Journal of Nanjing Arts Institute(Fine Arts & Design0 2009 Issue 6 guo xi lun guan zhao zi ran fa bie jie

..............page:78-82

\'All the Advantages and Disadvantages Belong to He Himself\'——Yan Wenliang\'s Art Creation Section and Related Questions

..............page:47-53

yi shu yi zhi yu xing shi zhu yi de zi lv xing yan jiu

..............page:93-96

"qing " ji shi wen shu hua ping xu wei de yi shu chuang zuo ji mei xue zhu zhang

..............page:205-208

cong xi er man he lan bao kan tu xing she ji

..............page:212-213

mian kong yu xin hua

..............page:230-231

ri ben " ben se wen hua " de xian dai chan shi tan ji gang de ren de she ji

..............page:220-221

Change of Pure Forms-Concept of Cartoon Mode

..............page:182-184

On Succession of Design Idea in Ming-style Furniture in Modern Furture Design

..............page:137-138

Can the Dispute Melt Away?-Debate between Science and Art and Vermeer\'s Resolution

..............page:106-110

"qian hai pai " zao qi hui hua yan jiu

..............page:86-92

Innovation and Significance of the Cove in Ancient Architecture in the West

..............page:62-66

Research on Beast-style Patterns on Asia and Europe Prairie

..............page:54-61

Situation of Nude-Historical Investigation on Background of Nude Teaching in Shanghai Fine Arts Training School in the Humanistic Perspective

..............page:20-32

lun ci ban hua wu meng dao hui zhou

..............page:198-201

On Development and Significance of Painted Porcelain

..............page:176-178

zhong guo xian dai qi hua zhi si kao

..............page:173-175

shu zi shi dai shi jue chuan da she ji jiao yu de ying dui yan jiu

..............page:158-160

Seeking back Resources of Japanese Literati Painting

..............page:118-122

yi shu su yang de jiao yu xue si kao

..............page:168-169

Seeing Buddhist Believers and Scripture Calligraphy from Sutra Edition in Dunhuang and Turpan

..............page:13-19

Re-interprete \'Gusu Print\' of emperor Qianlong by Linger Series of \'Xinde of Gusu\'

..............page:113-117

On Teaching Lacquer Painting

..............page:148-151

kang wei hua de mei xue feng ge zai shou hui qiang hua yi shu zhong de chuan cheng yu chuang xin

..............page:129-132

bai mei sheng " yan " du xing jian jian ru ying sui xing

..............page:232

xin she ji mei jie he yu yan de que li yu xin she ji guan nian de chu xian

..............page:170-172

Exploring on Genre of \'Gray Tone\' of Contemporary Oil Painting in China

..............page:179-181

qian xi pin pai se cai de ying yong

..............page:195-197

Deified Stele and New Image Pattern——Cognizing and Reading Laojun\'s Image Stele by Cai Hong of the West Wei Dynasty in Rui City in Shanxi Province

..............page:1-5

xie yi de you li min yao qing hua ci shang de " jian bi hua "

..............page:209-211

kan qian xu yu

..............page:前插1

shou hui jia ju yu pin zhi sheng huo

..............page:224-225

gou jian gao xiao tu shu guan vi de tan tao

..............page:222-223

shi jian chu zhen zhi tan suo ti xian zhuan ye te se de ban xue zhi lu

..............page:155-157

tao yi jiao yu li lun yu shi jian de ruo gan si kao

..............page:152-154

On Connotation and Succession of Practical Art Education Thinking in Suzhou Fine Arts Training School at Canglangting

..............page:141-144

lao zi hao pin pai de chuan cheng he chuang xin chu tan yi gong shu ming bi shou gong yi wei li

..............page:139-140

Comparison on Kiln God Worship among Porcelain Production Areas in North and South

..............page:126-128

On Cultural Connotation and Aesthetic Character of Woodcarving Art of Huizhou

..............page:123-125

zai ke xin yu ke ai zhi jian ruan zuo xian sheng de hua xue zha ji

..............page:67-71

Ease and Idle Feeling in Life: Research on Design Thinking in Xian Qing Ou Ji

..............page:33-41

dang dai zhong guo hui zhan she ji fa zhan de xin te zheng

..............page:226-227

abstracts

..............page:后插1-后插2

Study on Evolving Relation between Shape and Fuel of Ancient Lights in China

..............page:190-194

Nice Beauty in Scilence——Fluent Beauty in Sculptures of the Han Dynasty

..............page:101-102

Research on Art Will and Self-Discipline of Formalism

..............page:97-100

dao shi xi tong she ji de wei du zhi biao lun xian dai shang ye bu xing jie dao shi xi tong de wen mai she ji

..............page:217-219

min nan min su wen hua te se de yue bing bao zhuang she ji yan jiu

..............page:214-216

Deposit and Development-Research on Innovative Ways of Framed-fan Shape in Architecture Decoration

..............page:187-189

The Culture of Chopstick Design

..............page:111-112

Imaginable Pattrens in Micro-World

..............page:103-105

lun zhong guo you hua yi shu de jing yu yu xuan ze

..............page:83-85

da jian chan pin gong cheng she ji jiao xue ti xi gou jia

..............page:161-164

The under of folk-art in the south of Fujian-Em-bossment made of clay pieces

..............page:133-136

On Wang Yuanqi\'s "seeking novelty in simplicity"

..............page:72-77,41

Relatively Closed Mainland China Is the Foundation for Decoration Art of China to Develop Independently

..............page:42-46

xing jian jian zuo pin

..............page:后插3-后插10,封2-封4

le shao yan jiu zhi guan kui

..............page:202-204

hui kan liu guo song , fan si shi yan shui mo

..............page:185-186

tan suo yi shu she ji de jia zhi guan li nian ji jian gou

..............page:165-167

liu xing wen hua zai ping mian guang gao zhong de yun yong

..............page:228-229

Thinking on Murual Teaching and Creation during 25 Years

..............page:145-147

Wang Duo and Jiwang Zibei

..............page:6-12