CAQ Vol.7,No.1 2. The Ceiling with Laternen–decke in Dunhuang Grottoes and t...

Nov 12, 2020

Qi Xiaoqing

Abstract:The Pingqi caisson ceiling was very common in grottoes in theNorthern Dynasties. The center of the caisson on the inverted funnel-shapedroof which appeared in the Western Wei Dynasty is still patterned with squareconcentric and inner circle. The bracket caissons in the grottoes of laterdynasties are basically all the transformation of the ceiling in the Western WeiDynasty and it lasted...

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Textual Research of Scare Animals

Jun 23, 2020

Kong Lingwei

Abstract: The fictitious Scare Animal (beasts that can ward off evil) was made up in the Southern and Northern Dynasties, an era of various mixing and coexisting religious beliefs. These beliefs all adopted the images of the Scare Animal, leading to divergent opinions in current textual research. Not limited to previous literature records, this paper investigates the image meaning of the Scare ...

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CAQ Vol.7,No.1 5. An Overview of the Researches on Chinese Piano Music Since ...

May 31, 2020

Hu Jian, Wang Haoyu

Abstract:From the 1980s, the systematic research on Chinese piano music began to revive. With the publication of relevant monographs and papers, this field has gradually become a hot topic of academic research. In this paper, the author will go over the research progress of Chinese piano music during this period and give an overview of the viewpoints of representative researches from three aspe...

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CAQ Vol.7,No.1 4. On the Core and Contemporary Aesthetic Values of the Confuc...

May 31, 2020

Zou Jie

Abstract:The aesthetics of the Confucian and the Taoist music plays the motive of the Chinese classical music. Tao is the common value that they have been going after, the difference lying in that the Tao chased by the Confucian music attaches importance to the social value and that pursued by the Taoist music, the natural value. The lack of extreme desire as well as the weak motion for any dra...

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CAQ Vol.7,No.1 3. Du Qiong’s Landscape Painting under the Influence of Dong ...

May 31, 2020

Liu Pin, Wang Hanwei*

Abstract: Du Qiong, a Literati painter excelling in landscape painting, had induced the landscape paintings from Tang Dynasty to the early Ming Dynasty into two categories (on the macro level)—Jinbi Shan Shui (金碧) and Ink Painting (水墨). Du Qiong had also presented himself as more of a follower of the Wang Wei School featuring the style of “Ink Painting”. Therefore, Dong Yuan—the integra...

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