塞尚之前的西方静物画家通常以自身的观念和情感投射描绘客观对象.自塞尚开始,静物画的创作观念日趋多样化,出现了一批以本质直观为基本观物方式的画家,他们的画作更适合用海德格尔的存在主义现象学方法解读.

"源氏八景"的制作始于17世纪晚期的江户时代,是从《源氏物语》中抽取了8个故事场景并图像化的作品,其命名与图像构成都与中国传统画题"潇湘八景"有着密切联系.其独特的"画中画"视觉构思反映了《源氏物语》在日本传统文化中的"对内性"与"潇湘八景"在武家贵族文化中的"对外性",两者的杂糅实现了最大程度上的"内外统一",也体现了江户时代的绘画对于"平安王朝"的向往和浓厚的物质追求.与闵齐伋版《西厢记会真图》比较之后可以发现,17、18世纪东亚地区在绘画中对于器物"边框"元素的相似处理及对最终效果的不同追求.

地方高校学前教育专业的教学,承担着为地方培养应用型学前教育人才的任务.专业教学应和独特的本土艺术相结合,丽水学院的学前教育专业将畲画应用于鉴赏类、绘画类、手工类美术课程教学中,促进了畲族优秀文化在本土高校的传承和创新.畲画应用于学前教育美术教学,不仅可以推动畲族文化的传承与发展,唤醒学前教育专业学生的文化自觉,同时也促进了学前教育专业美术教学的创新.

以《源氏物语》为主题的绘画在整个日本的绘画系统中有着悠久的历史和丰富的类型.从图像叙事的主要手法上来说,"源氏绘"继承了日本绘画从早期的佛教经变画传承的"异时同图"的创作手法,以及屏风绘中以空间来组织叙事脉络的"名胜绘"传统,并很有可能是屏风绘中"四季绘"这一类型的重要题材来源之一.在长期的发展过程中,各个时期、各个流派的"源氏绘"继承了物语绘卷中的"和歌绘""王朝物语绘卷""传说绘卷"等各类型的优秀叙事技巧.在浮世绘兴起后,"源氏绘"便融合浮世绘版画特有的艺术手法,重新成为江户时期庶民视觉文化的重要一环.

佛教文化是中国传统文化的重要组成部分,对中国传统的造物观念有着重要影响.在中国造物史上,佛教文化中的许多元素被植入器物制作中,如莲花纹样即以丰富的造型和独特的形式美感被应用于龙泉青瓷制作中.龙泉青瓷莲花纹样的装饰工艺主要有刻划花、贴花、印花、镂雕等,这种结合佛教内涵的龙泉青瓷装饰体现出独特的审美特质,也诠释了以器教化、以器传形的造物观念.

Longquan celadon wares are of 3 different colors:pale blue,plum green and beige. Their sintering temperature usually reaches from 1310 to 1330℃. Based on 10-year personal practice,exploration as well as scientific and systematic analysis,the authors of this paper contend that the glaze firing process of Longquan celadon wares consists of 8 phases. The objectives and the functions of each phase are expounded in detail. It is further pointed out that a good mastery of the technology and consistent practice may help to avoid various defects that may arise from the firing process and thus help to improve the glaze colors as well as the rate of finished products,and that the tactful exploitation of the defects will provide new ideas for artistic creation of Longquan celadon.

龙泉青瓷装饰艺术是龙泉青瓷艺术的重要组成部分。其按类型可分为胎装饰、釉装饰以及其他材料装饰三大类；按装饰技法可分为刻花、划花、堆塑、镂雕、镶嵌、嫁接、釉上釉下彩绘等。手工龙泉青瓷装饰体现了手工龙泉青瓷的特点，如在成型中形成的自然纹理，泥巴的细腻柔韧感，各种肌理如木质、纤维等其他材料嫁接装饰。手工龙泉青瓷装饰手法灵活、变化多样，除了有传统龙泉青瓷的基本美感外，还带有更深刻的情感美学特征。

畲族祖图连环画卷也就是盘瓠传说画卷,在畲族地区俗称“长连”,是畲族创世传说《高皇歌》的生动演绎.本文对畲族祖图长连中出现的重要地名及情节进行了分析与梳理,让相关研究者在引用祖图地名进行研究时能够避免不必要的干扰与误解.并通过分析得出是由于口误、笔误、道教流派的影响及主观认识错误等原因而导致地名混淆的现象.

The general survey of the folk literatures about the She nationality in Zhejiang province has been completed,and how to tap the potential value of the literatures is the important task for the She cultural scholars.Based on the general survey,this article made preliminary researches on the value of the folk literatures,and pointed out that the literatures were the powerful evidences to restore the She nationality's real living history.The contract documents were the time brands to show the development of the national economics and the simple folk custom,the cultural relics showed the unique culture and excellent personal qualities of the nationality,and the oral literature conveyed the historical memory of the nationality.

Based on the comparative study on the worship paintings-Zu Tu of She ethnic group of Fujian,Zhejiang and Guangdong province,the present paper trys to explore their trend of historical evolvement and local characteristics,and give a brief analysis of the causes of the regional styles.