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双语推荐：书画

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中国古代书画著录上存有大量知名学者所作序跋，多见为刊本序跋及藏书序跋。无论是刊本序跋还是藏书序跋都不只是涉及版本及校勘问题，一般还会涉及中国古代书画著录创作的学术时代环境及中国古代书画著录序跋作者的背景及对书画著录的价值判断；很大部分还可以视为对书画著录文本内容的修正、补充及考释，从学术的角度上来看，相对严谨。迄今为止，对序跋类文献进行系统整理并利用其对书画著录文本内容进行研究、辅证的研究成果十分罕见。
Records of ancient Chinese calligraphy and painting contains a large number of prefaces and postfaces by well-known scholars of pre-modern and modern times, including forewords and afterwords of republished editions. They cover a variety of issues involving editions, collations, emendations, etc. In light of scholarship, these prefaces and post-faces were seriously composed, and provide general information of the times and environment in which the ancient Chinese calligraphy and paintings were composed and the background of the authors who composed those prefaces and postfaces. Most of them may be viewed as corrections, supplements, annotations and evidential research on the contents of those texts. Up to now, systematic cataloging and studies of these texts are rare; rarer still are research results utilizing studies of these texts. This article is only a preliminary attempt.

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有明一代，苏州地区商品经济发达，人才辈出，尤其在书画领域创造了举世瞩目的成就。由此也促成了浓郁的书画收藏之风。民间的私家收藏，无论从数量、品种还是从质量上说，苏州地区都堪称海内之冠，而且形成了收藏家群体，共同赏鉴，互通有无。明代苏州书画市场的日益发展和成熟，突出地表现在书画消费市场层次的多样性。其消费的群体大致分为两大类：“鉴赏家”、“好事者”和其他身份的消费者；从其消费的目的来看，主要分为收藏鉴赏、附庸风雅、装饰房屋、艺术投资以及斗富等。明代苏州消费群体的形成与苏州繁荣的商品经济密切相关，在形成过程中及其收藏活动中所体现出来的消费心态、审美要求以及处事观念无不打上商业社会特有的烙印。这种消费群体的多样性正是明代苏州地区书画市场日益活跃的表现。
In the Ming Dynasty,the commodity economy developed and produced more talents at Suzhou,especially in the field of Chinese painting,which had achieved great success,romoting the prevalence of the collection of painting and calli-graphy.The quantity,variety and quality of private collection were the first in the country.The collector groups were formed,then they appreciated and exchanged their collections from each other.In the Ming Dynasty,the deal of the paint-ing and calligraphy developed rapidly and became increasingly mature,especially in the consumption diversity of painting and calligraphy market.The consumer groups divided into two categories:"connoisseurs","amateurs"and others.From the consumption purposes,they were divided into the collection of appreciation,arty,housing decoration,art investment and flaunt wealth and so on.The formation of the calligraphy and painting consumers of Suzhou in Ming Dynasty was re-lated to the development of commodity economy.During the

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"以文为诗"的新变与北宋经学、词与书画等领域的新变异体同质,都是北宋思想文化革新的产物。北宋士人的新文化理念,施于经学则是独具特色的"元祐新经义";施于文则接续中唐韩、柳的古文运动;施于诗则打破自《诗经》以来"以诗为诗"的诗歌传统,代之"以文为诗";施于词则是打破词的乐体本质与"花间宗风","以诗为词",成曲子中缚不住的士大夫之词;施于书画则是打破晋唐以来"尚法"的书画之风,成"士人书画"一体。
The change of“The Idea of Poem Based on Literature” was similar to the new transformations in poems, paintings and calli-graphy, as both of them were the products of idea and culture reforms in Song dynasty. When it was applied to classics, the new cultur-al idea of Confucianism renaissance movement in BeiSong dynasty formed the charactristic “Yuanyouxin new Classics”. When it was applied to literature, the old literature movement initiated by Han and Liu in the mid -tang dynasty futhered to creat image and speech, and form simple and concrete style. When it was applied to poem, the poem tradition of“poem based on poem” was replaced by“The Idea of Poem Based on Literature”. When it was applied to Ci, it broke the nature of Yue,“poen based on Ci” and“Huan-jian tradition” to shape the scholar’ s Ci without the confine of Qu. When it was applied to paintings and calligraphys, it smashed the“law-oriented”, “painting-oriented” , “book-oriented” and “poem based

