中国古代艺术史家擅长叙事,却有着叙事模式之别.在以帝王将相、精英人物为中心的传统治史模式的影响下,宋代以前的艺术史写作通常按照传统史籍的治史方法,表现为以朝代为类目、以艺术家为中心的宏大叙事,这是一种以品评艺术家为主的"叙史"写作体例.到了宋代,私撰笔记的大量涌现使得以艺术作品为中心的叙事成为主流,特别是以米芾为代表的著述家,成为中国古代艺术史叙事模式在由宏观至微观之转向过程中的重要推动力量.
The Grand Canal has been the most important man-made watercourse for connecting the north and the south of China since the beginning of the Sui Dynasties.The Chinese opera,nurtured by the Grand Canal,is closely related to the process of its breeding,maturity and decay.In the history of opera development,the popularity of folk songs in the Tang Dynasty,the rise of Song opera,the prosperity of northern opera and southern opera,the southern transmission of northern opera,the northern broadcast of southern opera,the rise of legendary Chinese operas,the prosperity of Hua-bu opera,the competition between Hua and Ya styles,and the arrival of Hui Opera in Beijing are all deeply imprinted by the Grand Canal.As an important incubator and disseminator of Chinese opera,the Grand Canal has deeply in-volved in the main elements of opera,including the exchange of playwrights and musicians,the broadcasting and relo-cation of opera troupes and actors,as well as the opera activities of officials,businessmen,scholars and other classes as an important consumer group of opera.This article examines the history of the development of Chinese opera from the perspective of the Grand Canal,which is helpful in promoting the in-depth study of the history of Chinese opera.
"Yige"is not only the term of the inner level of artistic creation,but also refers to the value of external i-dentity discourse.The literati of the Song Dynasty embodied their aesthetic consciousness in"Yi".Their purpose is not to make intellectual corrections to the previous art evaluation system,but to strengthen the new morality of scholars and devote themselves to the overall personality of belonging to emerging cultural groups.By examining the rationality of the formation and positioning of this"strange"concept,it will effectively reveal the theoretical and practical at-tempts made by the Song Dynasty literati to reconcile the complex relationship between art,tradition,individual,and society,and after that,a more and more distinct artistic orientation.
The scenes of music,dance and acrobatics depicted on the Han Dynasty portrait stones are numerous and rich in content.In the late Western Han Dynasty and early Eastern Han Dynasty,two or three music,dance and acro-batics scenes were usually depicted in one portrait stone tomb.Since the middle and late Eastern Han Dynasty,there existed a large number of music,dance and acrobaticsscenes depicted on oneportrait stone tomb.From the late West-ern Han Dynasty to the early Eastern Han Dynasty,minor music,dance and acrobatics scenes are usually depicted.With the continuing development of these minor ones in the middle and late Eastern Han Dynasty,the large-scale-dand integrated music,dance acrobatics scenes with many actors also existed in many large portrait stone tombs.In the Han Dynasty,by depicting music,dance and acrobatics scenes on the portrait stones,the occupantsaimed to re-cord the banquet and entertainment in their mortal life,pray for the immortality and the same enjoyments after their death and achieve the narrative of series images in the portrait stone tombs.The positions,picture compositions,artis-tic image portrayal,methods and ideas of artistic expression of the music,dance and acrobatics scenes depicted on the Han Dynasty portrait tomb stones reflect many common characteristics and also distinct regional characteristics.
This study examines the issue of cultural appropriation in cross-cultural communication in the digital age,which triggers nationalist emotions on the internet and involves cultural confidence.It has been a focus of cultural pol-icy for a long time.The research focuses on the controversy surrounding the film Shang-Chi and the Legend of the Ten Rings on the internet.It identifies the characteristics of the two opposing groups in the controversy through relevant Weibo comments.The study explores the root causes of cultural appropriation in this controversy,forming the theoreti-cal and practical basis for current cultural management and policy.The analysis of the online dispute reveals that a large number of the"opposing"group have strong nationalist tendencies on the internet.They criticize the film as"incorrect cultural appropriation"on the grounds of historical humiliation.These tendencies suppress the"support-ive"minority that promotes inclusive cross-cultural exchange.There is a need for special governance of online nation-alism due to inadequate guidance on controlling nationalist emotions online.The expansion of cultural trauma and the lack of inclusivity of cultural products in the international cultural trade exacerbates the problem.It is crucial to strengthen the promotion of cultural confidence through propaganda and education and to improve further policy meas-ures to expand cultural openness and promote cultural exchange and mutual learning.
