英文摘要

Chinese Art Anthropology Oriented for the Common People： an Interview with Prof. ZHOU Xing

WANG Yong-jian， ZHOU Xing （Japan）

A Study of the Artistic Contribution of Lu-zhou’s Stone Carvings Viewed from Tomb Frescos in Song Dynasty

WANG Xiao-yang

Abstract： Song Dynasty is an important period in the development of Chinese tomb frescos and there is an inadequate study of Sichuan area due to the influence of archaeological materials in academic circles. With the increasingly abundant archaeological materials of Lu-zhou’s stone carvings in Song Dynasty， it is predictable Lu-zhou can occupy an important position in the study of tome frescos in Song Dynasty. The heritages in Lu-zhou at present are mainly stone carvings and their artistic contributions can be demonstrated in three aspects： the regional contribution from its numbers， the epochal significance from its plebification and the featured Lu-zhou stone carvings from its characteristic subjects.

The Significance of Lu-zhou’s Stone Carvings in Song Tombs to Chinese Art History

HU Guang-hua

Abstract： This paper adopts the research methods of evidence （archaeological materials， ancient literatures， historical materials and ancient calligraphy and paintings） and iconology to reveal the significance of Lu-zhou’s stone carvings in tombs of Song Dynasty to the construction of Chinese art history and its supplement to Chinese history. On one hand， there are outstanding achievements in its carving subjects， such as flowers， birds， Fan-zu （Fan nationality）， and dragon-fish which can be regarded the underground counterpart of Xuan-he Hua-Pu （Genealogy of Paintings in Xuan-he Period） and their creative spirits are aligned

？倓 with each other. On the other hand， the carving skills with poetic conception displayed the elegant culture and vigorous secular culture in Song Dynasty. Moreover， the delicate and vivid carvings of “Qing-long （Black dragon）” not only rival with “Suo-weng dragon”， but also prove the establishment of the painting branch of “dragon-fish” at the end of Song Dynasty and its achievements with carving works to make a supplement in the history of Chinese art as most of the painting masterpieces in Song Dynasty have long been lost.

Research Review on Lu County’s Stone Carvings in Song Tombs （2002-2017）

WU Si-jia

Abstract： Researches about Lu County’s stone carvings in tombs of Song Dynasty generally can be divided into two periods after much attention was aroused in 2002 and their survey reports were issued in 2004. The researches in the first period （2005-2013） mainly focused on fine arts and arts， such as the plastic arts and symbolic connotations. And the researches in the second period （2014 to the present） highlight the subject investigation， funeral customs， tomb carvings &inscriptions and social backgrounds.

Spatial Politics in the Cultural Revolution Movies

CHEN Ji-de

Abstract： In the cinematic space of the Cultural Revolution movies， red sun is the most connotative symbol with strong political ideology. The portrait of Chairman Mao and slogans are the most popular forms for the interior decorations， which obviously embody the functions of political orientation and persuasive

？倓 education. In the space transformation， the ideology penetrates in the transformed objects， the transforming subject and drive. The criticism and denouncement in the public space also aim to arouse movie viewers’ national consciousness. The purpose of the well-planned spatial politics in the Cultural Revolution movies is for the viewers to accomplish their adjustments in political ideology.

The Creation of Artistic Conception with the Sounds in Kuqu-Opera Films

SHI Lei

Abstract： Kuqu Opera like Chinese poetry， calligraphy and painting represents the classic beauty of the traditional Chinese arts and contains infinite “artistic conceptions”. The poetic scripts in Kuqu Opera are rich in conceptions which can be displayed in the acts of singing， dancing， sighing， smiling， and the stage props such as the table and the chair. This paper intends to summarize the acoustic creation methods applicable in Kuqu-Opera films by studying its singing and the aesthetic orientation in monologues and comparing them with those in commercial movies to help the formation of artistic conception in Kunqu-Opera films.

On the Function and Application of Accompaniments in Shaoxing-Opera Films from the Design of Movie Sound

SHI Bei

Abstract： This paper compares the function of accompaniments in Shaoxing-Opera films to that of the multiple sound designs in the commercial films by studying several Shaoxing-Opera films to discuss the functions and artistic effects of the accompaniment in Shaoxing-Opera films.

On Thome H. Fang’s Aesthetic Dimensions in His Interpretations of Hua-yan Philosophy

ZHANG Ze-hong

Abstract： Thome H. Fang’s interpretations of Chinese Mahayana and Hua-yan Philosophy are of great modern significance who elaborated the comprehensiveness and harmony of Hua-yan Philosophy with a commanding height and a bilateral humanism from multiple dimensions， interpreting it from the aspects of cosmology， ontology and axiology by adopting Western analytical methods. The comprehensiveness and harmony of Hua-yan Philosophy transcend and dissolve the binary opposition in Western philosophy. With a set of metaphorical and poetic language， Hua-yan-jing （Avatamsaka Sutra） embodies the religious quality， scientific spirit， moral ideal and artistic value. Hua-yan Philosophy has a beauty of integration in which the world is a complete unity of truth， goodness， beauty and divinity. Bodhi not only stands for the utmost moral ideal， but also reflects the complete personality integrating the supreme artistic value and accomplishing the integration between nature and man， reaching the realm of “perfection” and manifesting the unity between the supreme goodness and beauty. FANG’s integrations of Hua-yan Philosophy integrate the metaphysics， ethics， religion and artistic aesthetics and thus make the dialogue between the ancient Buddhism and the modern life possible.

