真爱趁现在

‘Let traditional Chinese patterns shine with new splendor,’ says Chang Shana, former president of the Central Academy of Arts and Design_我的网站

一 |     

    Part of a Tang Dynasty (618-907) interlocking floral scroll with phoenix motifs in the Mogao GrottoesI have spent my whole life working with decorative patterns. A decorative pattern is a language, with its own grammar, rhythm and emotional expression. It is both decorative and symbolic, and it carries the aesthetic spirit of a nation and the cultural atmosphere of its times.
As an important part of Dunhuang art, decorative patterns are the carriers with the most rigorous compositional principles and the richest cultural spirit.
In the Dunhuang caves of Northwest China, there are numerous floral, cloud, flame, animal, and other decorative patterns. These patterns come from different periods and are found on and in structures and forms such as caisson ceilings, canopies, halos, costumes, border decorations and floor tiles, blending with statues, murals and architectural space.
Such patterns not only organically and harmoniously enriched and decorated murals, painted sculptures and entire caves, making them more splendid and perfect, but also developed their own period styles and characteristics, vividly recording the formation, change and development of Chinese decorative art and reflecting the social culture and customs of different times.
From the Sixteen Kingdoms (304-439) period through the Sui (581-618) and Tang (618-907) dynasties and beyond, Dunhuang cave mural art continued to evolve in both content and form with the changing times, and decorative patterns changed accordingly. From the three-petal leaf and honeysuckle patterns of the Northern Wei (386-534) to the scrolling-grass, baoxiang flower and linked-pearl patterns of the Sui and Tang and the medallion floral patterns dominated by mineral green in the Western Xia (1038-1227), Song (960-1279) and Yuan (1279-1368) periods, the pattern forms and color systems of different eras together form the historical lineage of Dunhuang decorative patterns, and also reflect the continuity and creativity of Chinese art.
    A Han Dynasty (206BC-AD220) tile-end with mountain-cloud patterns Photo: VCGIn my decades of design teaching and practice, I have always stressed the concept of "source and flow." The "source" is tradition, the unceasing cultural vein of national art; the "flow" is application, the innovation and development of art and design that meet the needs of contemporary life. I have learned firsthand that only by taking root in the source of fine traditional Chinese culture can the "flow" of art have vitality and creativity.
I once led students in forming a research group on "Chinese Decorative Patterns of Dunhuang Through the Ages," systematically collecting, organizing, classifying and copying the decorative patterns on Dunhuang murals and painted sculptures, including the motifs. Through this sorting and copying, we conducted in-depth research and gained a full understanding of the historical culture, artistic features and decorative effects of each type of Dunhuang pattern, and clarified the causes, characteristics and historical evolution of each type. This is the "source" for contemporary design application.
Traditional patterns are an important source of inspiration for my designs. In design, on the one hand, the original appearance of traditional patterns should be preserved to a certain extent; on the other hand, they should be summarized, simplified, extended or enriched to make them more modern.
The ceiling pattern of the banquet hall of the Great Hall of the People was inspired by Tang Dynasty caisson patterns from Dunhuang. With a lotus as the center of the ceiling, and in line with the functional needs of the architectural structure, lighting and ventilation, it combines Dunhuang floral patterns with modern functions to create a spatial decoration with a distinctive national style. This design remains regarded as a model of the contemporary expression of traditional patterns.
I was invited to serve as artistic consultant for the creative program "Nian Jin" (Auspicious Brocade) at China Media Group's 2024 Spring Festival Gala for the Year of the Dragon. Through natural patterns such as mountains and clouds of the Han Dynasty (206BC-AD220), bird and animal patterns such as flying phoenixes and auspicious lions of the Tang Dynasty, floral patterns such as peonies and laurels of the Song Dynasty, and auspicious patterns such as gourds and lanterns of the Ming Dynasty (1368-1644), we enabled the audience to appreciate the aesthetic tastes passed down by the Chinese people over thousands of years and the breadth and depth of fine traditional Chinese culture.
In contemporary society, as standardized, mass-produced industrial products have become dominant, people hope to find forms that reflect their own national cultural language and are distinctive, warm and pleasing. Traditional patterns can make people feel the depth of history and emotional warmth, and can further embody the cultural character of their nation through modern design.
The study and innovation of decorative patterns is a highly practical part of inheriting and promoting fine traditional Chinese culture. It concerns not only vision and beauty, but also cultural attitudes and identity. These patterns are not just a form of heritage found on murals or on other cultural relics; they can enter our daily lives and become cultural symbols in fabrics, utensils, spaces and even digital interfaces.
I believe that more and more later generations engaged in art and design will, on the basis of promoting fine traditional Chinese culture and adapting to people's current needs for culture, art and a better life, take innovative steps to create a new style of modern design art with Chinese characteristics - one that is national, scientific and popular, so that traditional Chinese decorative patterns can constantly generate new vitality and shine with new splendor.
The author is former president of the Central Academy of Arts and Design. This was compiled and translated by the Global Times English edition based on an article published by the People's Daily Overseas Edition on August 20.
。

