- 发布时间：2012-11-24 08:55
- 发布时间：2012-11-24 08:55
Dr. Xiaoneng Yang, Patrick J.J. Maveety Curator of Asian Art at Stanford University and the board member of the Edgar Snow Memorial Foundation, specializes in Chinese archaeology, history of art, and material culture. He has organized influential exhibitions, such as The Golden Age of Chinese Archaeology: Celebrated Discoveries from The People s Republic of China, which opened at the National Gallery of Art, Washington, D.C. in 1999. Presidents Bill Clinton and Jiang Zemin provided prefaces to this exhibition catalogue.
His recent publications include The Golden Age of Chinese Archaeology; New Perspectives on Chinas Past; Reflections of Early China; Tracing the Past,Drawing the Future; and Hello, Shanghai.
The Impact of Chinese Art: and Archaeological Exhibitions in the West
After President Nixon visited China in 1972, "art and archaeological exhibition diplomacy" became a very effectivemeans to improve Westem understanding of Chinese culture, promote friendship between China and foreign nations, encourage the study of Chinese culture in Westem academia, and generally increase the interest in Chinese culture throughout the world. The contributions ofthese overseas exhibitions are not only as significant as the famous "ping pong diplomacy," but in fact have had a much more long-lasting impact. This paper will discuss some paradigms of the overseas exhibitions, illustrate their development and contents, and reveal some examples of their organizational complexities. This paper will also demonstrate that these overseas exhibitions have successfully realized dialogues between Chinese and Westem cultures, crossing the boundaries of different polities, beliefs, and regions, and, thus, truly acting as a bridge between China and the rest of the world.
杨晓能博士为美国斯坦福大学坎特视觉艺术中心亚洲主任以及埃德加、斯诺基金会董事。他组织了具有重大国际影响的中国文物和艺术展览，促进了西方深入了解中国的文化和艺术。其策划的《中国考古学的黄金时代：中华人民共和国辉煌考古成就展》1999年9月在华盛顿国家美术馆首展，被《华盛顿邮报》誉为《古埃及法老展》以来、在美国首都最令人震撼的古代艺术展， 《纽约时报》则称其为中国的凯旋。 北京三联书店翻译出版了他的著作之-《另一种古史》。
Wang Yong, he is bom in Beijing, 1945. He graduated from the Department of Oriental Language and Literature, Peking University in 1967, then got his master degree from the South Asian Institute, Peking University in 1981. He worked in the Institute of Fine Arts, China National Academy of Arts, 1983-2005. His main research area included the History oflndian Art and the History ofArt Exchange between China and Abroad. He is a senior research fellow and an advisor for Ph.D. students of the China National Academy ofArts, a visiting professor of the Central Academy of Fine Arts. His major books are "The Art of India", "Indian Miniatures", "Transplantation and Variation: Art Exchange between the East and the West", "The History ofArt Exchange between China and Abroad"etc.
The Exchange of Eastern and Western Art Promotes the Development of
“Art is the only Esperanto.” Mr. Cai Yuanpei, the president of Peking University, has said. This dialogue of the Esperanto, or the exchange of Eastem and Westem art, can surmount barriers such as times, regions, nations and religions, promote the development of mankind's civilization.
In the ancient times, Gandharan art is a typical case. Greco-Roman art and Indian Buddhist art originally belong to two different cultures, they have the differences in times, regions, nations and religions, but the marriage of the two different cultures produced the Gandhara Buddha image, a new civilization's achievement, at Gandhara area.
The Gandhara Buddha image used a Greco-Roman Apollo type as the model, and had some signs for the Buddha's superhuman perfection. This Buddha image spread to various countries in Asia, and promoted the development of Buddhist culture.
In the modern times, the Japanese Ukiyo-e prints exerting infiuence upon the Impressionism and Post- Impressionism is also a typical case. These Japanese prints began arriving in European ports in the 1850s and greatly infiuenced the Impressionist artists. Vincent van Gogh, one of the Post- Impressionist artists, his painting under the combined influence ofImpressionism and Japanese prints has been appreciated deeply by the different peoples in the East and West.
The Western painting exerting influence upon the Chinese painting is still a typical case. The Westem painting spread into China as the Christian accompaniment, but in the course of the spread, it has separated itself from religious limitations, and has been accepted by Chinese as a fresh painting skill. In the early part of the 20th century, many Chinese painters went abroad to learn from the Western painting. The contemporary Chinese painting inherited the tradition of the ancient times of China, and absorbed the influence of the Western painting. The Westem painting
enriched the vocabulary of the Chinese painting.