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2期 of 2009year
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34-35  by Liu Yunshan:Editor's note: Except for influence of the folk art,Han Meilin's individuality of artistic work is basically decided by cultures beforehand Dong Han and Xi Han dynasty.The goal of he studyed the ancient language was looking for the value in his artistic and the formal esthetic perception.Today,when he collected these treasure and synthesize them to“Hieroglyphic Book”,He hoped to provide a reference for the fine arts, because the “Abstruse Writing”of ancient language is not inferior compares the “the standard”of foreign teaching.

40-41 by Zhao Li:Editor's note: The artistic phenomenon is a part of social phenomenon,the financial crisis inevitably and directly or indirectly affects art.How does the financial seaquake affect art?What is the status of artistic market currently?What do artists think?What are they doing?

44-45 by Zou Yuejin:Editor's note: That the nationalism is the globalism dates back long time ago,which has been long-term confused and biased.In “Where is the World” and “Some Views on Establishing Methodology” of this issue and in the comparison of Chinese and western culture,that the so-called nationalism is globalism has been deeply analyzed and explored to make an objective and clear judgment.

50-51 by Pang Lu:Editor's note: It is our long-term work to concern the current,and continuously understand and
criticize artistic phenomenon.Based on symbol quality of art in this issue and under the circumstances of financial
crisis’ impact on art market,cognitive judgment has been made to come up with valuable opinions.

52-53 by She Guozhen,Shu Songwei:Abstract: Based on the workmanship tradition and the development trend of Putian
stone carving,the author considerably expounded such artistic styles as“romantic charm in literature and art”
“good model”“fine carving and chiseling”“beautiful line description”“unlimited way of writing ”“abundant
dedication” and “ usage of big and small way of writing”.It’s not only a kind of experience,but also creation of theory.
Key Words:stone carving,workmanship tradition,art style

54-55 by Liu Hu,Chen Gang:Abstract: The modern city construction and environment arranging design  of China is independently done by architects,who lack deep understanding on conception of sculpture works,composition of pictures and art processing and they don’t think about the environmental factors from the angle of sculpture works.Urban sculpture is an organic part of overall environment and it’s indivisibly integrated with its environment. The sculpture form and content and its environment is the key of affecting the combination of sculpture and the environment.

56-57  by Teng Jianzhi:Abstract: The art of sculpture aims to express and praise life itself.Motion and change are essential characteristics of life.Life’s motion and change is because in life exists a kind of power,which radiates from a core to make life ceaselessly expand in the processing of life,which leads to an entire,fruitful and vigorous form.And this kind of form is what artists seek,and the “core of life” is unique for each individual life so grasping the core is catching the essence. 
Key Words:sculpture,sense of expansion,life power,core
Key Words:environment,urban Sculpture,style,spirit

58-59 by Liu Yi:Abstract: Nvzhen Ethnic Group established a a powerful country and imitated central-area countries to create its own culture.This horse-driving country left precious historical materials and supplied proof for researching this cultural characteristic.
Key Words:nvzhen ethnic group,exchange and integration,sculpture art

60-61 by Jin Limin:Abstract: The cut-and-paste craft is a special craft in south area of China. It is brought into exercise on the top of temple building in south area of fujian Province. Through the on-the-spot investigation and studying of temple buildings, a conclusion discussing its development,and analyzing the tools,materials,producing procedure.
Key Words:the cut-and-paste craft,south area of fujian province,the temple building

62-63 by Han Yonglin,Wu Xiaoling:Abstract: “Three-body and one-head fish” picture is the key representatives of the composite ichthyosis.Its unique design and art model are widely used and passed on by later ages. “Three-body and one-head fish” picture in the stone carving of Han Dynasty not only expressed the spiritual world of people in Han Dynasty,also embodied their art wisdom,especially model thought and regular pattern contained in the picture art,which worth our research and use for reference after the millennium .
Key Words:three-body and one-head fish,art modeling, stone portrait

64-65 by Pan Youlong:Abstract: In the Chinese art history,there are two kinds of recognition of beauty,natural and sculpture decoration beauty.And the art beauty of Shoushan stone carving is the natural combination and perfect unification of these two kinds of beauties.The beauty of carving art of Putian precious stone sculpture art the writer talked about is right the representative of reaching the extent of “extreme gorgeousness based on dullness”.
Key Words:beauty of Tian stone,beauty of deep meanings,beauty of sculpture decorative art

66-67 by Li Benhua:Abstract: Xuzhou’s old name is Pengcheng,it was one of the birthplaces of the Han culture.“Jiangu dancing model” among many cultural relic unearthed in Han has the strong geographical features.“Peng”,an onomatopoeia,means drumbeat and is closely linked with Pengcheng.The character of “Peng” is a hieroglyphs of “Gu”.“Jiangu dancing model” showing peace and happiness is what people pursue for generations and also becomes the symbol of creating harmonious society. 
Key Words:music and dance,culture,sculpture

76-77 by Peng yue:Editor's note: In the beginning of 2009,the auction of the Yuan Mingyuan rat and rabbit heads in France attracted the attention and media and the public.This event is not only a cultural art event,but a right-safeguarding event of cultural relic with all the Chinese involved.In the right-safeguarding column,discussion and analysis were developed on Chinese’s spiritual changes and response,and strengthening protection of cultural relic from the angle of history in those published articles.

