艺术设计的诗意走向何方     

韩久海 《天津职业院校联合学报》2012,14(11):104-106

艺术设计的诞生是工业社会下生产的产品、人的生活用品的诗化过程。  相似文献   

青虚中的缪斯舞姿--论我国当代网络诗歌的创作艺术     

徐晓明  成秀萍 《扬州职业大学学报》2006,10(1):1-4

我国当代网络诗歌蔚为壮观,创作上除继承了网络出现之前的中外传统诗歌的经验,在题材选择、遣词造句、谋篇布局、风格色彩等等艺术构思方面又显示出自己的独特之处,既更具有强烈的个性化色彩,更注重下意识的挖掘,更强调表现复杂的内心世界。  相似文献   

文学翻译与语言文化     

韩春英  刘艳红 《邢台职业技术学院学报》2005,22(4):50-51

文学翻译是一门艺术，作为一名翻译工作者，既要熟练掌握驾驭母语和译作语言的技巧，又要具备一定的民族文化紊养。用文学语言翻译文学语言，用形象翻译形象，使译文读者和原作读者同样感受到文学作品的艺术感染力和丰富的想象力，同样获得审美上的愉悦和欣赏的共鸣。  相似文献   

莫迪利亚尼的独特艺术风格     

姚远 《石家庄学院学报》2002,4(3):32-33

莫迪利亚尼是一个有独特风格的画家、雕塑家。他以一种个性化的方式表现世界。其独特性在于他画作中永恒的忧伤 ,在于线条勾勒的无穷魅力 ,在于追求神似 ,表现人物的内心世界。莫迪利亚尼沟通了各门艺术之界限 ,以一种平和中的激情联系了传统与现代 ,表达了一个有诗人气质的画家对艺术的独特理解  相似文献   

我国艺术立法原则和研究要点思考     

李阳生  谭魏 《湖南科技学院学报》2006,27(3):288-289

艺术法不是一部单行法规，而是相关法规的总称。由于艺术的外延很大，其所涉及的社会关系也是多种多样，而不仅仅是有关版权的问题，因此，有必要从宏观上把握艺术发生过程中所涉及的一些重要关系。  相似文献   

The Artist Initiative at San Francisco Museum of Modern Art     

Robin Clark  Michelle Barger 《文物保护研究》2016,61(3):24-28

The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print.  相似文献   

The industrial connections in Donald Judd's art     

Eleonora E. Nagy 《文物保护研究》2016,61(3):147-152

This paper examines the context and impact of the industrial materials and processes of the mid-twentieth century on Donald Judd's works, focusing on galvanized steel, cellulose nitrate paints, anodizing, and the RAL color matching system. Exploration of the industrial materials and methods Judd utilized provides a greater understanding of his processes, choices, and ultimately his art, its care, and legacy.  相似文献   

李政道科学艺术观给教育的启示   总被引：1，自引：0，他引：1  

苏耀能  全宏瑞 《桂林师范高等专科学校学报》2003,17(1):97-100

李政道的科学与艺术观给数育的启示是：求实创新是教育的出路；未来教育科学与艺术并重；理论和实践相结合有利于人才的培养；科学与艺术的结合是时代发展的必然。  相似文献   

关于文学艺术本质与特征问题的再探讨——与董学文、马建辉、李志宏等同志商榷     

梁胜明 《甘肃高师学报》2007,12(3):18-23

针对董学文等同志认为“把文学简单界定为一种意识形态,并不是马克思主义创始人的原意”;“说文学的本质是一种社会意识形式……可能更贴切些”;“用‘呈现在语言中的审美意识形态’来界定文学是欠妥当的”等观点,论证了把文学精确地界定为意识形态,就是马克思主义创始人的原意;把文学界定为“社会意识形式,”就会掩盖文学本质属性中的主导方面;“审美意识形态”比较全面准确地概括了文学的本质与特征,是对马克思主义文艺理论的继承和发展。  相似文献   

试论艺术教育新理念     

成露霞 《河北师范大学学报(教育科学版)》2003,5(3):101-103

传统的艺术教育理念认为,艺术教育主要是培养人的综合艺术能力。随着时代的发展,这一传统理念已不适应艺术发展的需求。新理念认为:在培养人的综合艺术能力的同时,还应培养人们的整合创新、开拓贯通和跨域转换的多种能力,以促进人的全面发展。  相似文献