Abstracts

Abstract The Picture of Confucius Visiting Laozi is a regular motif in the tomb art of Han Dynasty. Comparing with the Picture of the Duke of Zhou Assisting King Cheng of Zhou which appeared in same time frequently, the paper finds that the picture is expressing Confucius by the story of Confucian visiting Laozi. Relative images and literature show the Laozi, Xiang Tuo and students of Confucius all are assistants of the process of Confucius inheriting the orthodoxy from the heaven. Additionally, in politic, his earthly significance for the rulers of Han Dynasty is that the Confucius is an un-accessed king who formulated rites. In Han Dynasty, Confucius and the Duke of Zhou were used, sacrificed and visualized by the rulers and state. Moreover, the spreading of the picture from temples to tombs shows the transmission of the idea of Classics and divination (chen wei). The transmission is spreading from up to down, mixed and fogged gradually.Kev words Confucius Visiting Laozi; Duke of Zhou assisting King Cheng of Zhou; Divination (chen wei); Painting of Han Dynasty.

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Inheriting Orthodoxy and Formulating Rite: the Visual Logic and Spreading of the Picture of Confucius Visiting Laozi in Han Dynasty

Fan Zhen

Abstract The Picture of Confucius Visiting Laozi is a regular motif in the tomb art of Han Dynasty. Comparing with the Picture of the Duke of Zhou Assisting King Cheng of Zhou which appeared in same time frequently, the paper finds that the picture is expressing Confucius by the story of Confucian visiting Laozi. Relative images and literature show the Laozi, Xiang Tuo and students of Confucius all are assistants of the process of Confucius inheriting the orthodoxy from the heaven. Additionally, in politic, his earthly significance for the rulers of Han Dynasty is that the Confucius is an un-accessed king who formulated rites. In Han Dynasty, Confucius and the Duke of Zhou were used, sacrificed and visualized by the rulers and state. Moreover, the spreading of the picture from temples to tombs shows the transmission of the idea of Classics and divination (chen wei). The transmission is spreading from up to down, mixed and fogged gradually.
Kev words Confucius Visiting Laozi; Duke of Zhou assisting King Cheng of Zhou; Divination (chen wei); Painting of Han Dynasty.

Graphic,Text and Social Space: the Reconstruction of Paradigm of Yuanmingguiyin and Guizhuang

Zhu Yannan Guo Pengyu

Abstract As a representational text of retreat, Tao’s guiqulaixici has been performed by different paintings which reflect a multiple relationship among painting, text and social background. This research will focus on this deep structural relationships, reconstruction of space-time sequence and realistic expression of the idea of retreat that lead to personal expression in certain context, through casing Ligonglin and Hecheng.

Kev words Graphic; Text; Social Space; Yuanmingguiyin; Guizhuang; Paradigm

Fu Shan: from “National Misfortune in 1644” to Make a Living Gloomily

Zheng Fuzhong

Abstract The Ming Dynasty came to an end in 1644, which was devastating to scholars such as Fu Shan. First, they had to worry about food and clothing. Secondly, Fu Shan lost spiritual sustenance after the change over, and could not find his identity. What’s more, he refused to attend the learned scholars "Enke", so his economic conditions met a sudden turn for the worse. Because his life was not settled, his contacts and communication was with a strong color of making a living. In desperate situation, Fu Shan even had the idea of doing business, so he made a living by selling calligraphies and paintings, and by being a doctor. Fu Shan’s main awkwardness was how to look at ways of making a living, since calligraphy and painting were seeing as elegant entertainment to dispel thoughts and wills by literati since the ancient times, he faced great pressure from the public opinion.

Kev words Fu Shan; make a living; selling calligraphy and painting; idendity A giant leap of Visual Productivity: The Ontology and Value of 3D Animation

Li Xiang

Abstract Since the birth of 3D Animation half a century ago, it has had a huge impact on the entire visual industry, and powerfully reshaped the culture and life style related to seeing. This paper argues that to understand the essence of 3D Animation, we should put it into the historic background of image making, rather than limited by the concept of “animation” or “moving image”. This paper points out that because of 3D Animation is totally different from the two traditional ways of image making: Painting and Photography in all aspects, we can consider it as the third most fundamental way of image making which human has acquired. Based on this understanding, this paper discusses the medium functions and value of 3D Animation.

Kev words 3D Animation; image making;ontology; visual technology; digita arts Political Legitimacy: Study on Rui Ying Tu of Song Dynasty Collected in Long Museum

Feng Mingyang

Abstract There are many versions of Rui Ying Tu in history. The one collected in Long Museum in Shanghai is one with the most complete images and inscriptions, so it is very significant for research. On the basis of the basic content of eulogy, inscription, seal, images, etc., the text makes detailed interpretation on the first scene “Bear and Raise the One with Golden Light” and the twelfth scene “Taking off the Robe to See a Dream” from the relationship between the image and the history. Rui Ying Tu show the creative way of Ruiying innovated by the emperor Gaozong in the early Southern Song Dynasty. In this way, the depicted objec were directly the emperors and other important Royal personnel, and it integrated some of the real historical events with the virtual scenes signed by the heaven in a crafty manner, which are of visual authenticity and historical authenticity, so its effect was better than Huizong's way of relying on “image Ruiying” such as the images of animals, plants, landscapes, and astronomical phenomena. Therefore, for Gaozong of Song who needed to confirm his political legitimacy to be an emperor, he made use of “human Ruiying” to suggest his own legitimate throne be given by the God, and it could function what Cao Xun mentioned in his eulogy that “to make people shocked and moved, so as to keep the empire in peace, and the royal family reestablished”.

