文化艺术的生命力在于创新创造。1000多年前，敦煌的艺术家在继承传统的基础上广泛吸收南亚、中 亚、西亚等地传来的艺术样式，创造出独具中国特色的彩塑、壁画等，成就中华文化艺术阆苑中的一朵 奇葩。今天，敦煌已然成为代表中国的标志性文化符号，敦煌主题的作品、展览不断在海内外亮 相，"敦煌热"持续升温，引发人们思考：敦煌艺术为何能在传承中不断实现创新发展？ 在北京展览馆，另一处令观众惊喜的亮点是常书鸿的女儿常沙娜为该馆原电影厅设计的敦煌风格天顶彩 画。常沙娜自幼跟随父亲在敦煌临摹壁画，深受敦煌艺术的熏陶和启发，并成功把敦煌元素运用在人民 大会堂、民族文化宫等建筑的装饰中，成为时代经典。今天，敦煌艺术的研究与应用已从涓涓细流变为 滔滔洪流，大量创新成果不断涌现，不仅涉及绘画、雕塑和装饰领域，也体现在服饰设计、音乐、舞蹈 等方面。曾任北京服装学院院长的刘元风先生，作为常沙娜教授的高足，退休后仍带领团队与敦煌研究 院合作，致力于挖掘、提炼敦煌服饰美学精髓，设计出兼具传统韵味与现代风尚的优秀作品。最近在中 国工艺美术馆举办的"云衣霓裳——2025敦煌服饰文化研究暨创新设计展"便展示了刘元风及团队取得的 诸多成果：一大批敦煌壁 ...

Core Insights - The 2025 Beijing Art Season is set to elevate the city as a central hub in the global art landscape, featuring a series of events from May 21 to June 1, 2025 [1] - The Beijing Contemporary Art Fair will kick off the season on May 22, showcasing over 100 exhibitions and activating various sectors including dining and public education [1] - The theme of the Beijing Contemporary Art Fair is "CONCAVE-CONVEX," reflecting the diversity and individuality of contemporary art, with participation from 132 institutions across 12 countries and 32 cities [2] - ART021 BEIJING will also take place from May 22 to 25, featuring 53 galleries from 11 countries and regions, highlighting both local and international perspectives [3] Event Details - The Beijing Contemporary Art Fair will be held at the National Agricultural Exhibition Center from May 22 to 25, 2025 [2] - ART021 BEIJING will occur at the 798·751 Art District, specifically in the Qijiu Warehouse and the First Workshop, from May 22 to 25, 2025 [3] - The Gallery Week Beijing will run from May 23 to June 1, 2025, featuring 30 galleries and 11 non-profit institutions, with nearly 60 exhibitions and projects [5]

从千年文化瑰宝的敦煌，到朴素乡村的儿童艺术教室，美的足迹用爱连接。 近日，"拾光益彩 悦享东方"东方证券心得益彰公益基金会十周年公益展在上海举办，一场公益与文化交融的盛宴，展现了东方证券在公益领域的十年坚守与丰硕成 果。 文化公益展落地上海街区 2015年，东方证券发起设立上海东方证券心得益彰公益基金会。成立十年来，基金会立足文化遗产的保护和推广，开展"西遇知美|敦煌"及"传承非遗·遇见皮影"等系 列项目，同时聚焦儿童艺术教育，通过乡村小学艺术教室搭建等方式，让更多的孩子有机会受到文化和艺术的熏陶，也在孩子们心中种下艺术的种子。 此次十周年公益展回顾了过去十年，东方证券心得益彰公益基金会与敦煌研究院合作的五季"西遇知美|敦煌"的成果。通过摄影展、书画展、诗歌集等多种方式展出 了心得益彰艺术教室十年来在乡村儿童美育教育方面的成果。此外，公益展现场还有皮影戏制作、泥板画制作等多个DIY手作区域，方便参观者参与，亲身体验传 统文化的魅力，感受公益的力量。5月20日，心得益彰公益基金会举办了公益展主题日活动，这一活动也开启了"西遇知美 丨敦煌"项目新的篇章。 据悉，过去十年间，东方证券以及心得益彰基金会为文化传承与" ...

