Abstracts:

Yang Xiawei

Jia Wei

The Display and Dissemination of Revolutionary Art: Analysis of Art Exhibitions in Liberated Areas during the Revolutionary Struggle Period

WenYuanzhong

AbstractThe art exhibition in the liberated areas wasshowcasing and disseminating revolutionary artfor art workers, the general public,and domestic and foreign audiences outside the liberated areas.These exhibitions played an irreplaceable role in implementing the party's literary and artistic policy, promoting the development and popularization of revolutionary art, and conducting political promotion. Their display and dissemination were not only revolutionary art itself, but more importantly, they guided and presented the bright road of art and the beautiful vision of politics.

Key wordsart exhibition in liberated areas; revolutionary art; art dissemination; political promotion

The Art Education of the New Fourth Army's"Lu Xun Art Institute in Central China" in the War Period

Wang Xin

Abstract"Lu Xun Art Institute in Central China"was an art education institution established by the New Fourth Army under the leadership of the CPC during the war of resistance against Japan.The purpose was to train literary and art cadres and workers for the war of resistance against Japan. It was located in Yancheng,Jiangsu province, the military headquarters of the New Fourth Army rebuilt by CPC after the "New Fourth Army incident". The art education of Lu Xun Art Institute in Central China had made certain contributions to the promotion of the Anti Japanese War and personnel training in Central China, and had also had a certain impact on the development of new Chinese art.

Key wordsNew Fourth Army; Lu Xun Art Institute in central China;revolutionary literature and art; art education

The Presentation and Symbolic Significance of People's Images- Case study of the People’s image in the art of the Seventeen Years of New China (1949-1966)

Huang Hui

AbstractAs the most important subject of art creation in the Seventeen Years of New China (1949-1966), the people’s image reflects the style of the times from both micro and macro perspectives, with unique artistic value and lasting social influence. New Chinese artists have adjusted and transformed the composition of their images to achieve the inheritance and innovation of the people's image in terms of artistic expression, functional value, and spiritual significance, making the people's image a symbolic image that integrates the master's position, realizes modernization, and a happy life.

Key wordspeople's image; New China; Seventeen Years; painting

Illustration of Auspiciousness: The Descending Image and the political imagination in the Tang, Song and Liao dynasties

He Kang

AbstractThe main purpose of “the Descending Truth” on the east wall of the stone room in the M1 of the Liao tomb at Baoshan is to express anetiquette space full of political imagination that simulates the environment of the birth time under the instructions of the mourning family, which is related to the frequent references to the Hanwu stories in Tang and Song political discourse. The evolution of the Hanwu stories was eventually defined as a special symbol dependent on imperial power, reflecting political auspices and governing norms. This view of the talismanic order was a manifestation of political orthodoxy, which was consistent with the political imagination of the early Liao dynasty, as a unification of monarchical and divine power in the construction of regime legitimacy.

Key wordsThe Descending Image; the HanWu stories; auspicious symbols;political orthodoxy

One Shape and Three Shadows: An analysis of Qian Xuan’s Shanjutu scroll in the Palace Museum

Xiong Yan'an

AbstractTheShanjutuby Qian Xuan collected by the Palace Museum is mostly considered by the appraisal community to be an authentic work of Qian Xuan. However, the calligraphy style, seal characteristics, and authentic works of Qian Xuan's postscript do not match, and there is another type of Shanjutu besides this painting, the signature of Qian Xuan in the two paintings has some similarities in text.ShanjutuandYoujutu exhibit a reverse correlation in composition, reflecting the popularity of Qian Xuan's fake paintings. The appearance of Shanjutu should not be later than the early Ming dynasty. The misjudgment of the authenticity of this painting by the appraisal community may be related to the lack of“templates” in Qian Xuan's green landscape paintings.

Key wordsQian Xuan; Shanjutu;Zhaixishanjutu;Youjutu; Green landscape painting

A Wonderful Gift- Zhuang Jar study on Zheng He’s voyages to the West during the Yongxuan Period of Ming Dynasty

Yang Xiawei

AbstractZhuang Jar is a kind of porcelain popular in the Yongle and Xuande period of Ming dynasty. Its decoration and type are of Islamic style. It has become a rare case material for the crosscultural research of Zheng He’s voyages to the West. How to form the decoration of Zhuang Jar? It has always been a question to be answered in the study of Yongle and Xuande blue and white porcelain. In this paper, analyzes the core elements of the special seal villosa grain, the geometric star awinch grain and the shape of the Albanello Jar.Then, the appearance and formation of the decoration are discussed from the perspective of Zheng He’s voyage to the West.

