China Art 2013 Issue 4 THE SHADOW OF INK, THE REAL NONEXISTENCE:FOREWORD OF HAN DONG’S SOLO EXHIBITION

THE SHADOW OF INK, THE REAL NONEXISTENCE:FOREWORD OF HAN DONG’S SOLO EXHIBITION
chen xiao xin ;

..............page:1-7

Foreword

..............page:10

DISPLACED BOUNDARIES AND FOCUSED MINDS:NEW TENDENCY OF CURRENT SCULPTURE CREATION IN CHINA
ma qin zhong ;

..............page:11-13

CONFUSE OF THE BODY:WEI TIANYU’S REVIEW ON THE NEW CLASSIC OF MOUNTAINS AND SEAS
ma qin zhong ;

..............page:14-17

LIABILITY RISK AND CULTURAL QUIP:REFLECTION OF ZHANG DEFENG’S CLOISONN COLLECTION
ma qin zhong ;

..............page:19-23+18

THE CHANGE OF CONCEPTS FOR MEDIALIZATION TRADITIONAL ART FORMS
zhang de feng ;

..............page:24-27

THE CONSTRUCTOR AND REPUDIATOR:LIFE TRAJECTORY OF WANG ZHIGANG’S SCULPTURE ART
zuo yu jie ;

..............page:28-33

THE WORKS OF BAO HAINING
bao hai ning ;

..............page:34-35

THE WORKS OF JIANGJIE
jiang jie ;

..............page:36-37

CHINESE ART’S INTERVIEW WITH ARTIST XUE JIYE

..............page:38-45

THE SENSE OF YOUTH AND FOREORDAIN OF ART:XU BING’S COMMENTS ON YU FAN’S WORKS

..............page:46-49

THE WORKS OF JIANG TIELI
jiang tie zuo ;

..............page:50-51

THE SCULPTURES OF LIN GANG
shen wen qiang ;

..............page:52-53

THE BATTLE BETWEEN SOUL AND FLESH:A FAIRY TELL OR AN ALLEGORY?
zhu zhu ;

..............page:54-57

TO CREATE OR TO DESTRUCT?THAT IS THE QUESTION:MY WAY OF ART
xia tian ;

..............page:58-59

THE SCULPTURES OF MU BOYAN
mou bai yan ;

..............page:60-65

RHETORIC OF DECORATION
UNMASK;

..............page:66-69

A COLLECTION OF FOREIGN SCULPTURE WORKS

..............page:70-85

SEW THE CITIES:TAKE THE NEEDLES!
ma li en shi tu en ke ; wang wen zuo ;

..............page:86-93

THE SIGNIFICANCE OF HISTORICAL ESSAYS IN CONSTRUCTING THE TECHNICAL SUBJECTS IN ART STUDIES
zheng chuan ;

..............page:94-96

HOW DOES INK-AND-WASH GET ABSTRACTED
zhang qiang ;

..............page:97-103

THE DEVELOPMENT AND TEACHING STRATEGIES OF VISUAL COMMUNICATION DESIGN PROGRAM
wei kun ;

..............page:104-105

THE BEAUTY OF COLORS UNDER LILIN ENAMEL
huang yao wu ;

..............page:106-107

STEREO-CHINESE PAINTINGS:THE ART OF DUIJIN AT SHANGDANG,SHANX
peng yan ; tian jian yi ;

..............page:108-109

THE AESTHETIC MEANINGS OF LINES IN CHINESE FIGURE PAINTINGS
shi jing rui ;

..............page:110-111

CONSTRUCTION OF A GUIDANCE SIGN SYSTEM OF TOURIST ATTRACTIONS IN CHINA
wang zuo ;

..............page:112-113

INSPIRATION FROM JIAN-JIANG-SHAN-SHUI PAINTINGS
sun zuo ;

..............page:114-115

AESTHETIC CONCEPTION OF LANDSCAPE PAINTINGS OF SONG AND YUAN DYNASTY
chen zuo nan ;

..............page:116-117

MY STUDY OF THE STONE RELIEF OF THE HAN DYNASTY
li xin hua ; xing yu cui ;

