浅谈敦煌壁画对中国现代重彩画的影响

中国的敦煌壁画不仅是历史文物，还是历史文献宝库，更是人类艺术结晶。中国现当代重彩画的崛起正是源于敦煌壁画，其中创新是中国重彩画的重要特征，而敦煌壁画又赋予中国重彩画以灵魂，对重彩画影响深远。重彩画作为一种重形式美感又充分表现内容的艺术也是追求与时俱进的，不仅上承敦煌艺术，更是符合现时代的艺术发展和艺术审美。通过论述来强调敦煌艺术对重彩画的重要性，为重彩画的发展开拓更自由的空间。     

常沙娜：让敦煌艺术之花盛放

常沙娜，是被誉为“敦煌守护神”的常书鸿先生之女，她继承了父亲保护民族传统文化的使命，一生致力于敦煌艺术的保护、研究与教育。她幼年时随父扎根敦煌临摹莫高窟壁画，赴美深造归国后，在恩师林徽因的指点下走入工艺美术设计领域，并将敦煌艺术渗透其中。     

比尔·盖茨继母倪密情系中国文物

这位中国通洋老太太竟是比尔·盖茨的继母 201学年11月的一天，甘肃省敦煌研究院院长樊锦诗收到一封来自美国西雅图的信。信中，一位叫咪咪（Mimi）的女士表达了她对中国历史和中国文化的热爱，尤其是对敦煌艺术情有独钟，希望能够现场观赏敦煌艺术。樊锦诗被她的热情打动了，经过研究院讨论同意，她给眯咪回信，欢迎其随时造访敦煌。     

科技赋能下的文创产品形态创新设计——以敦煌文创产品为例

<正>敦煌，作为丝绸之路与东西文化交流的重要咽喉要道，敦煌文化响彻世界。敦煌文创产品是甘肃地域文化的具象体现，不仅展现出敦煌文化的艺术价值和深厚底蕴，还具备作为敦煌文化载体的文化属性。但是目前有关敦煌的大部分文创产品设计并没有充分展示出甘肃地域文化内涵、敦煌深厚文化底蕴，只能说是一种外观精致的艺术欣赏品，过于看重其商业价值，无法更深入领略敦煌文化的魅力。     

试论敦煌壁画的造型艺术

敦煌壁画集中体现了中国民族绘画的精神与审美样式,敦煌壁画中的造型艺术,不是简单的描摹,而是艺术家多年积累经验所得.所有形象的刻画均源于生活并高于生活,它们是大自然中存在的形象与艺术家的情感和艺术创造有机的结合,和谐统一、妙趣横生.     

中国敦煌舞蹈的形象美探析

敦煌石窟被认为是佛教艺术的宝库,在这里有许多宣传佛教思想的壁画和雕塑,它不仅反映了古代社会生活、民俗习惯、各种制度等,而且还反映了不同时代的乐舞风貌,为后人了解古代佛教舞蹈提供了形象资料。敦煌壁画是讲述佛教舞蹈故事的图画,舞蹈通过佛教故事来展现。敦煌舞的形成与中国的传统美学观念、中国的古代舞蹈以及当时、当地的民俗风情、政治、文化等背景有着密切的联系。我们从敦煌壁画讲述佛教舞蹈故事的图画中,可以探析到中国敦煌舞蹈的形象美。     

唐代敦煌艺术中的青年女性形象研究

艺术是社会的镜子,艺术深刻地反映了时代的经济社会状况以及社会精神面貌。对唐代敦煌艺术中的青年艺术形象的研究发现,菩萨造型、飞天形象、舞伎形象、民女形象等女性化审美取向与唐代社会的政治、经济、文化间存在紧密的联系。由此可以认为,敦煌艺术中的青年女性形象的塑造,不仅符合当时社会的审美需要,同时是由当时特定阶层的社会性需要所决定的。     

