Ever since Loulan City was found in 1900,lots of researchers home and abroad have been doing continuous investigation and study on it and have been making great achievements. Standing on the shoulders of previous research,this thesis makes chronological description on Loulan,and makes brief introduction on research works about it,especially art research achievements,as well as brief analysis on questions during such research.

<正>近日由广东省美术家协会和广东工业大学联合举办的"岭南名家书画作品学术邀请展"在广东工业大学美术馆开幕,应邀参展的画家有刘斯奋、许钦松、罗宗海、尹定邦、陈延、刘国玉、吴正斌、李醒韬、张自强、叶献民、李青、王永、龙虎、张洪亮、黄华明等。参展作品包括国画、油画、水彩画及书法等类型,这些作品以娴熟的技巧表达了深刻的文化内涵和高雅的审(?)

汉唐时期中外艺术文化交往繁盛,在这种多样文化的交汇之中,中国的本土宗教--道教在西域的直接或间接的传播,是中国传统文化西传的一个重要内容.据目前考古发现的材料及学界研究的状况来看,汉唐西域道教美术的主要类型包括书法、绘画、织物及墓葬艺术等,这些艺术遗存不仅是中国本土文化向西传播的见证,同时也在中国道教美术发展史中具有独特的价值和意义.

<正>众所周知,美术是以一定的物质媒材和表现手段来反映社会生活,表达作者情感,促进社会文明与进步的文化形态,从广义上讲,美术既包括绘画,雕塑等所谓"纯艺术"门类,同时,它也包括建筑,设计等一切实用艺术种类。

The impetus of globalization is effecting on most of countries,regions and nations in different levels from the 20th century.The development of contemporary Chinese art also meets opportunities and challenges of globalization.How can we make Chinese art develop smoothly without losing the spirit of Chinese Culture? This is an unavoidable issue.This article shows that the research of ‘cultural consciousness’ and ‘comprehensive innovation’,also with promotional in regional art and establishment of spirit of humanity are indispensable parts.

The human beings with culture are becoming more civilized and progressive;with their loving art their mental horizons are becoming more and more perfect and noble.Art is one kind of spiritual culture.It has a close relationship with material culture and also has a distinction from it.Moreover,Ultra-Utilitarianism is one major characteristics of art;in essence art is one cultural phenomenon.The paper gives a systematic study on the concepts of art and culture,the appearance of their systems and the inevitable relationship between them.

<正>20世纪以来,中国美术在中西文化冲突与交融的历史背景下,走过了一个艰难、曲折和探索、完善的发展历程。本土美术的崛起与西方艺术的输入,带来了艺术的民族化与现代化的冲撞与融合,“怎样处理传统美术与外来美术的关系,实际是现代中国美术面临的一大历史性课题。”[1]中国与西方,这个历史难题困扰着中国人的所思所行,同时也激励着中国人锐意进取的创新实践。百余年来,中国艺术家

科学的方法不仅是学术研究最一般的基础,同时也是学术发展的有效机制。美术理论研究必须首先遵循逻辑思维的方法和范式,对研究对象进行理性分析;同时合理应用非逻辑方法,把个人感受与生命体验升华为理性认识,最终才能得出科学的结论。只有以逻辑方法为主体,有机结合非逻辑方法,才有可能科学地揭示出美术的本质及其发展的规律,从而实现学术的创新。