Core Perspective - Huang Jiannan's artistic journey reflects a profound exploration of how visual experience resonates with the inner landscape, breaking traditional boundaries between Eastern and Western art forms [2][4][6] Group 1: Artistic Philosophy and Techniques - Huang Jiannan's work embodies a unique creative philosophy where art is not merely imitation of nature but a manifestation of life's will, as seen in his piece "Desert Solitude" [1][4] - His approach integrates elements from both Eastern and Western art, such as blending Monet's impressionism with traditional Chinese ink techniques, creating a dialogue between different cultural expressions [2][4] - The artist's innovative use of materials and techniques, like using oil painting to express traditional Chinese aesthetics, has been recognized as a significant contribution to contemporary art [4][6] Group 2: Market Trends and Value - Huang Jiannan's early works, marked by his travels, have shown an annual appreciation rate of 27%, significantly higher than the average 12% in the art market [5] - Collaborations with scientific institutions, such as NASA, have led to substantial increases in the value of his works, exemplified by the "Interstellar" series, which quadrupled in price over three years [5] - His unique market strategy, which includes the integration of digital art with traditional painting, reflects a broader trend in contemporary art where the hand-crafted aspect is becoming a rare and valuable resource [5][6] Group 3: Cultural Impact and Recognition - Huang Jiannan's work has been pivotal in establishing a cultural dialogue on a global scale, as evidenced by his large installation at the Venice Biennale, which asserts cultural authority [6] - His recent exhibition at the British Museum highlights the relevance of his work in addressing contemporary artistic challenges, particularly in the context of digital art's rise [6][7] - The artist's philosophy emphasizes a connection between local experiences and global narratives, showcasing the duality of being rooted in tradition while reaching for global recognition [6][7]

Core Viewpoint - The "Seventh China Contemporary Arts and Crafts Biennale" academic seminar highlighted the importance of integrating traditional craftsmanship with modern consumer needs, emphasizing a shift from "artwork thinking" to "product thinking" in the arts and crafts industry [1][2][3]. Group 1: Seminar Highlights - The seminar featured 16 guests from various sectors discussing the theme "Era of Craftsmanship," focusing on the current state of the industry and the core demands of creators [1]. - Three subtopics were explored: "Academic Empowerment," "Design, Materials, and Techniques," and "Industry Development and Life Needs Resonance," showcasing diverse perspectives on contemporary arts and crafts [1]. - The event underscored the authority and influence of the national-level art exhibition, demonstrating a comprehensive display of contemporary arts and crafts [1]. Group 2: Industry Transformation - The arts and crafts industry is at a critical juncture, needing to transition from "artwork thinking" to "product thinking" to meet growing consumer demands for "artistic living" [2][3]. - The industry must focus on creating emotional value and catering to niche, personalized needs, aligning with the dual economic and cultural attributes of arts and crafts [3]. - The shift from a "classic industry" to a "fashion industry" is seen as a historical necessity, with the potential to create a new category of "fashion consumer goods" that integrates artistic, cultural, and spiritual elements [3]. Group 3: Future Outlook - The seminar served as a precursor to the 2027 Eighth China Contemporary Arts and Crafts Biennale, which will coincide with the tenth anniversary of the traditional craftsmanship revitalization plan [4]. - The China Arts and Crafts Museum aims to leverage its platform to further explore, display, and research arts and crafts and intangible cultural heritage, contributing to their integration into modern life [4].

陈东升先生是一位从 1990 年代开始的连续创业者。他创办了中国嘉德国际拍卖有限公司，同时也是泰康保险集团的创始人。在这期节目中，陈东升先生将带领我 们回到 90 年代，探索中国拍卖行业从 0 到 1 的发展历程，以及背后的种种跌宕起伏。这场对话的契机，源自泰康美术馆当前正在展出的「未完成的时间」展览。 这是一场聚焦于 1980 至 1990 年代中国当代艺术的展览，呈现了那个时代独特的艺术创作面貌。展览不仅致敬了艺术领域的变革者，更是向改革开放以来，各行 各业所有勇于创新的开拓者们的致敬。 ▲ 「 未完成的时间：中国当代艺术1980s×1990s」 展览现场，泰康美术馆 ▲ 「嘉德往事：一槌定音的年代」采访现场 声东击西 在嘉德创立的 1992 年，您已经在体制内拥有非常好的工作，为什么又会选择去做艺术品拍卖这样一个没有人了解，而且未来也看不清在哪里的事情？ 陈东升 我生于 50 年代后期，上小学的时候，正值文化大革命期间。我的小学、初中和高中阶段，教育体系基本处于半停滞状态，缺乏有效管理。但即便在这样的环境 下，年轻人依然会有自己的思考。我常说的改变我一生的转折点，是在高中时期读到了《马克思传》，在那个革 ...

Core Perspective - The article introduces Li Hong, a contemporary jade carving master in Hong Kong, who integrates Buddhist wisdom, jade carving skills, and jewelry design, showcasing his unique artistic philosophy and significant contributions to the heritage of Hetian jade culture [1][3][14]. Group 1: Artistic Philosophy and Approach - Li Hong represents a unique spiritual quality and artistic pursuit in the jade carving and jewelry industry, embodying a proactive yet detached attitude that differs from the common "Buddhist" label [3][5]. - His artistic approach emphasizes the transmission of truth rather than the pursuit of fame or profit, reflecting his deep-rooted Buddhist beliefs and a commitment to artistic purity [5][13]. Group 2: Background and Training - Born into a family with a rich history in Hetian jade, Li Hong developed a profound understanding of jade through a decade of apprenticeship in his family's jade carving workshop [7][11]. - His education at Xinjiang Arts Institute and the Florence Jewelry Design Institute, along with extensive travels to over fifty countries, enriched his artistic vision and design philosophy [9][11]. Group 3: Contributions to Jade Culture - Li Hong founded two brands, "Hong Kong Yuhau Jewelry" and "Hetian Guoyu," merging traditional jade carving with modern jewelry design, and dedicated ten years to solely collecting and carving jade without selling it [11][16]. - His book "Seeing Jade" published in 2020 serves as a significant milestone in promoting Hetian jade culture, offering insights into jade appreciation, collection, and the jade industry [17][20]. Group 4: Cultural Significance and Impact - The book "Seeing Jade" is recognized for its cultural depth and practical value, highlighting the unique position of jade in Chinese civilization and its historical significance [17][20]. - The audio version of "Seeing Jade" expands its reach, allowing a broader audience to engage with jade culture and knowledge, reflecting Li Hong's innovative approach to cultural dissemination [19].

