126 东南大学学报 ( 哲学社会科学版 ) 第 15 卷 1 (1661) : [1]152 [2] (1443) 2 : [1] (1459) [4]544 [3] (1689) (1694) (1634) 1 2 []

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1 2013 年 5 月第 15 卷第 3 期 ( ) May 2013 JournalofSoutheastUniversity(PhilosophyandSocialScience) Vol.15 No.3 刘彦彦 1 韩淑琴 2 俞文娟 3 ( ; ; ) [ ] 5A [ ] ; ; ; [ ]G127 [ ]A [ ] X(2013) : (1349) [1]153 [ ] [ ] (1973-) :

2 126 东南大学学报 ( 哲学社会科学版 ) 第 15 卷 1 (1661) : [1]152 [2] (1443) 2 : [1] (1459) [4]544 [3] (1689) (1694) (1634) 1 2 []

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6 laws and themes of folk art protection of folk art heritage and its application. This interdisciplinary science is characterized by empirical researchprofound richness and a balance between refined and popular taste. 15 Social differences between Chinese and foreign art in pre-qin period LIU Dao-guang 85 Art itself is different between Chinese and foreign art in terms of forms and techniquesbut the differentiation lies in different social conditions if art is considered a social phenomenon. Because of the close association between art and social civilizationa study of social conditions will shed light on the artistic characteristics of Chinese and foreign art. 16 Art form and style of Xu Wei a reflection on theory of artistic style HE Ping 91 There are two characteristics of Xu Wei s art form preference to free style and innovation in prescriptive style. These characteristics can be readily found in the boldness and expressiveness of his artistic works. A reflection on the theory of artistic style helps us to discover its flaws some theoretical links are missing and internal studies and external studies are disconnected. 17 A study of Chinese art history from the perspective of academic comparison XU Xi-wen 98 In historychinese traditional art had been developing independently and simultaneously borrowing foreign things to serve China. The successive achievements on Chinese art history in the West can be attributed to the shift of art history studies and the enlightenment from other fields such as the access to the unearthed cultural relics in the Chinese Museum. Howeverthe introduction of western research methodology needs to take into account the rules of Chinese art history studies. Only in doing so can the Chinese art history studies grow to be an interdisciplinary but independent science. 18 Application of folk art to Chinese animated cartoons XU Rui-hua 103 The sound development of Chinese animated cartoons requires the borrowing of Chinese folk art so as to give cartoon films a distinct Chinese flair. Innovation as the driving should strike a balance between form and content. Meanwhilecatering to the demands of the public is another consideration. 19 New evidence for Chen Baozhen as a martyr poems by Xia Jingguan and Chen Sanli DENG Xiao-jun 107 In memory of Chen Boyan written by Xia Jingguan in 1908 made an allusion that Chen Baozhen was executed for his country. Chen Sanli in one of his poems said that Chen Baozhen was a martyr like Ji Kanga loyal minister in the Three Kingdoms Period. The two poems are fresh evidence for the written records about Chen s death in Wen Lu written by Dai Yuanchuan. 20 Corrections to biography of Wang Ou shang WANG Ze-qiang 115 Wang Ou shang was a famous writer of Tanci i. e. storytelling in Suzhou dialect to the accompaniment of stringed instruments. For yearsher biography has remained a secret many messages about her life are erroneous even contradictory. In recent years I got to know her daughter of the fifth generation and had access to her family tree. BesidesI found in Annals of Baoying County in the Republic of China the historical records about Wang Ou shang receiving commendation for her remaining unmarried for 43 years after the death of her husband. Up to this pointmysteries about Wang s life were solved the famous storytelling writer died in 1903 her only daughter married Ding in Baoying County after Wang s deathher two granddaughters inherited her manuscript. 21 Haphazard use of Fu Ruzhou WANG Cheng-danSHANG Yong-liang 117 There were two literary intellectuals named Fu Ruzhou in Ming Dynasty one was an official in middle Ming Dynasty the other in late Ming Dynasty. Though they shared the same name and the same identity as writersthey were different in every other aspect. Before the early Qin Dynasty literary literature did not confuse them. The confusion began in Si Ku Quan Shu i. e. Complete Library in the Four Branches of Literature which confused their style names. Things got more puzzling as more personal information about them was misused including their ages and their literary works. It is therefore urgent to put an end to this confusion. 22 Xie Lingyun s finances and Ci Fu GONG Xian 121 Xie Lingyun as one of the foremost Chinese poets in the Southern Dynasties made great accomplishments in landscape literary writing. Actually his finances played a critical role in his writing. Take his Ci Fu for examplethe influence can be found in his subjects of creationspiritual condition and aesthetic value. 23 Tourism development and cultural ecology of Sheng en Chan si Temple in Suzhou LIU Yan-yanHAN Shu-qin YU Wen-juan 125 Sheng en Chan si Temple located at Guangfu Town in Suzou was a famous royal temple in the Ming and Qing Dynasty. As the temple was abandoned its rich but oblivious religious resources of cultural relicsancient architecture and other intangible cultural heritage need urgent protection. Tourism development of the temple can help provide protection for Chinese traditional culture and boost tourism in Guangfu town and Wuzhong area as a whole. 136

15 Social differences between Chinese and foreign art in pre-qin period LIU Dao-guang 85 Art itself is different between Chinese and foreign art in terms of forms and techniquesbut the

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126 东 南 大 学 学 报 ( 哲 学 社 会 科 学 版 ) 第 15 卷 1 (1661) : [1]152 [2] (1443) 2 : [1] (1459) [4]544 [3] (1689) (1694) (1634) 1 2 []

126 东南大学学报 ( 哲学社会科学版 ) 第 15 卷 1 (1661) : [1]152 [2] (1443) 2 : [1] (1459) [4]544 [3] (1689) (1694) (1634) 1 2 []