By Shao Qi. Bookstore notes. Hangzhou: Zhejiang University Press, 20 13 years 10 month.
Content introduction:
The illusory appreciation of art is due to the loss of standards, and the ambiguity of art criticism is due to the interweaving of positions. The author is both a painter and a scholar. With a detached art of knowing each other and thinking, he isolated the confusion of fame and fortune in the bookstore, restored the origin of art and provided us with a reliable concept. This book is an ideological record of art and a fundamental criticism of contemporary art ecology.
Context of Chinese painting
By Shao Qi. Context of Chinese painting. Shanghai: Shanghai Painting and Calligraphy Publishing House, 2005 1 month.
Content introduction:
Context of Chinese painting is a famous article published by Mr. Shao Qi in Duoyun Chinese Painting Research Quarterly 199 1. This book systematically discusses the cultural context of the survival and development of Chinese painting, and Mr. Luo Yin wrote an introduction.
Chinese painting is one of the most representative figurative cultural styles in China culture. Therefore, its existence and evolution can be regarded as the abbreviation of the existence and evolution of China culture. Understand some typical phenomena in Chinese painting, such as the pursuit and creation of artistic conception in Chinese painting, why landscape painting is a major department in Chinese painting, and how literati painting "not for teachers" came into being, etc ... I think we must grasp the context of the existence and evolution of Chinese painting-continuity.
Directory:
introduce
First, the pulse is continuous.
Second, the sacred tradition
Third, spiritual cultivation.
Fourth, the paradigm of Zongxie.
Fifth, you can't be a teacher.
Six, private identity
VII. Current problems
Context and semantics of Chinese painting since the late Ming Dynasty
By Shao Qi. Context and semantics of Chinese painting since the late Ming Dynasty. Jinan: Shandong Fine Arts Publishing House, 20 12 years 1 month.
Content introduction:
After wu school, China's painting entered a period of historical evolution.
The historical evolution of China painting in the late Ming Dynasty is mainly manifested in two aspects: first, from the perspective of the changes of painting schools, with the demise of the "Wumen Four Schools", "Wu Pai" in its heyday gradually declined, and "Songjiang Painting School" rose accordingly; Secondly, behind the change of this school, there is a period when the dispute of painting concepts gradually subsided, that is, from the emphasis on "Wu Pai" to the discussion of "pen" of "Songjiang School of Painting".
......
Therefore, this change of painting schools in the late Ming Dynasty is directly related to the endogenous change of painting fireworks. It is this endogenous change that determines that this change in painting is not only profound, but also lasting and extensive.
Directory:
foreword
The first chapter is the context of "the theory of northern and southern sects"-creative transformation in decline.
Rich semantic domain
Context of "North-South Clan Theory"
Digestion and transformation
Zen way of thinking
Weak authority
The second chapter is the origin of "ancient meaning"-privatization trend.
Love and struggle
Ancient meaning and present feeling
privatization
The third chapter is the semantics of "Four Kings"-a topic related to the present.
Semantics of "Four Kings": Primitive Semantics and Interpretive Semantics
Classical Chinese semantics
Vernacular semantics
The same context
Current topic
Chapter four "Shanghai School" has no school self and modern identity.
Shanghai faction has no faction
Have their own
Identify with modernity
chapter five
Pluralism or Disorder —— Time Context in the 20th Century
Loss of standards
Anomie in diversification
Semantics of "Disadvantage Decline"
Ask "there will be"
Express one's gratitude formally
"Entrusting orphans for reform", "Unity in the chest" and "Joining the Great Unity" and so on.
Shao Qi. "Reform of Entrusting Orphans", "Unity in Mind" and "Joining the Big System". Shanghai: Shanghai Calligraphy and Painting Publishing House, 2006.
Content introduction:
Landscape painting is a unique product of China civilization. For more than 1000 years, as the most important category and artistic achievement of China's painting, and as an important way for China people to observe nature, explain the world and bear the significance of ideas, it has participated in the construction of the artistic spirit and humanistic atmosphere of the Chinese nation with its distinctive cultural character and rich forms of expression. In the 20th century, with the great changes in society, the cultural penetration of landscape painting has weakened, but the source of form that provides and nourishes the value of later generations is still deeply rooted in the present era with its dual effects of both acting on the realistic artistic situation and the cognitive structure of the subject.
"Tuogu Reform" mainly expounds the landscape paintings of three literati in Yuan Dynasty.
Directory:
First, the universities in the early Yuan Dynasty
Second, painting is precious.
Third, aid books into paintings.
Fourth, learn from nature.
Fifth, send pictures.
Sixth, the art is ancient and modern.
I mainly discuss the landscape paintings of Huang, Fang and Ni Zan in Yuan Dynasty.
Directory:
First, escape from the chest.
Second, non-party people.
Third, history has confirmed that
Fourth, be spontaneous.
