民间艺术在其他艺术文化领域的运用

我国历史悠久,民族文化和艺术源远流长,五千年的文化积淀,创造了灿烂辉煌的传统民间艺术.在我国,传统民间艺术因为民族、地域审美习尚的差异,呈现出多姿多彩的艺术特色.民间艺术在不同的时代有不同时代的特点,它的很多优良随着时代的发展、社会的变迁、审美的改变而改变.民间艺术在不同艺术领域得到新的运用,如民间艺术的寓意性在油画中的表现、民间艺术造型多元化的特征在雕塑、建筑中的运用,民间艺术也为表达抽象哲学和宗教观念.     

环县道情皮影与当代艺术

本文以环县道情皮影与当代艺术的关系为中心进行论述,当代艺术不仅仅只包括前卫的、先锋的艺术,当代人创作的当代民间艺术也是当代艺术。所以说,皮影艺术的保护、研究和传承、发展也是为当代艺术家的创作提供良好的条件。只有包括民间艺术在内的各种艺术形态都得到协调发展,相互促进,才能使当代艺术繁荣起来。     

空间形式与象征意义:佛教石窟从印度到汉地的演化

石窟，与塔一道，作为佛教的主要艺术形式产生于印度。古印度石窟巴查、卡尔利、纳西克、阿丹陀……构成了一个灿烂的佛光带，它星星点点，向北，向东，亮到西域，亮到河西走廊，亮进中原。印佛与汉佛共创了至今仍光芒四射的佛教石窟，呈显出一种独特的宗教—审美境界     

浅论唐代壁画

唐代是中国绘画艺术大发展的历史时期,而壁画又是唐画最重要的形式之一。唐代壁画可大分为二大类一般性质的壁画和佛教壁画。佛教壁画又分绘于具有中国民族传统建筑上的寺院壁画和绘于具有印度、西域地区特点的石窟寺壁上的两种形式。正确认识唐代的壁画有助于我们进一步认识唐代绘画的真实面貌和其在中国绘画史上的地位和影响。     

冯国瑞与天水图书馆文化事业

冯国瑞先生是陇上著名的学者和诗人,他对麦积山石窟、炳灵寺石窟的勘察考证作出了开创性的贡献,在学术研究、诗词创作上取得了超卓的成果。这些,都已为世所瞩目,其影响也与日俱增。然而,他对家乡图书文化事业所作的贡献尚鲜为人知,本文对冯先生在这方面所建立的功绩略加探讨。     

中国四大石窟

本文介绍了敦煌莫高窟、大同云冈石窟、洛阳龙门石窟、天水麦积山石窟,中国四大石窟的历史及艺术成就     

晚清文人的艺术探索与研究——以张士保生平为例

“乾嘉学派”的兴起是清代书法发展过程中的重要组成部分，也是日后金石书法的滥觞。此学派的治学思想与艺术观点对日后中国书画艺术的发展具有重要影响。而张士保作为能书善画的文人艺术家，在这一艺术群体中具有重要的影响，并对民间艺术的发展也有一定贡献。对于张士保的研究，能够为认知金石书画家群体补充材料，也填补了地方性的艺术家研究的空缺。     

民间艺术原生性研究的回顾与思考

民间艺术的原生性是民间艺术有别于其他艺术的基本特征,是＂民艺学＂的重要理论基石。在国内,张道一先生和潘鲁生教授对这一课题作了较为深入的研究,孙家正、杨先让、靳之林、吕品田等专家学者亦皆有所论述。在国外,法国艺术家让·迪比费对于原生艺术（或译＂生涩艺术＂）作了较长时间的收集与探索。既往的研究虽然取得了一定成绩,但还没有充分认识到这一理论命题的重要价值,因此,亟待开展系统的专题研究。把原始艺术、儿童艺术、民间艺术三种艺术打通互证,将是未来研究民间艺术原生性的主要方法。     

慧心巧剪幸福花

正剪纸作为中华民族传统的民间工艺,源远流长,经久不衰,是中国民间艺术中的瑰宝,已成为世界艺术宝库中的一种珍藏。辽宁本溪满族自治县是满族的故乡,也是满族剪纸艺术之乡。剪纸是满族传统文化中一个重要的部分。心灵手巧的满族民间艺人把所见、所闻、所喜爱的人物、景物等都剪成作品,装饰着幸福美满的生活。     

论民间艺术的视觉形象

民间艺术的题材多来源于自然界的物质,它是最能体现民众生活的艺术,所以它的视觉形象有其独特之处。首先是造型的完美。其次是色彩的完美,“以色扶形”是民间艺术的一个重要手段。最后是以形写神。在“形”与“神”的表现中,民间艺术更注重“神”的表现,人们崇尚自然却又不拘泥于自然形象的束缚,将自己丰富的想象力、创造力概括其中,产生一种不合常理但又十分和谐的“神”似之美。在掌握了这些特点之后,艺术家们应该学会从民间艺术的视觉形象中发现自己需要的视觉图像,与之沟通、交流,最终产生新的具有自己艺术语言的形象。     

