南阳汉画图像的构图形式

南阳汉画图像的构图形式主要有骨架、位置、边框三种,汉画的构图在中国绘画史上占有重要的地位,为中国绘画构图形式的发展起到奠基搭架作用。     

论明刊本《西厢记》中的莺莺像

明刊插图本《西厢记》附有崔莺莺画像约20种,这些画像的作者大都题为陈居中、唐伯虎、陈洪绶等著名画家。根据画史文献,这些画家的确都曾绘制过莺莺像,但明刊插图多为冒名仿作。从文学人物到人物图像,画家们根据文本,结合自身情感需求与时代审美风尚,对崔莺莺进行了重塑．而这些图像在构图与人物造型等方面也凸显了供读者观看的视觉特点,观赏性日趋增强。     

由汉墓中的羽人形象看神仙思想

在汉墓中经常可以看到双肩生有羽翼、呈飞翔状的人物形象,即所谓的"羽人或仙人"。它们大量地出现在汉墓画像中,不仅起到了一定的装饰作用,更重要的是反映了当时社会的思想理念。系统地认识这些变化,将有助于我们深入了解汉代神仙思想的形成及其演变。     

Head Canting in Paintings: An Historical Study

Head canting, a lateral shift of the head toward the shoulder axis, was examined in 1498 figures in the complete works of 11 painters from the XIV to the XX century: Martini, van Eyck Hubert and Jan, Holbein, Carracci, Velazquez, Rembrandt, Degas, Cèzanne, Klimt, and Modigliani. All figures (up to 9 in any one painting) that were not in complete profile and that were not depicted bowing or shifting their bodies were selected for analysis. Our analysis found a higher frequency (49%) of head canting in paintings than previously reported in naturalistic settings. Head canting was significantly higher in female figures than male figures. If a figure's head was facing laterally, head canting was more likely to be to the contralateral side. Head canting was lower in older figures than in children, youths, and adults. The highest level of head canting was seen in religious and mythological figures. Head canting was lower in figures of artists and professionals and virtually absent in depictions of nobles. Figures in pose were depicted with less head canting than those in natural settings. Head canting was lower in figures gazing toward the observer. Single-figure portraits head canted less than subjects in multiple-figure paintings. Author analysis revealed that head canting was pronounced in painters of religious subjects and in modern painters, whereas its degree was reduced in official portrait painters. These results are discussed in terms of dominance theory.     

Media and the Israeli disability rights legislation: progress or mixed and contradictory images?

This article reviews and analyzes disability rights conceptualization and policy as reflected in the Israeli media after the enactment of the Equal Rights for Persons with Disabilities Law of 1998. Media coverage is examined through review of studies conducted on the subject in Israel. A comprehensive review of the research literature reveals a discrepancy between the purposes of anti‐discrimination legislation and policy and media reflections of disability, in which portrayal is primarily via a deviance lens. The discussion is based on the analysis of universal genesis of negative perceptions of disability, as well as on particularized culture bound meaning of disability within the Israeli symbolic framework.     

汉代画像中的“事死如事生”观念与孝道思想探讨

汉代画像是埋入地下的一种特殊的画作,是两汉时期厚葬之风的产物。这种性质决定了它的特殊性,从图像内容到表现形式都服务于墓主人,与丧葬礼俗有着密切的关系。对幽冥世界的关怀与想象,始终是汉代画像着意表现的一个非常重要的主题。这个主题有着丰富多彩的内容,譬如由体现孝道思想而产生的"事死如事生"观念,在汉代画像里便有生动而深刻的反映。     

少数民族油画肖像画的发展前景

本文通过对少数民族油画肖像画发展产生影响的"民族性"、肖像画的"写实性"问题的分析,试图从少数民族服饰、环境,肖像画的写实审美、技法、市场诸因素来探究其影响少数民族油画肖像画发展的深层原因,指出具有中国民族性文化特色的少数民族油画肖像画仍具顽强生命力,并会继续稳步发展的前景。     

当代肖像画的本质与内涵

当代肖像呈现多元化趋势,它不仅包括现代肖像的形式,也有古典的造型,但它日渐成为艺术家主观表现和自我价值实现的载体,是主体对客体的个人体验,同时也是客体被关怀和被体会的需要。真正的艺术是存在本体的反映,这种反映的物化形态能够在感觉上造成我们与本体的同一。     

两汉生死观的演变及其艺术表现

两汉时期人们对于生死的看法 ,不尽相同。西汉仙论最盛 ;东汉鬼论发达 ,二者同样源于汉代发生的对于生死的自觉认识和体验 ,后者比前者更为深刻地意识到了生命的短暂、死亡的恐惧。两汉生死观念的变迁也通过画像艺术生动地表现出来     

早期民间道教美学的本体论转向与审美内涵拓展——出土汉代神仙题材画像及铭文的辑录与研究

早期民间道教是尚美的宗教,成仙是它的最高理想。神仙境界是中国古代生命美学和身体美学的重要资源。早期道教对于自由享乐生活的珍视和对于安静和谐环境的肯定,开拓了身体的价值和生命的意义。自由和享乐代表了早期道教生活方式方面的审美理想,神仙题材汉画所表现的以生为美、力抗自然和肯定自由享乐的观点,折射出早期道教得道以超越时空和社会限制,获得生命永恒欢乐这一极富审美价值的人生态度。汉画对安静和谐仙境的描绘是对传统形式论美学和认识论美学自然全美理论和“自然的人化”理论的框复与超越。这些修仙证道汉画从生命生存角度对生命文化所做的阐释和开拓,给世人领略宇宙人生带来了新思路、新理念和新空间。