张大千与四位青海喇嘛的佛缘

国画大师张大千传奇的人生中，有一段去敦煌临摹壁画的经历。这段不寻常的经历，影响到他后半生艺术风格的转变，也成为他人生途程中的一段华彩篇章。但鲜为人知的是，张大千敦煌之行的成功和他所临得的大量临摹作品，是在青海热贡艺术之乡的僧人喇嘛不可缺少的帮助下完成的，他因之与四位喇嘛结下了深厚的友谊，写下一段美丽的人间佳话。     

杨牧青介绍

杨牧青，号草坪先生，七十年代生于黄土陇原。研究员、书法教授、一级美术师、资深易学策划人，著名书画理论家，书法评论家，“新诗词”倡导与实践者，“金城六友”之一，“敦煌风艺术沙龙”发起人之一，率真派书法与原生态大写意山水画创始人，曾担任多家社团、艺术机构、文化公司职务等。     

敦煌面临尴尬(英文)

敦煌,这个举世闻名的艺术圣殿正面临着几许尴尬:一面是旅游业的飞速发展,西部大开发的历史性机遇;一面是不可再生的敦煌壁画正受到人为的污染和破坏。最近的一个消息更令人震惊:敦煌莫高窟中一半以上的壁画都染上了被称为壁画癌症的酥碱病。     

敦煌的女儿——樊锦诗(英文)

她是一位卓有声望的敦煌研究学者,一位干练且富有远见的院长,更是一位敦煌遗产的坚定守卫者。她的经历一如她的名字,锦秀而充满诗意——樊锦诗。她拥有惊人的毅力和对敦煌艺术的执著追求,在大西北戈壁滩一守便是四十五年……千年来岁月的无情和掠宝者的贪婪使莫高窟伤痕累累,历经劫难;然而,樊锦诗和同事们始终坚持不懈,守护着这片宝贵的世界文化物质遗产。樊锦诗也因此被人们亲切地称为"敦煌的女儿"。     

¡Hasta La Victoria!: Murals and Resistance in Santiago,Chile

The article considers in detail mural painting in Santiago, Chile. It examines the history of mural painting, from the early days of support for Salvador Allende's attempt to combat inequality and provide for the basic needs of all citizens, through the repression of the military dictatorship, to the reemergence of the phenomenon in the transition to democracy and up to the present day. It identitifes a range of themes in the contemporary murals: resistance to repression and misrepresentation, past and present; memorials to dead and disappeared people with varying degrees of fame; the situation of women (their roles in resistance and building the future, as well as their specific demands for an end to violence against women and for reproductive rights); and the struggle of the indigenous Mapuche people of Chile for recognition and justice. Analysis explores examples of murals on each of these themes from a number of areas throughout Santiago, with a particular focus on La Victoria, an area noted for solidarity in the face of state repression and the inequalities fostered by neoliberalism.     

Between art therapy and disability aesthetics: a sociological approach for understanding the intersection between art practice and disability discourse

What emerges as art and how it is categorised are parts of a collective process taking place in art worlds and involving a wide array of social actors. In this article, the relation between four ways of framing the intersection of disability and art is discussed. These frames are art therapy, outsider art, disability art, and disability aesthetics. The article suggests the frames and the way they relate to each other as important discourses in organising the relation between disability and art. The discourses’ relevance is demonstrated by discussing three cases of art practice among disabled people. The discussion of the cases demonstrates the importance of including more than one of the four identified discourses when analysing art practice involving disability. The concluding part discusses how the intersections of disability and art can be more closely linked to the mainstream art world through the concept of social practice art.     

On the semantics of the motif “three hares chasing each other in a circle” on Jewish monuments in Eastern Europe

“Three hares chasing each other in a circle” is one of the most common and peculiar motifs in the murals of Eastern European wooden synagogues. This motif was not an invention of Jewish craftsmen, but rather was borrowed and adapted by them from European art. In the late eighteenth to early nineteenth century this motif appears in various Ashkenazi ritual objects and on the tombstones of Eastern European Jews in the same region, and even in those places where there were painted synagogues. What is the reason for the appearance of this strange motif on Jewish monuments? On some monuments the motif of the “three hares” paradoxically replaces the “three overlapping fish” which are depicted as the zodiacal sign of the month Nisan. On the tombstones the image hints at the name of the deceased. But its central place in the composition of murals is evidence that this motif has an important universal meaning. This analysis of the motif shows that it became an integral part of an artistic tradition and that its semantics were determined within a well-defined geographical and chronological framework.     

