100, Fantasy of Imagination-Metaphysical Imagination of Duan Hui's Watercolor Paintings (Art Watch, No.6, 2013);
99.Superimage: Abstract China's Speech (Sculpture, No.6, 2065438+02);
98. Find another way, find another way (Chen Yongsheng's Collection of Traditional Chinese Paintings, September 20 12, Hunan Normal University Press);
97. Qi Baishi's Stewardship (China Reading News, 20th edition, April 200211);
96. henry moore sculpture space development (sculpture, 20 12,1);
95. Melting of form and meaning (sculpture, 20 12,1);
94. Qi Baishi's Stewardship (China Social News, 4th edition, 20 1 1 year, March 2nd);
93. Heart-Seal and Spirit-Talking about Jiangyuan's Painting Creation (China Art Newspaper, 8th Edition, 2065438+01);
92. Fine brushwork of "201Art Hunan" (People's Daily Overseas Edition, 7th edition, 20 165438, April 6th);
9 1, Endless Qi Baishi (People's Daily, 4th edition, April 5th, 2011);
90. Cultural Watch and Language Change (Art, 20 1 1, No.2);
89. Blending Rubbings into a Family (Calligraphy, 20 1 1,1);
88. The linear will of traditional sculptures in China (Sculpture No.5, 2011);
87. Abstraction in Power (Sculpture, 20 1 1, 5th Supplement);
86. Experience and pay attention to the sculpture process (sculpture, 20 1 1, 5th Supplement);
85. The "three-oriented" state of sculpture (sculpture, issue 20 1 1 3);
84. Who are the ancient sculptors in China (Sculpture, No.3, 2011)?
83. Overview of China's Ancient Sculpture Theory (Sculpture, 20 1 1, No.2);
82. Remove Balzac's modeling inertia (sculpture, 20 1 1,1);
8 1, Criticism on the Phenomenon of "Anti-sculpture" (Art Newspaper, February 1 19, No.900);
80. What is tracing the source-tracing the source of Jiang Kun's Map of the Yangtze River in many aspects (tracing the source, Hunan Fine Arts Publishing House, 2011);
79.201/the anti-entropy function of urban sculpture (* * * Casting Brilliance-Proceedings of the Third World Sculpture Congress in Changchun, China (Part III)), Changchun Publishing House, August, 20 1 1;
78. Painting in the South (Focus on Lingnan, Anhui Fine Arts Publishing House, August 2065438+01);
77. Collecting artistic starlight (Boundless Danqing, Lingnan Fine Arts Publishing House, 20 1 1 May);
76. Xiang Jun, a meticulous work with twinkling stars (201Kloc-0/Hunan Fine Arts Collection [meticulous volume], Rong Baozhai Publishing House, 201Kloc-0/March);
75. Basic dimensions of Chinese character design (CSSCI Journal Literature and Art ResearchNo. 10, No.20 10);
74. Cultural Aesthetic Orientation of Zhang Zhaoda Fashion Design (Decoration, 20 10, CSSCI Journal No.8);
73. Teaching exploration of writing for design major (decoration, 20 10, 1, CSSCI periodical);
72. Conceptual evolution and cultural dimension of meticulous painting (Art Research, No.3, 20 10, CSSCI Journal);
7 1, celebrating the 5th anniversary of sculpture/kloc-0 with academic celebration (Art,No. 12, 2010);
70. The cultural dimension of China's view of art (Art Watch,No. 12, 2010);
69. Aesthetic characteristics and research value of the sculpture manuscript (Art Watch No.3 2065438+00);
68. henry moore's Sketch and Hard Machining (Sculpture, No.6, 2065438+00);
67. The words and deeds of the media-the history of sculpture (Sculpture, No.6, 2065438+00);
66. Wood carving art under the background of modern culture and science and technology (sculpture, 20 10 supplement);
65. Pre-distribution of sculpture draft (Sculpture No.5, 2065438+00);
64. Instantaneous superposition of giacometti's sculpture drafts (Sculpture, No.3, 2065438+00);
63. Perceptual Survival in the Draft Sculpture (Sculpture, No.2, 2065438+00);
62. Sculpture creation in the era of aesthetic economy (sculpture, 20 10,1);
6 1, original sculpture draft (sculpture, 1, 2010);
60. Urban Sculpture to the City (China Art Museum No.5, 2065438+00);
59. The structure of Rodin's sculpture (Academy Sculpture, 20 10,1);
58. The cultural aesthetic status of contemporary meticulous painting in China, the tradition and modernization of meticulous painting in China —— Proceedings of the first meticulous painting forum in Hunan Province, People's Fine Arts Publishing House, 2010);
57. Eight Theories on Gongbi Painters, Tradition and Modernization of Gongbi Painting in China —— Proceedings of the First Hunan Gongbi Painting Forum, People's Fine Arts Publishing House, 2010);
56. Boundless Mountains and Rivers (Boundless Mountains and Rivers, Anhui Fine Arts Publishing House, 2010);
55. Zhang Zhaoda Fashion Design and Painting Creation (Zhang Zhaoda Visual Diary, Culture and Art Publishing House, 2010);
54. Chinese poetic homework (mixed design, Phoenix Publishing Group Jiangsu Science and Technology Publishing House, 2010);
53. Minimization, Generalization and Change (Huang Yanzeng's Calligraphy Collection, Haitian Publishing House, 2010);
52. The cultural dimension of China's artistic view (towards cultural consciousness and constructing China's artistic view —— Proceedings of Chongqing Forum on China's artistic view (20 10), Culture and Art Publishing House, 2065438+00);