二 |     

    China US Photo:VCGAmerican scientists have voiced opposition to a proposed rule which seeks to ban federal funding for US science collaboration with China, saying that it would instead hurt US interest, the Washington Post reported on Tuesday. Chinese experts also warned that the slew of US restrictions on China-US scientific cooperation is unlikely to deal a fatal blow to China's scientific development, but could instead backfire on the US.
The proposed Office of Management and Budget (OMB) rule, set to take effect in December, would mark one of the biggest overhauls of US science funding in decades, giving political appointees greater authority over grant awards previously guided by scientific peer review and requiring that they "advance the President's policy priorities," according to the Washington Post. 
It would also effectively expand the 2011 Wolf Amendment, which bars scientists from using NASA funding for bilateral collaborations with China, to all federal agencies and scientists receiving federal funds, marking the largest break in US-China scientific engagement in decades, the US media outlet reported.
So far, the proposed rule has garnered nearly half a million public comments, many from scientists and leading US science bodies. A Washington Post analysis of 50,000 of those comments found that around 88 percent were negative.
The rule, initially set to take effect in October, was pushed back to December after a bipartisan stopgap funding bill temporarily halted its adoption. Unlike the Wolf Amendment, the rule does not require congressional approval to take effect.
"I do think there are still members of Congress who think we have a monopoly on knowledge. They think we're still in the Cold War Soviet era ... where we were ahead in most areas of science and technology. That is not the case with China. We are no longer the leader in many areas of science," said Tobin Smith, senior vice president for government relations and public policy at the Association for American Universities, which advocates on behalf of leading US research universities, per the Washington Post.
Scientists warn that the rule risks subjecting long-term scientific research to four-year political cycles. "We will not succeed if with every new administration we are ping-ponging back and forth about priorities," the American Association for the Advancement of Science said in a blistering comment, urging the administration to withdraw the rule. "Fast-tracking such profound changes ... hands an easy victory to nations like China," it said, the Washington Post reported.
This reflects a fundamental divide between the US government and the scientific community over how science should develop, Wang Yiwei, a professor at Renmin University of China's School of International Studies, told the Global Times. He noted that politicians tend to believe that suppressing China as a competitor would allow the US to preserve its market dominance and technological edge. 
Scientists, however, tend to follow a different logic, as scientific progress depends on openness, exchanges and collaboration. If science and technology are driven solely by competition and private capital, with the ultimate goal of maintaining technological monopolies, this could create greater risks and ultimately undermine US interests as well, Wang said. 
The proposed rule change is the latest salvo in a broader battle in Washington over how to respond to China's rise as a scientific superpower. In July, the US National Science Foundation (NSF) also moved to ban collaborations between scientist it funds and many Chinese research institutions and their employees, according to Science magazine. 
Liu Shaoshan, director of the Center for Embodied AI at the Shenzhen Institute of Artificial Intelligence and Robotics for Society and a former US-based researcher, told the Global Times in a previous interview that the NSF's new proposed rules created a "talent wall," arguing that restrictions based on nationality, institutional affiliation, and research partnerships could reduce the global talent pool available to the US, weaken its ability to attract leading scientists, and slow scientific innovation. 
Liu also said scientific advancement relies not only on discovery but also on the exchange, validation, and dissemination of knowledge.
Wang also said China has built significant strengths through its vast pool of scientists and engineers, complete industrial chains and massive application scenarios, while increasingly moving from application-oriented innovation toward original research. Against this backdrop, US technological blockades and restrictions on cooperation are unlikely to halt China's progress, but could instead isolate American scientists from China's latest research and collaboration opportunities. Such an approach could also prevent the two countries from leveraging their respective strengths and ultimately undermine US competitiveness, Wang said.
。

Current article:http://www.zongchaeiwengshuabaisisuofu.sbs/cbe9a/vhxtr2.htm

Published on:17:15:14