The power of inertia

The connected “package” of practices and relationships which make up an art world, such as the world of music making, creates a powerful inertia, since it is always easier to use the already present elements of the package. Innovation is possible and occurs whenever people are willing to go to the trouble of doing things the hard way. I've explained some of these ideas in a slightly different form in (Becker 1982).     

MIXING ART AND LIFE: The Conundrum of the Avant-Garde's Autonomous Status in the Performance Art World of Los Angeles

Performance art, the quintessential avant-garde art form, flourished and gained national renown in Los Angeles during the last three decades of the twentieth century. In 1989, however, pivotal changes occurred within the performance art world and in the national attitude toward art, as seen in upheavals in the National Endowment for the Arts, that drastically altered not only the form and content of performance art but also its means of production and its status as an autonomous avantgarde art world. An historical analysis of the transformation of this performance art world from the mid-1970s to its manifestation in the 1990s is presented by analyzing ethnographic and archival data and by noting the circumstances affecting the autonomy of this art world and its relationship to external social and cultural spheres.
Minerva's owl only begins its flight as dusk emerges.G. W. F. Hegel, Philosophy of Law     

The Commodification of Time in Two Art Worlds

This article examines how people successfully claim expert status in the art worlds of tattooing and opera by commodifying the time they have spent becoming experts in those art worlds. Temporal commodification happens along five dimensions: educational time, autodidactic time, consumption time, contiguous consumption time, and painful time. In essence, aesthetically-oriented individuals can successfully claim expert status in a given art world when they can convince others that they have learned about a particular kind of art, that they have learned from a legitimate source, that they have spent sufficient time consuming this art, that they have spent this time in contiguous chunks, and that they appreciate the pain (both physical and affective) that often accompanies such consumption.     

ART WORLD CULTURE AND INSTITUTIONAL CHOICES:

This article is based on an ethnographic study of the North American experimental film art world, which established an affiliation with academic institutions in the 1970s. Participant interviews, field observations, and primary written sources are used to examine how the material and cultural characteristics of experimental film influence what art world practices have and have not been institutionalized within the academy. The art world is materially characterized by small size, unprofitability, and lack of prestige in larger culture markets and culturally characterized by the importance it attaches to innovation, expression, and active engagement with art, values associated with its avant-garde identity. Its institutions thus emphasize the fostering of innovation and interactive participation (cf. Gilmore 1988), while de-emphasizing the roles of gatekeepers and critics as arbiters of legitimacy and meaning. Rather than promoting standardization and integration uniformly across art world functions of production, distribution, and evaluation, material and cultural factors interact to differentially support various institutional functions.     

THE END OF THE ART CONNOISSEUR? EXPERTS AND KNOWLEDGE PRODUCTION IN THE VISUAL ARTS IN THE DIGITAL AGE

In this digital age, declarations surface of the death of the expert and the democratization of information. Crowd wisdom is seen as the new guide in constructing and evaluating knowledge. In the context of the art world, this tension between the amateurs and the experts becomes particularly pronounced as popular meets high culture. Questions arise such as: what is the role of the expert in the evaluation of art in contemporary times? Do social media dismantle age-old hierarchies and established priesthoods in the art world? And can we assume that mass participation in valuation results in better judgments? This article addresses such popular notions of participation and expertise concerning social media in the art world through a historical lens by re-examining and positioning art experts from past to present. Particularly, characteristics of intermediaries in the art market are examined closely regarding their strategies in knowledge production and the establishment of expertise. This historical situatedness enables us to move beyond the hype of new media expectations, generating more appropriate avenues of investigation to better grasp possible changes amongst actors within the contemporary art world. This examination is not just theoretically relevant but practically so, given current pressures on art institutions to embrace and reach out to new audiences online.