Xiaoneng Yang
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
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》。

《中国文物和艺术展在西方的影响》
自1972年尼克松总统访华后，“文物外交”成为促进西方国家对中华文化的正面了解、增进中外人民之间的友谊、引导西方汉学界学术潮流、弘扬中华文化的行之有效的方式。其贡献不仅可与闻名中外的“乒乓外交”媲美，而且比之更有持续的生命力。本论文以一些重大的中国文物艺术展览为例，图示文化交流的历史和内容，讲述组织过程中的复杂情况和内幕， 呈现文物艺术展览引发和实现的中西文明的对话。这种文化交流跨越了不同文明、不同政体、不同信仰和地域文化的差异，对西方民众和学术界产生了深远的积极影响，是名副其实的推动中华文化走向世界的桥梁。



王镛：东西方艺术交流促进人类文明的发展
Wang Yong
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
Mankind's Civilization
“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.


王镛
王镛，1945年生，北京人。1967年北京大学东语系毕业，1981年北京大学南亚研究所硕士研究生毕业。1983-2005年在中国艺术研究院美术研究所工作。主要从事印度美术史与中外美术交流史研究。现为中国艺术研究院研究员、博士生导师，中央美术学院客座教授。著作有《（印度美术》（（印度细密画》《移植与变异——东西方艺术交流》《中外美术交流史》等。
东西方艺术交流促进人类文明的发展
北京大学校长蔡元培先生曾经说过： “艺术是惟一的世界性语言。”这种世界性语言的对话，即东西方艺术的交流，可以超越时代、地域、民族、宗教等藩篱，促进人类文明的发展。
在古代，一个典型的事例是犍陀罗艺术。希腊一罗马艺术与印度佛教艺术本来属于两种异质的文化，存在时代、地域、民族、宗教的差异，但在犍陀罗地区，这两种异质文化联姻产生了新的文明成果——犍陀罗佛像。犍陀罗佛像采用希腊一罗马的阿波罗造型作为范本，同时具有佛陀的超人的完美的某些标志。这种佛像传遍亚洲诸国，促进了佛教文化的发展。
在近代，日本浮世绘版画对印象派、后印象派的影响也是典型的事例。19世纪50年代这些日本版画开始运到欧洲的港口，对印象派画家产生了巨大影响。后印象派画家之一凡高在印象派与日本版画的综合影响下的绘画深受东西方不同人士的喜爱。
西方绘画对中国绘画的影响又是典型的一例。西方绘画是伴随着基督教的传播而传人中国的，但在传播过程中已经脱离了宗教的局限，作为一种新鲜的绘画技法而被中国人接受。20世纪J叶，许多中国画家出国学习西方绘画。当代中国绘画继承了中国古代的传统，又吸收了西方绘画的影响。西方绘画丰富了中国绘画的语汇。