The Aesthetic Implications of Shan-cai-tong-zi （Sudhana）’s 53 Visits Based on Thome H.Fang’s Views

SUN Hong

Abstract： Shan-cai-tong-zi（Sudhana） is one character in Hua-yan-jing （Avatamsaka Sutra） from a well-to-do family who eventually becomes

？倓 a Buddha with Bodhisattva Manjusri’s instructions after many hardships with 53 visits to acquire different knowledge. Thome H.Fang mentioned him many times when he lectured on Hua-yan-jing， especially about his 53 visits. By analyzing his 53 visits， we can get the aesthetic implications， such as sublimity， magnificence and harmony.

On Adorno’s Critique of Stravinsky

LI Si-yu

Abstract： Adorno’s Philosophy of New Music is one masterpiece among the works of the modern music philosophy and its complete praise of Sch

？倠 nberg and radical criticism of Stravinsky intrigued many controversies in the academic circles. This paper clarifies the key points in Adorno’s critique of Stravinsky in the book and elaborates Adorno’s criticism by citing the views in the academic circles.

The Aesthetic Features of the Puppet Show in Shang-hang County of the West Fujian Province

ZHOU Chen

Abstract： As the provincial intangible cultural heritage， the puppet show in Shang-hang County of the West Fujian Province has been studied by many scholars and got great achievements， yet there has been no academic study so far from the aesthetic aspect. This paper attempts to discuss the aesthetic features of the puppet show from its creative conception， manifestation and music morphology to offer a certain reference for its development and promotion.

Research Review on the Works of Chinese Intangible Cultural Heritage

MA Zhi-yao， LIU Xu-xu

Abstract： The protection of intangible cultural heritage has become a hot social issue and its related research results are quite rich， among which， the published works on intangible cultural heritage can be divided into the academic and the non-academic with authors who are officials， scholars and common people. By classifying the works on intangible cultural heritage， this paper depicts the process how China has been protecting and studying the intangible cultural heritage in more than ten years： from the “heat of application” to the “focus on application， yet more concern on the protection”. And its study has evolved from the clarification of the basic concepts to the establishment of a new discipline. The protection and the academic research have been in the front ranks internationally viewed from the currently published works in quality and quantity but still there exist many problems as pointed out by many scholars. In the context of “post-intangible-cultural-heritage era”， the classification of these works is a summary of the former stage and also it can offer some references for the future protection and study.

Museum Models of Protecting Intangible Cultural Heritage in Guizhou Province

LIU Xian-fu

Abstract：

Museum is one important means in the practice of protecting and inheriting the intangible cultural heritage. When the intangible cultural heritage is put into museum as the cultural memory and life itself， the traditional museums displaying national cultures are inevitably challenged and show the trend of diversities. This paper makes a field study of the representative museums in Guiyang and Kaili and their surrounding areas to reveal different ways in transmitting the protection and inheritance of folk cultures in their native contexts and derived contexts respectively by depicting different kinds of museum.

On the Music and Dance Performance of Dolan Muqam

ZHAO Jin-ke

Abstract： Dolan Muqam is a kind of music and dance performance popular in the “Dolan area” between Yarkant

？倓 River and Tarim River in which folk artists choose different divertimentos and dances according to the occasions with rural troupes as the units. This paper discusses the changes in the campus inheritance and performance space of Dolan Muqam which are the constant strength to keep vitality in different contexts by comparing the different performance spaces of the courtyard and campus with a case study of Dolan Muqam in Mai-gai-ti County （Markit County）.

Ethnic Memory and Narrative： on the Origin and Evolution of the Flower-drum Dance of Miao Nationality

PU Zhi-huai

Abstract： This paper discusses the inheritance and changes in the existing flower-drum dances of Miao nationality referring to the official documents， oral inheritance culture and filed study to infer its origin and presents the overall ethnic cultural memory of Miao nationality between the border of Hunan and Guizhou provinces with a case study of the flower-drum dance of Miao nationality in Xiang-xi dialect areas.

The Gains and Losses of Ideological Narrative in the Mainstream TV Play Twenty-four Turn

HE Tian-yang

Abstract： As one key TV series issued by Guizhou province officially in recent years， Twenty-four Turn can be viewed as a classical mainstream TV play in its creative contexts， motives and textual features with strong ideological narratives. This paper analyzes the model strategies of ideological narrative from its thought expression， characterization， plot and the creation of the visual-audio effects to reveal the general rules that are applied in the ideological narratives of the mainstream TV plays and points out their strong points and weakness.

The Evolutions of Miao Dance in Ba-lang Branch of Zi-yun County

PENG Xue-yan

Abstract：

Ba-lang Branch of Miao nationality in Zi-yun County of Guizhou province is simple， restrained and low-profile whose unique environment produces variously distinctive dances. With the constant social development and improvement， there have been great changes in the performance personnel， funds， props and forms of Ba-lang branch. The deep problems behind these changes are those of the development and inheritance of national culture which are worthy to be considered deeply.