Key wordsZhuang Jar; Ranunculus vetch; Decagonal geometric stardust;Zheng He went to the Western seas

Examination on Tusiergen

Jia Wei

AbstractAn analysis of the bill of materials used to make tusergen during the Qianlong period reveals that it is a piece of furniture with a height between a common table(80-90cm) and the short table on a kang. From the scene and frequency of use of tusergen, and the preservation of the word tusergen in modern Manchu, it is clear that this kind of furniture has not completely disappeared, but more likely still survived by another name.Context of using tusergen transferred from ritual space to living space , the history of tusergen reflects the exchange and integration of Manchu culture and Central Plains Culture after Manchu Troop's entrance to Shanhaiguan.

Key wordstusiergen(tusigen);tusergen;furniture;Manchu

The Study on the DecorativePattern and Image of the Funeral Bronze Plaque with Handle and Square Body of Han Dynasty

Bi Yang, Xia Baoguo, Yuan Yuan

AbstractBased on a comprehensive review of the materials of the funeral bronze plaque with handle and square body of Han dynasty, and in combination with the similar square body bronze plaque from the bibliographic description of epigraphy,this article redefines the shape, some distorted patterns, and image content of the square body funeral bronze plaque,and analyzes their connotation. The square body funeral bronze plaque has the same images, decorative content,roughly popular time and distribution area, special user class,decorative patterns and image connotations to the stone portraits of Han dynasty, they are all symbols of becoming immortal, and assist the tomb’s owner to enter into the celestial realm. These circumstances reflect that the square body funeral bronze plaque is different from the pressure wins money used in the tombs to exorcise evil spirits and suppress tombs, and is unlikely to be a specialized tool with usage functions. It should be a special funeral tool used by the wealthy or upper classes in the Han dynasty. It has the function of symbolically assisting in going up to the paradise so that the tomb’s owner can enter into the paradise smoothly.

Key wordsHan dynasty; square body funeral bronze plaque;becoming immortal

Poetic Jianghu: A Study of the Armor Color in Modern Japan

Wu Wenqian, Wang Xinhou

AbstractIn the color classification, weaving and coloring of Japanese modern armor, the scene of the warrior Jianghu is reproduced,and the creation of artistic and humanistic core in armor color is explained around aesthetic awareness, identity and Cultural conflict. By combining art, history, and commentary, this study aims to restore the evolution of armor colors and emotional interactions in historical contexts. It examines the fusion and differentiation of armor colors in modern Japan, reflects on the development difficulties of traditional armor art, and attempts to provide a perspective worth exploring for the inheritance and reconstruction of traditional armor in East Asia.

Key wordsPoetic Jianghu; armor color; samurai; armor art

Digital “Survival” under the Visual:Threshold of body media

Liu Qiming Huang Chen

AbstractThrough the analysis of the dimensions of digital survival,from the recurrence and reconstruction of the dimensions of digital technology, the issue of digital survival is included in the field of emphasizing body media. This paper analyzes the digital dimension from the perspective of body media through the aspects of body perception, cultural metaphor, and media anxiety brought by digital existence, showing the enlargement of space brought by the digital extension of the body and the change of the way of living, and finally moving towards a kind of survival that is in harmony with the development of the technological era.

Key wordspost-modern; body agent; digital “survival”;reproduction and reconstruction

The Proportion of Artistic Order in the Classical Period

Wang Xiaoning

AbstractThe mathematical relations in classical philosophy derive the law of proportion, which leads to the need of artistic order.Artists’ unconscious use the proportion in creation is an order based on digital arrangement, which is reflected in the reasonable relationship between objects.The mathematical law of artistic order is related to visual beauty. It is the artists’instinct to pursue beauty, and provides them with a basic and ideal creative rules.

Key wordsPlato, proportion, number ratio,artistic order, harmonious beauty