摘要：Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary lran, with the emergence of new artistic movements, performance art incorporated more academic and enlighten aspects. New mass media and modern visual medium such as light, sound, moving, and changing images, video displays as well as application of new signs and symbols are some of the special characteristics of the contemporary performance art in Iran. Moreover, the performance art in Iran is not merely related to the contemporary era rather it encompasses a large number of traditional representations that have been prevalent among common people with much meaningful rules. Its popularity among common people is also a conceptual art which conveys a content-based meaning in a more dramatic sense. For centuries, the tradition of performance art in Iran can be observed in the rules of Ta＇aziehkhani （quite singing or passion play）, Shamayelgardani （icon handling）, Ru-howzi （performance on pool platform）, Marekegiri （mono drama）, Qhashoqhzani （spoon handling） and Aroosakgardani （puppet handling）. Aestheticism relying on traditional performing method is also the outcome of taste and elegance of common people. These performances have more folkloric aspects protruding from humane institutions and blended with their vernacular beliefs. In the traditional method of performance art, performers mostly enjoy their own taste and style and use handy means for executing their roles. In contemporary Iran, traditional method along with modern theme has been widespread among people particularly in villages and small townships although these are not called as art. The present study is an attempt to study existing challenges to modern and ancient art traditions as well as aesthetic values attributed to each of them.

摘要：As a contemporary fashion photographer and international visual artist,Chen Man has become one of the most influential photographers with heravant-garde in sights and creative *** works not only show a strong Chinese style,but also show the charm of modern *** paper starts with the Chinese elements in Chen Man’s photography works,analyzes the application of Chinese traditional aesthetics theory in Chen Man’s photography,explores the expressions and characteristics of the collision between Chinese tradition and Western modernity in her works,and hopes to give inspiration for the development of current Chinese fashion photography.

摘要：阐述煤矿防火注浆监测系统的构成及原理,重点介绍利用 Modem 通信的硬件接口设计及软件实现技术,软件包括 Modem 的控制、下位机的通信设计和上位机的通信设计。

摘要：《良友》画报是民国时期最有影响的新闻性综合画报,本文以《良友》画报的图像、文本为依据,以实证方法展示了它对中国现代摄影的作用与影响,阐述了大众传媒与中国现代摄影进程之间的关系,进而促进对20世纪前期中国现代摄影发展的理解与认识。

摘要：Inspired by a style of native-soil literature,the author through analyzing a self-built house in Huaqiao Village(Poyang County,Jiangxi Province) and problems of such houses in rural areas proposed that design of residential buildings in rural areas should focus on practical functions,proper utilization of modern technology and demonstration of traditional *** analyzing basic conditions of the house,design concepts of this house were analyzed from the perspectives of functional layout,structure,construction and economic considerations,and local *** was stressed that houses built on the basis of actual conditions would be easily accepted by *** houses with practical and considerate designs should be built in rural areas to play an exemplary role for the architectural design and landscape construction of the new countryside by providing theoretic basis and support,and push the construction of rural self-built houses into a benign circulation.

摘要：By taking the north zone of Qionglai City constructing "world modern garden city" for example, the paper analyzed the concept of garden city, location situation and development of Qionglai City. After analysis of tourist location advantage of Qionglai City, the vital significance for overall layout of urban landscape was emphasized. Furthermore, strategies for concept planning of the north zone of Qionglai City had been illustrated from the perspectives of landscape shaping, ecological landscape and green land system structure. It emphasized that the overall landscape should be guided by "city in the field and garden in the city", pay attention to co-existence between ecological group garden and aggregation group, and highlight resources advantage of collection area of ecological landscapes. In terms of landscape shaping, it stressed unity, ecology, regionality and character. In terms of characteristic creation, discussion had been conducted from three aspects which were garden city demonstration line, residential landscape and waterfront shoreline. It emphasized that, during construction of world modern garden city, it should make the main line of city image clear, respect culture; well deal with the relations between city and village, between human and environment, and between function and image; and build livable ecological urban place, so as to protect environment, explore city feature and build city image.

摘要：作为学科的美术史,其母语是德语,其具体写作则汲取了丰富人文资源融汇而成,尤其是18世纪晚期与19世纪早期康德以降的德国哲学美学。清季民初,德语世界的美术史及其相关的思想资源,渐被学人接受,并散见于各种著述。本文从德语美术史的背景出发,尝试分析宗白华和德语美术史传统的关系,阐述和反思宗白华先生所建构的"艺术学"体系和德语"艺术史"或"美术史"观念之间的差别及其问题,从而为民国时期的艺术理论提供一个理解视角。

摘要：中国戏曲是人类戏剧繁衍史上一种独特的审美样式,文化背景与发展路径的不同,使戏曲与他种戏剧拉开距离,成为一种深入影响民间生活方式和精神方式的独有的社会型艺术。戏曲的美学原则,从整体审美把握方面说有综合性、写意性、抒情性,从舞台技术把握方面说有程式性、虚拟性和时空自由性,其思维方式和表现手法体现出中国传统艺术的共性特征:有机整体观、既求真更求美、既体验亦表现,这些都成为戏曲的内在精神旨归。然而,现代史的到来使得作为传统艺术的戏曲遭遇了转型危机,其生存价值和艺术价值长久陷入尴尬境地,人们希图在21世纪见到其超升的曙光。

摘要：2012年5月23至5月25日,国际美学协会前主席阿列西·艾尔雅维奇应邀到上海交通大学人文学院讲学,期间,人文学院院长王杰教授及人文学院博士后邵瑜莲副教授和于琦副教授对阿列西就当今美学的一些重要问题进行了访谈。主要谈到后现代主义,他欣赏利奥塔的美学观点"美学艺术是先经历后现代时期的",认为"后现代主义是在现代主义诞生之前而不是现代主义诞生之后";谈到法兰克福学派的代表人物阿多诺和彼得·伯格尔的主要美学观;谈到世界美学的几次革命:未来主义、超现实主义、俄罗斯结构主义、法国环境主义运动等;也谈及大众文化,认为大众文化与美学革命无关。阿列西先生对中国美学的发展非常熟悉,认为中国的现代美学如果能哲学地反映近现代的中国艺术,也同样可以辉煌,而且只有中国的理论家才能完成这一使命。另外,他高度赞扬《马克思主义美学研究》的工作,认为是对世界美学的重要补充。

摘要：介绍了《百美之旅——黑龙江省最值得去的100个地方》图集的总体设计思路、技术路线、总体设计方案,重点介绍了鸟瞰图的制作方法。对其他旅游景区图的制作具有一定的借鉴意义。