Entering the Great Unity mainly expounds the landscape paintings of the Four Kings School in the early Qing Dynasty.
Directory:
I. Introduction
Second, about the "Four Heavenly Kings"
Third, "cage" and "mechanical rafters"
Fourth, close Wu Li and Yun Ge.
Verb (abbreviation for verb) and Dai
Conclusion of intransitive verbs
"Ringfinch leads China" and so on.
Shao Qi. Happy birds lead China. Shanghai: Shanghai Calligraphy and Painting Publishing House, 2008.
Content introduction:
Flower-and-bird painting is the most representative category with national cultural characteristics in China's paintings. Over the past two thousand years, it has vividly embodied the world view of nature in the East through the aesthetic way from spontaneity to autonomy and the Chinese techniques of fu, bi and xing. It has gone through a long process of occurrence, development, maturity and sublimation, which embodies the humanistic connotation of the nation and the times, and participated in the construction of China's cultural spirit and humanistic atmosphere with colorful artistic forms. At the same time, in the long-term historical development, on the one hand, it constantly tunes itself to meet the changing aesthetic needs, on the other hand, it subtly shapes and transforms people's aesthetic tastes, and even has different degrees of influence on the cognitive structure of the subject.
"Huanque Hua Qian" mainly expounds the flower-and-bird painting in Yuan Dynasty.
Flower-and-bird painting in Yuan Dynasty, like landscape painting in Yuan Dynasty, is an important historical period in the history of China painting. Its importance was largely determined by Zhu Mo Mo Mei, and then it became a famous artist. Bamboo, plum, orchid and chrysanthemum are classic flower-and-bird painting themes symbolizing a gentleman's character, that is, the so-called "four gentlemen". The gentleman's character implied in this herb can generally be marked by Qu Yuan's chanting, and the behavior of celebrities in Wei and Jin Dynasties is an important link to gradually locate this symbolic meaning in Qu Yuan's works on Mei Lan Zhu Ju, and the records in Shi Shuo Xin Yu endow specific flowers and plants with specific literary humanity. With the maturity and evolution of painting itself, from the Song Dynasty, these plants, which were originally endowed with specific symbolic meanings in literature, naturally became the specific themes of painting. This is logical, which is endowed by the blood relationship between painting as an art style and related literature (poetry) and calligraphy art in its own evolution. Compared with music, poetry, calligraphy and other artistic styles, painting is a late artistic style. As an art form, painting only showed its mature form in the Jin and Tang Dynasties.
Directory:
I. Introduction
Second, write bamboo slips with a faint seal brush.
Third, it should be noted that painting and calligraphy are the same.
Four, Hou Li painted bamboo is real bamboo.
Fifth, strength can compete with literature.
6. There are bamboos outside the mountains and rivers.
Seven, all the flowers are light ink marks.
A Brief History of China's Ancient Design Thought
Editor Shao Qi. A brief history of China's ancient design thought. Shanghai: Shanghai Bookstore Press, 2009 1 month.
Content introduction:
The history of China's ancient design thought briefly introduces the history of China's ancient design thought. The contents of the book are arranged in the order of dynasties: pre-Qin, Qin and Han Dynasties, Wei and Jin Dynasties, Sui and Tang Dynasties, Song and Yuan Dynasties, Ming and Qing Dynasties. Each dynasty introduced the most representative figures at that time, their works and thoughts accordingly. A Brief History of China's Ancient Design Thought is not detailed, but it also summarizes the whole picture of China's ancient literary design thought.
Directory:
foreword
The first chapter, pre-Qin design thought.
The first section, the creation of great craftsmen-Mozi.
If you are clumsy-Taoism
Section 3 Tenderness-Confucianism
The fourth quarter, don't be eyes and ears-Shangshu
Section 5, The Way of Exquisite-Book of Rites
Section 6, Degree Rules-Everything is wrong.
Section 7, Harmony but Difference —— Lu's Spring and Autumn Annals
Section 8, the knower creates things-Kao Gong Ji
The second chapter, the design thought of Qin and Han Dynasties.
The first section, the monarch theory-Huainanzi
The second quarter moved by the same kind-Dong Zhongshu
The third quarter heart painting-Yang Xiong
The fourth quarter since the vice said-Wang Chong
The third chapter, the design thought in Wei and Jin Dynasties.
The first section, writing God in form-Gu Kaizhi.
The second quarter vivid charm-sheikh
Section 3 Whether the application is appropriate-Liu Zhou
The fourth chapter, the design thought of Sui and Tang Dynasties.
The first section, Wu Daifeng-Wu Daozi's painting style and the design trend of Sui and Tang Dynasties.
Section 2: All rivers run into the sea-the integration of culture and the synthesis of design.
Good luck in the third quarter-Biography of Zi Zi Ren
The fifth chapter, the design thought in Song and Yuan Dynasties.
