This article offers a critical reassessment of the late Ming dynasty painter Chen Hongshou(1598-1652),focusing on the collaborative nature of his studio and its role in shaping his artistic legacy.Framed by a comparative reference to Rembrandt van Rijn and the structure of his seventeenth-century European workshop,McCausland investigates how Chen's production was embedded in a dynamic studio system involving pupils,assistants,and the circulation of designs.Drawing on close visual analysis and archival sources,the essay demonstrates how Chen trained and supervised a cohort of collaborators whose contributions complicate traditional notions of authorship.Rather than viewing Chen solely as an eccentric scholar-artist,McCausland presents him as a professionalized cultural producer operating within commercial,social,and artistic networks.This reinterpretation not only enhances our understanding of Chen's oeuvre but also invites broader reflections on workshop practice,artistic identity,and authorship in early modern Chinese art history within a global framework.
This article discusses the concept and significance of illusionistic curtain,providing detailed examples of the origin,development,and artistic and cultural significance of the illusionistic curtain motif in 17th-century Dutch painting.Originally related to the legend of the competition between the ancient Greek painters Zeuxis and Parrhasius,illusionistic curtain was believed to evoke an illusion in the viewer and was once considered the epitome of painting art.Still,it also became associated with a special way of displaying and appreciating paintings.Moreover,when illusionistic curtain was used to depict biblical subjects,it prompted a deeper understanding of religious revelation.Therefore,illusionistic curtain is not only a visual illusion and a symbol of the perfection of painting art,but also blurs the boundary between the artwork and its display context.The motif comments in a variety of ways about religious revelation,theatrical practices,and the verification of sight,as well as the status of painters and painting.When applied to"trompe I'oeil"paintings that do not produce a genuine illusion,the viewer willingly allows themselves to be"fooled".Thus,the"deception"of illusionistic curtain has a double meaning,revealing the limits of human perception and prompting the viewer to deeply reflect on the relationship between art and reality.
本文聚焦1927年前后上海美专面临的内忧外困,在对美专学潮事件及其所处竞争环境进行综合研究的基础上,剖析外部社会环境变化对学校发展产生的深刻影响.笔者希望以上海美专发展过程中的转折性年份为中心,管中窥豹,揭示影响美术学校兴衰变化的复杂因素.
本文对古代器物的材料语言展开探讨,认为其不仅表现为"文"与"质"不同的审美追求,还表现为材料间的模仿与转换,以及对材料物性的悖反和媒材的遮蔽.通过对器物材料语言的研究,能更深地理解中国古代的造物思想与艺术表现原则.
格雷戈里·巴特科克说:"任何特定艺术品的方法、风格或形式,都揭示出其制作时所处的时代和地区的流行观念.不考虑作品的原初环境,观者就无法全面认识到作品的意义和目的,也常常会完全领会不了作品的中心意思."([意]廖内洛·文杜里著,邵宏译《艺术批评史》,商务印书馆2017年版)当我们以风格史或者文化史的角度来认识王绍波的水彩画艺术时,我们发现他既未能远离时代的社会语境,但又在时代限定的范围做出了个体画家最有力的回应.