略谈艺术欣赏要领

艺术欣赏是一个作品与观赏者之间的双向互动过程。艺术作品的创作一般都会起到一定的社会作用 ,而人们观赏艺术作品时也会产生一种精神活动。这种精神活动一方面是作品本身塑造的艺术形象 ,把观赏者带到一个特定的具体的艺术境界 ,激发起这样或那样的思想感情的波涛 ;另一方面 ,观赏者又会根据自己的思想感情和生活经验 ,来理解或解释作品中的形象 ,甚至会以自己的经验与认识去丰富和补充作品里的艺术形象的内涵 ,这样就形成了艺术欣赏的普遍性特征与艺术欣赏的个性特征     

Social work as art revisited

In this article we revisit 'social work as art', noting that it is just over 20 years since England's book on the subject provided a direction for the profession's early defence against empiricism. Those who picked up the ball handed to them by England tended to focus discussions of social work's 'art' on its soft side, embedding it in notions of 'creativity', 'meaning', 'self-expression', 'intuition' and 'quality', all of which were said to characterise the 'aesthetic dimensions' of social work practice as a counterpoint to the rising tide of hard empiricism, proceduralism and managerialism. Within these 'aesthetic dimensions', proponents of social work as art sought to resolve tensions through advocating a value-based 'artistic' approach to care. Against this we argue that art is struggle and resolution, soft and hard, joy and grief. Further, we posit that social work's art lies not in the social worker as artist but rather in social work as the 'work' of art, which is implicitly a 'non-productivist' endeavour. In a fundamental sense we argue that it is the art of social work and not the social worker that assembles what is practice, that provides bounds and lets everything stand in relation to everything else. This enables us to construct a speculative 'radical agonistics' for social work that draws attention to the relation between art, truth and event. In so doing, we substitute a subjectivist reading of social work as art with an ontological analysis drawing on Heidegger's phenomenology, supplemented by the work of Alain Badiou, to cast social work as art first, as artistic attunement, and second, as an art in the service of a politics of liberation.     

重塑文艺批评的形象

当前 ,文艺批评信誉不高 ,标准混乱 ,批评家各说各理。要重塑文艺批评形象 ,必须坚持马克思主义在文艺批评中的“定位”。批评的形式和方法可以多元多派 ,但也要有一个主导趋向。一篇好的批评文章 ,也是对一个批评家道德良知的全面检验     

Social work education: state of the art

In assessing the appropriateness of contemporary social work education to its context, the article assumes that social work practice and education must relate to its social reality. The article argues that, since the 1970s, that reality has changed in relation to the role of the welfare state, perceptions of economic growth and the independence of the state. As a result, the roles of civil society, the community and welfare personnel have changed, with implications for social work. At the same time, the earlier tendency of social work to avoid the major social issues of the day is no longer appropriate, and the article outlines five major issues needing to be addressed by social work. In conclusion, the article presents four options that social work education should, as a total profession, address, if the profession is to play the roles demanded of it by its contemporary social reality.     

Critical commentary on 'Social work as art revisited'

While agreeing with the importance of art as a stimulus for the imagination in social work practice, Healy takes issue with the broader aspirations of the article. Healy questions whether art can or should be used to foster "a collective moment of political truth" for social work, as such an inspiration is likely to gloss over the important differences in context and purpose that profoundly shape the nature of social work in the wide variety of contexts where it is practised. Healy argues for the recognition of art as a possible contributor to knowledge and practice but contends that an ongoing and productive engagement with other forms of knowing is equally if not more critical to the development of social work knowledge and identities.     

真趣：审美主体的艺术化

真趣概念经历了漫长的历史演变,美学内涵及审美特征也有所变化.真主要指真实、真诚以及因真反假的内涵.真趣概念起初指诗文反映出的真实义理,物象中存有的自然道理,宋元逐渐突出了本真性情的义涵指向;明代李贽、三袁等主要论述并建立起真趣概念的理论内涵,强调了真趣概念的本真性、自由性和灵慧性等美学特征.     

Body art,deviance, and American college students

This research examines the relationship between body art (tattoos and piercings) and deviance. With the increasing mainstream presence of visible tattoos and piercings among entertainers, athletes, and even in corporate boardrooms, we wonder the extent to which long-time enthusiasts and collectors regard the phenomenon as encroachment. We use sub-cultural identity theory to propose that individuals with increasing evidence of body art procurement will also report higher levels of deviant behavior in order to maintain and/or increase social distance from the mainstream. We tested this proposition by surveying 1753 American college students, asking them to report their level of body art acquisition and their history of deviance. Results indicate that respondents with four or more tattoos, seven or more body piercings, or piercings located in their nipples or genitals, were substantively and significantly more likely to report regular marijuana use, occasional use of other illegal drugs, and a history of being arrested for a crime. Less pronounced, but still significant in many cases, was an increased propensity for those with higher incidence of body art to cheat on college work, binge drink, and report having had multiple sex partners in the course of their lifetime.