Kev words Rui Ying Tu; political legitimacy; auspicious sign; Emperor Gaozon of Song; Cao Xun

The phenomenon of restoring ancientpainting in Ming Dynasty

Gao Yang

Abstract Retrois amachine-processedof Chinese painting. The concept of "ancient" in different historical periods are not the same, people through the visual language of these connotations into the artistic image. The ancient restoration plays an important role in the painting of the Ming Dynasty, which directly leads to a revolution in the field of literati painting. In the Ming Dynasty, it is the inheritance and the metaphor of the ritual music culture, and the restoration of ancient times is not restricted to the imitation of the predecessors, but for the re creation. The retro trend of thought has reshaped the orthodox position of classicism.

Kev words Ming Dynasty; painting; restoration

Reestimate Amaravati Free-standing Buddha Images of Ancient India

Zhao Ling

Abstract As a center of Buddhist stupa worship site in ancient India, carving Buddha images on narrative reliefs had been popular for a long time in Amaravati. However, a new type of free-standing Buddha image was created suddenly in the late Buddhist times in Amaravati, replaced the stupa-worship towards the end of the third century A.D., and influcened South Asia and Southeast Asiadeeply. Since Amaravati free-standing Buddha image was unusual in the process of origin, development and transportation, it could be hardly originated in Amaravati. The role of Amaravati buddha in the transportation on Marin Silk Route and Buddhist art history should be reestimated.

Kev words free-standing Buddha image; Buddha image on relief; Amaravati, Singhala;transportation on Marine Silk Route

New Textual Research on Xiaoxiang Zhushi Tu by Su Shi

Xiong Yan'an

Abstract It is still not certain if the Xiaoxiang Zhushi Tu by Su Shi is authentic or false. Wu Hufan and Xu Bangda believed that the annotations by the 26 masters in Yuan and Ming were authentic, but the painting was not. However, Deng Tuo, Yang Renkai and Xie Zhiliu thought differently. Through research the author of this thesis have found that not only this painting but also the annotations by Yang Shen, Wu Qin and Xiong Mian were false.

Kev words Su Shi; Xiaoxiang Zhushi Tu (Image of Bamboo and Rocks in Xiaoxiang); Yang Shen; Wu Qin; Xiong Mian

Beautify Everyone's Beauty:Comparative Study of the Ancient Women’s Ornaments in Both China and Western Countries

Song Yang

Abstract the research of Costume and the researcher of ornaments are the two important parts of The study of clothes. relatively speaking, the researcher of ornaments has unique study methods and research value. The paper’s method of reasoning is to point to an area. This paper by using comparative methods, analyzes the difference of face makeup,painting eyebrows,eye make-up and lip makeup of the Ancient Women’s Ornaments in Both China and Western Countries from the studying perspective of women and aesthetics. And the paper focus on the underlying cause of the difference of the Ancient Women’s Ornaments in Both China and Western Countries that is based on literature studies and archaeological survey. the underlying cause are the differences in the female's aesthetics, outlooks on life and value. This article argues that female should remains confident in innate strength of life and cultural context. They should appreciate and hang on the beauty of their own that have been nourished by many their own culture sources.

Kev words ornaments; female; aesthetic;comparison between China and western countries

The Minority Ethnic Village Cultural Genes and Protection

Liu Jun Hu Xianbin

Abstract The culture of minority ethnic village gene is decided to settlement way of production and life of passing on the micro unit. Characteristic of symbol is condensed village space material culture genes; Patriarchal clan system of ethics is to standardize the behavior of minorities culture genes; Village people, wisdom is to build a national community cultural gene. Protect mining minority ethnic village cultural gene is the need of protecting the cultural heritage of the dying, is passing on development of ethnic cultural industry to adapt to new social and economic needs, is to build a form in certain geographical areas with special historical and cultural ties and build the needs of the national community.

Kev words village community of ethnic ;culture genetic;culture space Painting the Gardens from Life and Discussing about the Brush Strokes

Su Xinshui

Abstract This text recorded my different feelings about painting the Suzhou gardens from life for three times, from rejecting to accepting. The scenes in the Suzhou gardens are different from those in other places which I have painted from life. Suzhou gardens have their singular wonders. How to select my ink and brush strokes to depict such wonderful aspects, to adopt them in a passive manner or in an active way？ I have different experiences in the three times.

Kev words Suzhou gardens; painting from life; break through On the Three Phases of the Art of Ancient-Color Porcelain

Qi Biao

Abstract The art of ancient-color porcelains was the beginning of the art of porcelain with color beyond ceramic glaze in Jingdezhen. For a long time, the historic development, evolution phases and different characters have made the uncertainty on their names and sorts, and brought difficulty for people to recognize them. To put forward "three phases of the art of ancient-color porcelains ", it makes it clear on the names and sorts, and the three important developing steps and historical periods.

Kev words porcelain; five-color; ancient color