang Yang Jie Liu Yunpeng

Abstract

With the development of the times, the status and role of culture has become increasingly prominent, and the wood industry is also developing rapidly, and various kinds of wooden cultural and creative products continue to emerge. Due to space, this article will focus on the creative design of wood Ornaments. On the basis of inheriting the traditional wooden culture, this article has explored the original wooden design according to the modern design thinking in order to make wooden jewelry design more in line with the modern aesthetic needs, in the meantime show the personalized aesthetic taste.

Kev words

wooden culture; wooden ornaments; modern design