From da Vinci to Zhang Xu, explore immortal works of Western and Chinese art and gain an appreciation of culture, history and civilization.
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From da Vinci to Zhang Xu, explore immortal works of Western and Chinese art and gain an appreciation of culture, history and civilization.
--1.1Factual impairment between image and message
--1.2Relationship between Fact and Truth
--1.3The image revelry in the information age
--1.4 Nature, animal and human body art
--1.5 Art: from concrete bodies to metaphorical constructions
--1.6 On defining art
--1.7 Globalization and Consumerism
--1.8 Art and Anti-art
--1.9The value classics hold to the modern time
--2.1 The occurrence of prehistoric art
--2.2 Mysterious cave mural paintings
--2.3 Symbolism of rock engravings
--2.4 Expressive functions about prehistoric painting
--2.5 Aesthetic characters of prehistoric art
--2.6 The tribal art of bodily operation
--2.7 The construction to reach the heaven
--2.8 Immortal art in ancient Egyptian
--3.1 The relationship between mythology and Greek culture
--3.2 The marks of the epics written by Homer
--3.3 Three greatest tragedy drammatists in Greece
--3.4 The aesthetics woven into ancient Greek architecture
--3.5 The ancient Greek sculpture
--3.6 The Greek sculpture of the classic age
--3.7 Works of Phidias
--3.8 The essence and verve of ancient Greek classical art
--4.1The beginning of Chinese painting and Calligraphy
--4.2 Majesty and divinity from bronze ware
--4.3 The Duke Mao Tripod and eternal characters
--4.4The Philosophy of Chuang Tzu
--4.5Qin Shi Huang’s Terracotta Warriors
--4.6The painting in the Han Dynasty
--4.7 The sculpture in the Han Dynasty
--5.1Master Chuang Tzu's impact on the Wei and Jin Dynasties
--5.2Talking about Ji Kang
--5.3 The general spirit of the Wei and Jin Dynasties
--5.4 Wang Xizhi and his unrivalled attainment in calligraphy
--5.5 A Preface to the Orchid Pavilion
--5.6 The penmanship of two famous calligraphers surnamed Wang
--5.7Gu Kaizhi and his painting
--5.8 Great poet Tao Yuanming
--6.1The Chan School in the Tang dynasty
--6.2“Cursive King”: Zhang Xu
--6.3《Four Calligraphy Works of Ancient Poems》
--6.4Zhang Xu and Huai Su
--6.5Wu Daozi and his paintings
--6.6Wang Wei and Chinese landscape painting
--6.7The relation of painting and poetry
--7.1 The beginning of Renaissance: Giotto
--7.2 Giotto’s naturalism
--7.3 The frescoes in the Arenal Chapel
--7.4 The Renaissance artist in north Europe: Robert Campin
--7.5 The Ghent Altarpiece
--7.6 Jan Van Eyck’s secular paintings
--8.1 The beauty of dawn during Renaissance
--8.2 The reproducer of nature: Da Vinci
--8.3 The immortal work Mona Lisa
--8.4 The classicism of Raphael
--8.5 The Sistine Chapel ceiling
--8.6 The mythology and sculpture of Moses
--8.7 Michelangelo's struggle between life and death
--8.8 The perceptual Titian and Venice
--9.1Rubens and the Baroque Art
--9.2Poussin and his classical spirit
--9.3Rembrandt and his aptitude of wielding light and shadow
--9.4 Rembrandt in his self-portrait
--9.5 Vermeer and his painting
--10.1Landscape painting from the Five Dynasties period to the Northern Song Dynasty
--10.2 Creating painting out of poetry by Emperor Huizong of Song
--10.3 Viewing the small through the large
--10.4 Combining the tangible with the intangible
--10.5 The atmosphere of freedom, detachedness and ease of landscape painting
--10.6 Dwelling in the Fuchun Mountains
--10.7 Friendliness in Ni Zan’s painting
--10.8 A pristine and boundless world in Ni Zan’s painting
--11.1The origin and expression of the madman culture
--11.2 The madman Li Zhi
--11.3 Xu Wei: from gifted scholar to mad man
--11.4 The aesthetic ideology of Xu Wei
--11.5 Xu Wei’s notions and theories on painting practise
--11.6 Miscellaneous Plants and Flowers
--11.7 Drunkenness in Xu Wei's art
--12.1 Winckelmann
--12.2 Neoclassical master: David
--12.3 The Death of Marat
--12.4 The Intervention of the Sabine Women
--12.5 The aestheticism works by Ingres
--12.6 The contrast between photography and paintings
--12.7 Courbet and realism
--13.1 Rousseau and emotionalism
--13.2 Kant's view about the beautiful and the sublime
--13.3 Goethe, from Werther to Faust
--13.4 Byron, romantic hero
--13.5 The painting laws of Romanticism
--13.6 John Constable
--13.7 The world of Turner
--14.1 Western modernism and Rodin
--14.2 The Gates of Hell
--14.3 Painting conception of Manet
--14.4 Impressionism of Monet
--14.5 Cezanne:the Father of the art of modernism
--14.6 Van Gogh:painting and life
--14.7 The art value of Van Gogh
--15.1 art modernism
--15.2 porcelain urinal of Marcel Duchamp
--15.3 This is not a pipe
--15.4 The great innovation artist: Picasso
--15.5 the infinity of art
--15.6 the art after Andy Warhol
肖鹰,1962年生,四川威远人。毕业于北京大学,哲学博士。现任清华大学哲学系教授,博士生导师;北京大学美学与美育研究中心研究员,北京大学文化产业研究院研究员。已出版论著:《说与不说――肖鹰文学批评集》( 2014 ),《中国美学史•明代卷》,(2014),《天地一指――文化批评文集》(2012),《中西艺术导论》(2005),《美学与艺术欣赏》(2004),《真实与无限》(2002),《形象与生存》(1996)
孙晶,哲学博士,毕业于荷兰莱顿大学,清华大学 哲学系讲师。主要研究方向为西方艺术史和艺术理论,中西艺术交流。已出版研究著作The Illusion of Verisimilitude: Johan Nieuhof’s Images of China