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有感于禅宗文献,特别是书画文献的匮乏,皮朝纲先生翻检《大正新修大藏经》、《新编卍续藏经》、《嘉兴大藏经》、《大藏经补编》、《禅宗全书》、《禅门逸书》等所收录的100多种禅宗典籍,汇集近60万字的禅宗书画文献,通过对这些文献所涉及的思想、观念、范畴、命题及某些具体问题进行深入研究,成就《丹青妙香叩禅心:禅宗画学著述研究》、《墨海禅迹听心声:禅宗书学著述解读》、《中国禅宗书画美学思想史纲》这"禅宗美学三书"。皮先生辑录的禅宗书画文献有其自身特征,其努力创建的中国美学文献学,是他在研究中国美学过程中,为创新求变而做出的重要理论贡献。
Impressed by the lack of Zen document, especially painting and calligraphy document, PI Chao-gang has read through over 100 Zen classics recorded in Taisho Tripitaka, New Swaskita Scriptures, Jiaxing Tripitaka, Supplement of Tripitaka, Zen Encyclopedia and Chamen Yishu. With the deep research into nearly 600,000 characters of documents of Zen painting and calligraphy, which covers thoughts, ideas, genre, proposition and details, PI Chao-gang pubilshed three books on Zen aesthetics, namely, Danqing Miaoxiang Kou Chanxin:A Study on Zen Painting, Mohai Chanji Ting Xinsheng:Explanation on Zen works, and An Outline of History of Zen Aesthetic Principles in China. The Zen document of painting and calligraphy recorded by PI contributes to his constructing of Chinese aesthetic philology which marks the main theoretical achievement in his research of Chinese aesthetics.

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从北宋建立到南宋初期,宋朝与高丽王氏政权有着十分密切的政治、经济、文化交流。其中书画交流是双方文化交流的重要组成部分。双方的书画交流主要通过两国官方间贡赐贸易、使节往来等途径进行。通过广泛的交流,促进了北宋与高丽两国书画艺术的提高。
The Song Dynasty was the golden age of the development of Song-Korea relationship. The Song-Korea relationship accelerated the enormous development in political,economic and cultural exchange. Art communication played an important role in the Cultural Exchanges between Song Dynasty and Koryo. It carried out mainly by the official tribute trade and the envoys. Both of the northern Song Dynasty and Koryo'' s calligraphy art had improved through extensive exchanges.

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艺术史同书画鉴定的相依关系必然要将艺术史的方法引入书画鉴定当中来。然而，对于书画鉴定和美术史两者共同的一个基本概念“风格”而言，两学科对其定位并不完全一致。风格作为一种渐变并不能以朝代为顺序，大而化之地成为一种对时间范围内一切作品和作者的通行标准进行通论，尤其是极具特殊性的宋元时代绘画更是如此，一句话，作品的分期是具体的，不能简单地由美术史的风格分期进行概括。试对德国柏林博物馆藏的《菊蝶图》的所属时代进行分析。
The interdependency between art history and the authentication of calligraphies and paintings is bound to introduce methods and theories from one discipline into the other during our research.However, they diverge on the identification of style, a basic concept that is common to both disciplines.The transmutation of style, as a gradual variation, cannot corre-spond neatly to dynastic changes.Consequently, it is inappropriate to cluster all the works and writers of one time frame into a particular style, least of all the works of Song and Yuan dynasties.The periodization of art works is concrete, therefore, we can not automatically classify individual works into a general division of style in art history.It is in this spirit that the present paper attempts to analyze the classification of Berlin Museum′s Chrysanthemum and Butterfly.