..............page:118-119

XU PEIHONG’S PHILOSOPHY ON FINE ARTS EDUCATION AND PRACTICE
wang shi qin ;

..............page:120-121

THE SIGNIFICANCE OF SKETCH
liu zuo ;

..............page:122-123

ORIGIN AND END OF FATE:THE ABSTRACT ART OF CHINA
he jia hong ; ding mi jin ;

..............page:124

INNOVATION OF WATERCOLOR TECHNIQUES BASED ON ITS TEXTURES AND CHARACTERISTICS
dan chen zuo ;

..............page:125

VISUAL WATERCOLOR:GRAPHIC DESIGN TECHNIQUES USED IN WATERCOLOR
hu hong zuo ; zuo mei ying ;

..............page:126

APPLICATION OF TRANDITIONAL CHINESE ARTS ELEMENTS IN GRAPHIC DESIGN
liu jing ; liu jing zuo ;

..............page:127

COMPARISON BETWEEN PAINTINGS ON SILK IN HAN DYNASTY AND ANCIENT EGYPTIAN MURAL PAINTINGS
zhuang xin yue ;

..............page:128-129

NEW TREND OF INK-AND-WASH ELEMENT:THE USE OF INK-AND-WASH IN POSTER DESIGN
wei shu ying ;

..............page:130-131

SPIRITUAL PURSUIT AND AESTHETIC CHARACTERS OF CHINESE OIL PAINTERS
liu na ;

..............page:132-133

COHERENT REPRESENTATION BETWEEN VISUAL SYMBOLS, LAYOUT AND CONTENTS IN NEWSPAPER DESIGN
zeng zuo ;

..............page:134-135

HOW MANY PEOPLE CAN USE A CUTTER LIKE A PEN READING GE BINGHUA’S SEAL CUTTING WORK
zuo jia wei ;

..............page:136-137

THE CHANGES AND DEVELOPMENT OF MENSHEN PICTURES IN CHINESE FOLK FINE ARTS
xia li jun ; hu xiao ;

..............page:138-139

EXORCISM PAINTINGS IN SOUTHWEST ZHEJIANG AND THE FOLK CUSTOM
li yue liang ;

..............page:140-141

THE INTERNAL CULTURE MIGRATION DURING THE ANTI-JAPANESE WAR AND MODERN ART TRANSFORMATION OF YUNNAN
wang shao yu ;

..............page:142-143

THE ORIGIN AND DEVELOPMENT OF INK-AND-WASH ART IN HISTORY
zhang qiang ;

..............page:144-145

THE IMPACTS OF CONCEPTS AND ARTS OF ASIAN RELIGIONS ON WESTERN ABSTRACT ARTS
zhou zuo ;

..............page:146-147

BETWEEN FIGURATIVE AND ABSTRACT:REGRESSION OF PAINTING PRESENTATION CONTEMPORARY OIL PAINTINGS IN CHINA
ye yun long ;

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

ENCOUNTER——ART FACES PUBLIC CHINESE SCULPTURE ART EXHIBITION

..............page:152-153

SOCIAL SCULPTURE:BEUYS IN CHINA

..............page:154-155

MEET ANY WARHOL’S:ANY WARHOL’S 15 MINUTES ETERNAL EXHIBITION HELD BY THE ART MUSEUM OF CHINA CENTRAL ACADEMY OF FINE ARTS

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RED @:SONG CHANGQING ART EXHIBITION HELD BY THE SZ ART CENTER AT 798 ART DISTRICT, BEIJING

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VIEWPOINT

..............page:157-159

FACSIMILES FROM ABROAD

..............page:160-162

AESTHETIC CREATION OF A BRILLIANT CITY:COMMENT ON SONG YANJUN’S PAINTINGS
jiang cai ping ;

..............page:164-165

THE WORKS OF WANG SHENG
wang sheng ;

..............page:166

THE WORK OF ZHANG MINGHONG
zhang ming hong ;

..............page:167

THE WORK OF ZHANG WEI
zhang wei ;

..............page:168

THE WORKS OF LIANG JIANPING
liang jian ping ;

..............page:169