5 1, taste, artistic conception and verve (selected works of Xie Xiangping's paintings and calligraphy, China Artists Publishing House, 2010);
50. Three dimensions of Liu Chunchao's lacquer painting (Zhongshan Culture No.2 2010);
49. Overlapping of scenes and characters (Painting, No.4, 2009);
48. Ancient Oriental Wisdom in Contemporary Western Sculpture Creation (Sculpture, No.6, 2009);
47. Ecology of Urban Sculpture (Cooperation between Shanghai Artists and Xu Yuedong, No.4, 2009);
46. Anemia and Aphasia in Professional Textbooks of Art Colleges (Art Watch, 1, 2009);
45. Debate and Practice of Chinese Painting in the Past 30 Years (China Calligraphy and Painting Newspaper, No.6 and No.7, 2009);
44. Aesthetic standpoint of sculpture (Sculpture, No.4, 2009);
43. Seeing or hearing a hole or mouth (sculpture, 1, 2009);
42. Satisfied with mountains and rivers (Contemporary Lingnan Calligraphy and Painting Newspaper, No.9, 2009);
4 1, Reconstruction and Sublimation of Rodin's Sculpture Draft (Art Watch, No.3, 2008);
40. The "doorway" and "ethos" of sculpture (sculpture, 1, 2008);
39. Writing, Poetry and Painting (China Artists, 1, 2008);
38. China Sculpture Creation in 1950s (Famous Painters and Children in China,No. 10, 2008);
37. Beyond the tangibility of Tao Tong's heaven and earth (Zhongshan, Guangdong Haifeng Culture, 10, 2008);
36. Contemporary Significance of Michelangelo's Unfinished Sculpture (Proceedings of the Second China Changchun International Sculpture Conference (II), Changchun Publishing House, August 2008);
35. Chu Xiang's attitude: In the modernization process of China's meticulous painting (Art Hunan-Hunan Fine Arts Collection, Hunan Fine Arts Publishing House, 08,11);
34. Tolerance of Watching: Hunan Sculpture from the Cultural Perspective (Art Hunan-Hunan Fine Arts Collection, Hunan Fine Arts Publishing House, 08,11);
From "anti-technology" to "technology" (Art Watch, No.9, 2007);
32. Urban sculpture makes people happy and sad (Art Watch, No.3, 2007);
3 1, Century Meeting and Aesthetic Significance of Anti-Sculpture (Sculpture, No.6, 2007);
30. Communication between Qi and Tao (Sculpture, No.4, 2007);
29. "Pan-sculpture" under the situation of cultural openness, Sculpture, No.2, 2007;
28. Ecological dimension of sculpture (sculpture, 1, 2007);
27. Dragging Ink with Water (in cooperation with Chen Xiaoming's China Painter, 07,1);
26. Harmony between Mountain and Man (Zhou Shanshui Sculpture Collection, Hunan Fine Arts Publishing House, May 2006);
25. The Potential Characteristics of Sculpture Draft (China Art Museum, No.4, 2006);
24. The least common multiple of Gong's art (Sculpture, No.3, 2006);
23. The golden mean of sculpture (Sculpture, No.2, 2006);
22. The traditional painting features of Shen Congwen's novels in China (edited with Xu Yuedong, Journal of Hubei University Philosophy and Social Sciences Edition, No.2, 2006, Journal of CSSCI);
2 1, Debate and Practice of Chinese Painting in Thirty Years (Chinese Painting Research,No. 1 issue, 2006);
20. Exploring the Hidden Edge (China Art, 1, 2006);
19, Show and Hide: Looking at China Sculptures in the 20th Century from the Centennial Sculpture Exhibition (Sculpture, 1, 2006);
18, Ecological Consciousness of Gong's Art (Planning Practice, No.8, 2006);
17, Symbol Construction in Sculpture Form (Sculpture, No.6, 2005);
16, a skillful hand is nature-an analysis of Zhang Yongjian's sculpture art (Sculpture, No.6, 2005);
15, focusing on poetry and thinking (using the pen name "Han Xing" and "Sculpture", No.6, 2005);
14, the possibility of free expression —— Two groups of sculptures by Pan He (Sculpture, No.5, 2005);
13, Dream in a Triple Sky, (Hong Kong Pictorial, April 20, 2005);
12, folk interest and design significance, (Cui's paintings, China National Photography Publishing House, 2004);
1 1, the aesthetic dimension of literary research (China Reading Newspaper, April 7, 2004);
10, Painting and Calligraphy Banquet (Art Watch, No.3, 2003);
9. Symphony of Light and Color (State of Art, No.2, 2003);
8. New feeling and new ink painting (Chen Xiaoming has vast mountains and rivers, Macau Press, 2002);
7. Prose Times and Prose of the Times (China Youth Daily, July 24th, 01);
6. Why are comics so "red" (Teachers Daily 01June17);
5. Walking into the Rural Art Museum (Art Newspaper1July 27, 998);
4. Summary of local literature research (Journal of Hengyang Normal University, supplementNo. 1,1997);
3. The cultural psychology of Shen Congwen's novel creation (Journal of Hengyang Normal University 1 No.9971issue);
2. Dance of the Earth (Hunan Daily1June 99411);
1, Cultural Criticism of Modern Literature in the New Period, (Journal of Zhengzhou University 1993, No.4, Information Center of China Renmin University, Research on Modern and Contemporary Literature in China 1994, No.0 1, the full text is reproduced in CSSCI Journal).