高世名（高士明），中国美术学院院长、党委副书记，文学博士，教授，博士生导师，国务院学位委员会艺术学理论学科评议组成员，兼任第一届中国美术家协会策展委员会副主任、浙江美术家协会主席、浙江文艺评论家协会副主席、第34届世界艺术史大会（CIHA）中国主席团成员、上海当代美术馆（PSA）、上海双年展学术委员、美国克拉克高等研究院国际研究员（Sterling and Francine Clark Art Institute）、亚洲艺术文献库（Asia Art Archive）学术委员等。获教育部新世纪优秀人才、浙江省优秀青年教师等荣誉，获第三届中国研究生教育成果奖二等奖（当年唯一获奖的艺术学科教育成果）和首届浙江省研究生教育成果奖一等奖以及浙江省教学成果奖二等奖、亚洲当代艺术贡献奖等重要奖项，出版著作《镜子与面具》《行动的书：关于策展的写作》等。

Kong Lingwei is professor and dean of the School of Art Administration and Education, China Academy of Art. His research interests include history of art history, modern Chinese art history and the study of epigraphy.

本书介绍了中国美术发展、演变的历史，关涉文化、思想观念等诸多层面，体现了中国特有的认识及表达事物的方式，包含了中国价值评判和审美趋向，积淀深厚，名师名家组成的团队学术造诣深厚，成果斐然。本文集的出版，将更好地让学者们多年的研究成果推向世界，进入更有宽度、更有效的参照系，有利于在比较中提高中国美术史的研究水平，使之更完美地匹配其美术遗产的伟大品质，为世界艺术史做出应有的中国贡献。

The Mode of Art and Intelligence

Cao Yiqiang

The name “Art and Humanities” not only implies the connotation of our school’s 90-year of teaching and research in art history, but also indicates the ultimate goal that art history should pursue. “Humanities” define not only human dignity and the nobility of one's career, covering the qualities of human interests, values, ideological systems, and behaviours. Meanwhile, it also contains the study of human beings’ ideas and noble actions. The term “humanism” encompasses both layers of meanings, while artistic creation and research are representative products of their interactions. Accordingly, in 2007, our school was named “The Advanced School of Art and Humanities” from the original Department of Art History.

In Europe, “art” mainly refers to “fine art,” composed of painting, sculpture, and architecture. Such image-based fine arts, together with texts, have been regarded as the intellectual wings of human beings to grasp the essence of the world since ancient Greece. For this reason, issues relating to images and texts have always been important philosophical propositions in the West. In China, the earliest documents indicate that images and texts are consubstantial and complementary to each other though having different functions, and that both are intelligent means of well knowing the universe and social world, namely what are difficult to convey through texts can be depicted with images, and vice versa. The “ideas” of the western philosophy and traditional Chinese “Tao” construct two major worldviews and beliefs in its respective cultures, which, together with art and science, jointly boost the progress of human civilizations. The significance of studies of art history is, therefore, self-evident.

List of Contributors

Preface: Art History in History / Kong Lingwei　孔令伟

World Art Studies and the Historiography of Chinese Art / Cao Yiqiang 曹意强

From Painting on Silk to Silk Painting: Probing the Origins of Silk Painting in Ancient China / Chen Huang 陈　锽

Artists and Paintings in Chang’an Recorded by Zhang Yanyuan / Bi Fei 毕　斐

The Discussions Were all About Odes, Court Hymns, and Eulogies: The Qianlong Emperor and the Illustrations of the Classic of Songs / Wu Gan 吴　敢

An Examination of Sixteen Arhats by Guanxiu: Centered on the Copy in the Collection of Shengyin Monastery in Hangzhou / Wang Lin 王　霖

A Pictorial Depiction of “Antiquities with Flowers” / Kong Lingwei 孔令伟 191

“Visionary World” and “Classic Elegance”: Two Concepts in Wang Guowei’s Writing on the History of Chinese Art / Yang Zhenyu 杨振宇

Woodcut for Refuting Malevolent Voices—or Lu Xun’s Conundrum / Zhou Shiyan 周诗岩

Cloud-Thunder Pattern and Its Ritual Conception / Zhang Qiao 张　乔

Three Investigations on Historical Woodblock Print Sources in Xidi’s Comments on Books: In Memory of Mr. Zheng Zhenduo on His 120th Birthday / Dong Jie 董　捷

An Examination on the New Image Type for the Belief in the Lotus Sutra in Medieval China: Centered on the Images of “The Responsive Manifestation of Bodhisattva Puxian as a Female Affected by Tanyi” in Cave 3 of the Yulin Caves / Zhang Shubin 张书彬

Epilogue: The Mode of Art and Intelligence / Cao Yiqiang 曹意强