技术的价值不能束之高阁 此外，雅昌还以数字化技术搭建起全年龄段的艺术桥梁：为4－ - 14岁儿童打造"艺术成长档案"，用数字作品集与线上展览定格成长轨迹，帮助家长捕捉孩 子的艺术天赋；针对2000万摄影爱好者"作品多、渠道多、需求多但展示机会少"的痛点，通过专业筛选与成果转化，让镜头下的河南巩义千年石象生等作品 实现社会价值；为中老年群体推出"银发艺术陪伴"，子女定制的书画作品集成为低成本的情感纽带，让艺术成就感跨越代际，构建起"少有所育、青有所 成、老有所乐"的全民艺术生态。 雅昌作做为北京顺义区的民营企业，依托区域文化产业生态与政策支持，以"传统印刷+现代艺术"模式构建全产业链生态，其艺术数据中心、全球艺术品鉴 证备案体系助力文化科技融合，国际艺术展览等活动成为区域文化交流名片，以创新赋能推动自身转型的同时，为顺义构建高端化文化产业格局贡献力量。 "成立之初，我们只是单纯地想着'别让艺术数据白白浪费'。"万捷在回顾雅昌1993年的创立初衷时表示，早期受限于技术条件，企业以"保存艺术数据"这一 朴素目标起步，却悄然埋下了"文化传承"的种子。历经多年发展，雅昌的核心理念升级为"服务中国与世界艺术界"，并将积累 ...

（原标题：当算法触碰灵魂：AI 时代的艺术拷问） 这场风波也折射出当代艺术市场的荒诞。当资本盲目追逐 "新技术" 的噱头，当藏家不再关注作品背后 的精神内核，艺术便异化为投机的工具。AI 画作的高价成交，与其说是对技术的认可，不如说是商业 逻辑对艺术价值的扭曲。真正的艺术鉴赏，应当回归到贡布里希所说的 "观看之道"—— 在色彩与线条 中触摸创作者的心跳，在构图与留白处聆听时代的回响。 或许，AI 之于艺术，更应是一面镜子。它照见人类对创造力的焦虑，也映照出艺术本质的永恒命题： 技术可以革新创作手段，却无法替代生命的温度；算法能够解构美学规律，却永远无法复制灵魂的震 颤。在这场技术与人性的对话中，我们终将明白：艺术的圣殿里，机器永远只能站在门外，唯有带着体 温的灵魂，才能奏响永恒的乐章。 艺术界的争论背后，是人类对自身创造力的珍视与捍卫。柏拉图认为艺术是对理念世界的模仿，而 AI 的 "创作" 不过是对模仿的再模仿，陷入了虚无的递归循环。从梵高在麦田里癫狂的笔触，到毕加索用 几何撕裂现实的勇气，艺术史的每一次突破都源于人类独一无二的生命体验。机器可以无限复制美的形 式，却永远无法拥有孕育美的灵魂。就像法国作家安 ...

《代尔夫特的制琴师：维米尔和斯宾诺莎时代的音乐、绘画与科学》，[西] 拉蒙·安德烈斯著，韩烨译，中信出版社丨梦马工作室，2025年4月 版，416页，88.00元 在信息洪流、内卷狂潮、绩效主义和碎片化生活的重压下，几乎所有人都会有过被不停透支的精力匮乏症与绝望的疲惫感。在这时候如果刚好 碰上一本对的书，就像真正的爱情有时就是碰上的一样，那就可以暂时躺卧下来，在阅读中让自己喘口气，回过神来。西班牙哲学家、文学家 《有乐器商摊位的代尔夫特风景》（Ansicht von Delft mit Stand eines Musikinstrumentenverkäufers），卡雷尔·法布里蒂乌斯（Carel Fabritius） 作 布面油画15.4× 31.6cm，1652年伦敦国家美术馆收藏 《有乐器商摊位的代尔夫特风景》局部 《有乐器商摊位的代尔夫特风景》的原文是"Ansicht von Delft mit Stand eines Musikinstrumentenverkäufers"，直译是"代尔夫特与乐器销售商摊 位的景观"，布面油画，尺寸在该书行文中写的是15.4厘米×31.6 厘米（网上也有资料显示该 ...