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"书画同源"一语最早来自于元代画家兼书法家赵孟的诗句:"若也有人能会此,须知书画本来同。"学术界对此命题的争论从未停息过,但无论是从形而上的艺术性格,还是从形而下的历史发生上去追溯二者间的关联,认为书出于画,或画出于书;认为欲画精诣必先工于书,或善书者必善画;甚至认为书优于画,或画优于书都是草率的。书画虽然在创作的媒介材料上趋同,在艺术精神的给养上相通,但其二者之间也有相异之处。
The term "homology of book and painting" originally comes from the Yuan Dynasty painter and calligrapher Zhao Meng-tiao''s poem. The proposition controversy of academic circles has never ceased, but whether it is from the metaphysical artistic personality, or from the shape of the historical connection, thinks that book is better than the painting, or painting is better than the books are sloppy. Although the media materials in the creation is almost same, in spirit of art supplies, also has differences between the two.

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金石书画是一种自由精神的释放,也是一种前无古人后无来者的创造。书画高手秋林先生的书法作品多古朴典雅、端庄大气;而其使诗书画融为一体的绘画作品,又恣意纵横、雄浑壮丽、苍劲有力、酣畅淋漓,所体现出的那种厚重,那种生命的力量和金石的沧桑感,是秋林先生内心世界所幻化出的语言。他以此来表现生命的张扬与奔放,表达对生命存在本体的追问和思考。
Metal and Stone paintings and calligraphies are not only the release of a free spirit, but also an unprecedented creation. Mr. GUO Qiu-lin’s works are primitive simplicity , elegant and dignified atmosphere; while the paintings blending poetry, painting and calligraphy are arbitrary, forceful magnificent, vigorous, full and delightful, which embodied the kind of massiness, the power of life and the vicissitudes of metal and stone. It is the language that is conjured out of the inner world of Mr. GUO Qiu-lin. He shows the ostentatious and unrestrained life, questions and thinks the existence of life by his paintings.

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夏目漱石对书画艺术有着特殊的感情，其书画艺术修养源自于家藏的名画，在之后的汉学和西学的学习过程中，他大量接触、鉴赏中国和西方书画作品，并与书画艺术家有广泛的交往，也在他们指导下练习书法和绘画，“漱石山房藏书目录”中有丰富的书画作品和理论著作。书画艺术对漱石的文学产生了深刻影响，其创作中常以书画内容为题材，引用书画的某些元素，或借用书画艺术的技法和表现手段，丰富作品的内容和审美内涵，漱石还为绘画作品题诗，集书法、绘画、诗歌于尺幅之中。他的小说《草枕》、《三四郎》被称为“绘画小说”，将书画艺术的内涵和精神融凝在小说创作中，融情于景，文中有画，以图像叙事，将文学与绘画巧妙结合。
Natsume Soseki,who had a special feeling for the art of calligraphy and painting,was a lit-erate giant combining both literature and the art of calligraphy and painting together.Natsume Soseki’s accomplishment for the art of calligraphy and painting came from the family collection of paintings at very beginning.In the thereafter process of sinology and western learning,he had come across and appreciated many Chinese and Western calligraphy and painting works.Meanwhile,Natsume Soseki had met many calligraphy and painting artists,under whose guide,he practiced calligraphy and painting.In Natsume So-seki’s room collection catalogue,there are a plenty of calligraphy and painting works and theory writings. The art of calligraphy and paintings had a great influence on Natsume Soseki’s literature,in which,many of themes of works were about calligraphy and paintings.Natsume Soseki tended to introduce certain ele-ments of calligraphy and paintings or borrow the ways of expression o

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阐述了纸质书画艺术品物流的环境影响因素及传统的保护手段，提出利用一种基于微功耗处理器和集成传感器的书画艺术品物流监测标签来解决其物流过程中监测方面的不足，设计出物流监测标签的硬件结构功能，详细阐述了作品标识和物流环境监测过程的使用方法，并且对以监测标签为核心的物流监测系统的构成、工作流程及信息使用等进行了分析，为纸质书画艺术品物流监测提供了一套较为实用的解决方案。
In this paper, we introduced the environmental factors influencing the paper-based painting and calligraphic works of art as well as the characteristics of the traditional means for their protection, then proposed a type of logistics monitoring label based on micro-power processor and integrated sensor, designed the hardware structure and functions of the label, illustrated in detail its application, and at the end, analyzed the composition, working process and information utility of the logistics monitoring system centered on the label.

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