略论近现代阜阳剪纸艺术的风格特征及成因

传统的阜阳剪纸历史悠久,其依附民俗生存,风格融南北之长,＂既有北方的简练和粗壮有力,又有南方的精巧和秀丽多姿＂。随着社会经济的发展,阜阳剪纸艺术历经岁月的磨练而开始有了复苏气象和一些新的风格特征。试从近现代阜阳剪纸作品分析入手,就其风格特征及其变化进行系统梳理和分析,以期从其发展轨迹中认识其形成的原因。     

Assistive technology for disabled visual artists: exploring the impact of digital technologies on artistic practice

Abstract

Disabled artists with physical impairments can experience significant barriers in producing creative work. Digital technologies offer alternative opportunities to support artistic practice, but there has been a lack of research investigating the impact of assistive digital tools in this context. This article explores the current practice of physically impaired visual artists and their experiences around the use of digital technologies. An online survey was conducted with professional disabled artists and followed up by face-to-face interviews with 10 invited artists. The findings illustrate the issues disabled artists experience in their practice and highlight how they are commonly using mainstream digital technologies as part of their practice. However, there is little awareness around novel forms of technology (e.g. eye gaze tracking) that present new creative opportunities. The importance of digital tools for supporting wider practice (i.e. administrative and business tasks) was also highlighted as a key area where further work is required.     

Between hagiography and historiography: Chabad,scholars of Hasidism,and the case of the portrait of Rabbi Shneur Zalman of Liady

The portrait of Shneur Zalman of Liady is one of the most popular images in modern Jewish iconography. Published at the end of the nineteenth century, the portrait has quickly gained popularity both within and without the Chabad community. However, unlike the religious audience, which reveres the portrait as a faithful representation of the founder of Chabad, the secular, academic audience rejects it as fraudulent, together with all the supporting evidence provided by Chabad. This article revisits the history of the portrait’s creation and publication, paying particular attention to Russian documentation produced by Chabad in the 1930s, which has so far been entirely ignored by the scholarship. It identifies the portrait’s alleged painter and owner as well as other characters mentioned in these documents, with the aim of verifying Chabad’s version of events. Although this article does not answer conclusively whether the portrait is authentic or not, it proffers corroborating evidence for the Chabad point of view, and briefly discusses future research possibilities for the topic. Furthermore, the article considers the ways in which the leadership of Chabad used the history of the portrait to consolidate the movement and discusses the challenges that Chabad partisan historiography poses for the academic study of Hasidism.     

In search of African history: the re-appropriation of photographic archives by contemporary visual artists

The digital revolution has fundamentally changed our relationship to archives, by accelerating their “dusting off” and their re-appropriation, particularly in the art world. This article will show the ways in which some contemporary visual artists use new digital technologies to provide new ways of storing, reading and retrieving contemporary African history. Such artists do so by revisiting diverse forms of archives that are mainly photographic, and which were produced during the colonial and independence eras.     

张爱玲与川端康成叙事艺术比较分析

张爱玲与川端康成分别对20世纪的中国和日本文坛产生了重要影响。二者都致力于以女性为中心铺陈故事,以诗意的语言建构起女性中心话语权,在其思想主题、表达技巧、审美追求等方面也具有高度的趋同性。     

巴金的矛盾及其与巴金小说艺术变迁的关系

巴金的小说创作与他的自我矛盾密切相关,这种矛盾包括无政府主义思想的"极性"特征与现实的矛盾,以及巴金的生命体验与无政府主义信仰本身的矛盾。以某种形式解决这些矛盾,不仅是巴金接受世界、认同自我的前提,也是贯穿他创作过程的一个最核心的个人化课题。巴金通过小说艺术处理其自我矛盾的方式变化,对他小说的创作类型及风格变迁有深刻的影响。     

生命信息的交融互渗——中国花鸟画审美初探

自然界的有生命之物,以其不同的形状、色彩、气息和动静之态,而有着不同的审美价值.它们的美是生命之美.中国花鸟画不以再现自然对象的外形为目的,而以思想、情感、意趣等生命现象的高级形式反映在作品中.作者根据主观的审美理想和自我生命的节律加以重新创造,使其固定为物化状态,给人以美的滋养.     

秦皇岛明长城券门雕刻艺术特色及现状调查

在秦皇岛境内的300余km明代长城中，有近千座敌楼，保存完整和较为完整的约占半数，在这些敌楼上都有券门和券窗，在很多券门上刻着具有很高艺术价值的浮雕装饰，他们利用当地特有的材料，就地取材进行创作，风格各异，材质变化丰富，使原本冰冷的军事防御工事，增添了许多文化气息和人文关怀，然而由于近年来缺少相应的保护措施，使得大部分精美作品遭到了不同程度的破坏和损毁，合理利用和保护这些文化遗产是迫在眉睫的事情。     

姜敬爱与萧红小说语言描写艺术之比较

姜敬爱与萧红小说语言均具质朴、细腻、清新、明丽之特质,但在遣词造句上,前者酷爱拟声叠词,后者善用奇语散句;在五觉运用上,前者的嗅觉描写丰富而细腻,后者的通感手法精当而奇特;在辞格使用上,两者都擅长比喻、拟人、排比、反复等,但描写的角度不同,效果也不同。作为创作时代与创作语境极为相似的作家,姜敬爱与萧红小说语言描写的不同主要源于作家创作个性的差异和她们对语言艺术的独特追求。     

构成在艺术设计中的重要性

三大构成被看作是现代艺术设计的流通语言,是视觉传达艺术重要的创作手法,是学生从基础绘画到艺术设计转换的重要阶段。学习构成其最终目的是拓展学生的设计思维、掌握理性和感性相结合的设计方法,为今后的专业设计奠定坚实的基础。构成教学,它涵盖了平面、色彩、空间等多个方面的内容,并且在平面设计和立体设计中均有具体体现。教师应该在教学中做好思想工作,让学生认识到构成在艺术设计专业中的重要性。