The first section, view it with reason, Shao Yong.
Section 2 Learning from Things-Zhu
In the third quarter, the device is still like Zheng Qiao.
In the fourth quarter, true shape and true number-Shen Kuo
The fifth section, architectural methods-the creation and design norms promulgated by the state.
Section 6, the legacy system of catalpa people-Xue
Section VII, Simplicity and Simplicity —— Creative design thought under the influence of "Wen Zhi"
The sixth chapter, the design thought of Ming Dynasty.
The first section, the unity of knowledge and action-Wang Shouren
Section 2 Ways of Daily Use-Wang Gen
Outstanding in the third quarter-Song Ying Xing
The Secret of Human Resources-"Yuan Ye"
Part V: Making Statues with Prescription-Chronicle of the Long River of History
Section VI, Wonderful Nature-A Record of Kuai Ornaments
Chapter seven, the design thought of Qing Dynasty.
Section 1 "Return to the King and Return to Zhu" —— Creative Design Thought in the Early Qing Dynasty
The second section, practical learning-Huang Zongxi, Gu and Wang Fuzhi
In the third quarter, I will send you leisure-Li Yu
The fourth part, the example of Qing Dynasty style-"Style Mine" and its architectural design.
Section five, the spread of European style to the east-communication between China and the West and learning from foreigners.
Main references
Essays on Chinese painting in the 20th century
Editor Shao Qi. Discussion on China's Painting in the 20th Century. Shanghai: Shanghai Painting and Calligraphy Publishing House, July 2008.
Content introduction:
Collected Papers on Chinese Painting in the Twentieth Century selected more than 50 representative papers on theoretical thinking of Chinese painting since the 20th century, and compiled them into a collection according to the time sequence of their publication, hoping to provide reference for the ideological background of Chinese painting in this era. Most of the selected articles are related to the characteristics, present situation and prospect of Chinese painting, as well as its development. As the product of the ideological trend of a specific era, they especially reflect the various situations in which Chinese painting was established or established and the different attitudes towards the corresponding situations. At a time when "image" or "number image" has greatly changed the visual way of human beings, and the meaning of "linguistics" in art is increasingly suppressed by the meaning of "pragmatics", finding and paying attention to these ideological clouds, which not only constitute the inevitability of the past but also induce the possibility of the future, may be more able to feel the strong pulse of the times than the parties involved in these ideological clouds, and better understand the significance of Chinese painting to China people in the 20th century. This is because the length of more than a century has liberated the freedom and originality of differences that were originally suppressed by the propositional discourse of Chinese painting to varying degrees, which may open up the connotation that was obscured by the context at that time for various reasons.
Directory:
Image restoration method
Preface to China's Famous Paintings Collection
On replacing religion with aesthetic education
Pictures of ten thousand mu thatched cottage (excerpt)
Art revolution
Art Revolution-Answering Lu Ji
Methods to improve the level of Chinese painting
The value of literati painting
Key points in painting
Feelings from Art Exhibition to Modern Chinese Painting School
The Victory of China Fine Arts in Modern Art
The panic of modern China art
Reflections on Modern Chinese Painting
The future of Chinese painting we hope for.
China's paintings
China People's Artistic Life and Painting
Art and life
Views of people who despise Chinese painting
My opinion on modern painting (excerpt)
How do we view Chinese painting?
Spatial consciousness in China's poems and paintings
Fu Lei's Bamboo Slips (Excerpt)
On the Style of China's Traditional Painting
Illustration (Look at the picture and talk (excerpt))
Characteristics of Chinese painting
China's Poetry and Chinese Painting
The Integration of Chinese Painting and Poetry
China Ancient Landscape Paintings' Treatment of Natural Beauty
My opinion on contemporary Chinese painting
The emergence and change of the name "Chinese painting"
The History and Future of Chinese Painting (I)
China's Ink Painting Theory (Color Theory)
Pen and ink equals zero.
Realism and China Painting in the 20th Century
Privatization Orientation of China's Painting Evolution
Trend of Thought and Situation —— On Contemporary China Painting
"Traditionalism" and "Traditionalism"
Three topics on Chinese painting research
Hold the bottom line of Chinese painting
Self-consciousness of Chinese painting
Brief introduction of Chinese painting
Centennial Chinese painting under the cover of scientism
Two pen and ink systems
Contemporary ink painting and its international cultural environment
From Chinese Painting to Modern Ink Painting: Naming and Debate
The Trilogy of Landscape Painting Towards Modernization
Tradition and Modernity of Chinese Painting
Despair —— Comment on 20th Century Landscape Painting
The Anti-traditional Essence of "Promoting Tradition"
Discussion on the prospect of Chinese painting worthy of attention
Chinese painting and Chinese painting science
Realistic problems and development problems of contemporary Chinese painting
postscript