82-83 by Mu muxi:Rabarama’s figure sculpture is full of activity and vitality. Based on classical realism body plus modern-style and symbolic tattoes,it elaborates her deep understanding between single life,fate and nature and society and illustrates metamorphosis course of human being trying to surpass flesh  and  pursuing the freedom of soul.


04 The China Impetus—2009 Chinese International Sculpture Almanac Exhibition
        Press Conference/by our reporter
06  Establish the Value System of the Chinese USrban Sculpture Interview with Wu
        Weishan Professor/interviewer:Song Weiguang  registrar:Ma Bin
08   Uncover Selection on Chinese Urban Sculpture Visit to Mr. Duan Xinchen, Secretary
        of National Urban Sculpture Developing and Guiding Committee/by Chen Peiyi
10  Tendency, Because of Contemporary Interaction between Workmanship and Art- 
       Simple Comments on 2009 Contemporary Int'  Metal Artworks /by Meng Jia
12  Financial Crisis Can't Hinder Art Expo, CIGE 2009 to be held in April/by Mu Xi

14  Zhang Feng's Shadow/by Wei Guang
18  Quietness-Talk on Wang Xiaohui's Artistic Character/by Shang Song
22  Peng Xiaojia  26 Wuri Qiefu  28 Liao Xiaochun  31 Li Aidong

32  My View on Mr. Wang Chaowen's Aesthetic View-point of Sculpture-Random Thoughts
        of Reading Sculpt Sculpture (Part One)/by Wu Weishan
34  Informal Essay on Abstruse Writing /by Liu Yunshan
36  Early Taoism Statuary around Changan The First Part of a Serial Summaries of the
        Chinese Taoism Sculpture/by Li Song
40  Talk on Art and Market under the Circumstances of Financial Crisis/by Zhao Li  
41  Fortune or Misfortune?Talk on Art Market under the Circumstances of Financial Crisis/by Qiao Qian 
42  Experimental Art under the Circumstances of Financial Seaquake/by Lin Yuyuan 
43  Talk on Financial Crisis and Redevelopment of Sculpture/by Sun Shengyin
44  This issue's theme:The National is the Global?
        Where is The World?View on Nationalism and Globalism of Culture/by  Zou Yuejin
45   Don't be in the Pretense of Lu Xun/by Nie Weigu  46   Some Views on Establishing
       Methodology /by Wei Guang   47  The More National, the More Internal-False
       Proposition of Losing Self-confidence/by Hang Chunxiao  49   Ancient Buddhist
        Sculptures Under the Influence of Silk Road Multiculturalism/by Ye Fan
50  Thought on Quality Issue of Sculpture Symbol/by Pang Lu
51  Traditional Culture's Recovery in Recession of the Market/by Yang Xiaolan
52  Analysis on Artistic Style of Putian Stone-carving/by She Guozhen,Shu Songwei
55  Comment on Relationships Among Infrastructure Environment,Culture Environ
        ment and Urban Sculpture/by Liu Hu,Chen Gang
56  Essence of Life/by Teng Jianzhi
58  Superficial Analysis on Sculpture Art in Jin Dynasty/by Liu Yi
60  The Cut-and-paste Craft in Traditional Temple Building of South Area of Fujian Province/by Jin Limin
62  Dissection on Art Model of  Three-body and One-head Fish  Picture of Portrait
        Stone of Han Dynasty/by Han Yonglin,Wu Xiaoling
64  Aesthetic Exploration of Putian Stone and Sculpture Art/by Pan Youlong
66  Han-style Music and Dance   Creates Pengcheng/by Li Benhua
67  Sculpture Plastic Arts and Teaching Seminar/by our reporter

72  Problems Between City Image and Public Art/by Zhang Haoda
74  Function of Urban Sculpture in Environment/by Li Xue

76  Reaction on Christie's Auction on Yuanmingyuan Rat-head and Rabbit-head/by Peng yue
78  Yuanmingyuan Animal-head(12 Earthly Branches)-Unable to Undertake its Own
       Destine/by Wei Gu
80  YuDa's Road towards Cultural Industrialisation,Culture-oriented/by Wang Mengjia

82  Carefree-Italian Sculptor, Rabarama and Her Anthropological Sculpture/by Mu muxi
86  Michigan Cakeside—Record the Chinese Sculpture Artist's Visit/by Han Jiarong
88  Mid-Summer-Hot Glass Exhibition Season/by Guan Donghai
90   Picture-Composition Education of Russia's Academic Sculpture Creation/by Sun Longben
92   Workmanship and Art-Workmanship Characteristic of Japan's Contemporary Sculp
        ture/by Zhang Wei

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