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Red wavy lines: ideas which can expanded.

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The discussion sharing class should be careful about the source of information.

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The discussion sharing class should be careful about the source of information.

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Even in discussion classes, opinions and evidence must be based on reliable sources of information. No reliance on internet information, critical discernment and examination. Rely more on authoritative information e.g. library resources.

When collecting information, you should not just look for materials that support your own views, but open your eyes and mind to information that is contrary to your position.

即使是在讨论课，观点和证据也要基于可靠的信息来源。不能依赖网络信息，要进行批判性地分辨和考证。更多的依靠权威的信息例如图书馆资源。

收集资料的时候，不能只找支持自己观点的材料，要打开眼界和思路，与自己立场相反的信息也要收集到。

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What influenced the dominant aesthetics of the era?

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What influenced the dominant aesthetics of the era?

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I chose two ancient Greek statues, a white statue without color and a painted statue. It was previously widely believed that white statues were the most original look, and this idea was influenced by Western colonialism, a prejudice that white skin was superior to black skin and white skin was more beautiful than black skin. However, with the further exploration of archaeology, so to speak, and the emergence of painted statues, people began to reflect on the issues behind this prejudice.

谁影响了各个时代的主流审美？
我选择了两个古希腊雕像，一个是没有色彩的白色雕像，一个是有彩绘的雕像。人们之前普遍认为白色雕像就是最原初的模样，而这一理念是受到西方殖民主义的影响，是一种认为白色皮肤高于黑色皮肤、白色皮肤比黑色皮肤美的偏见。然而，随着考古学的进一步探索，所以说彩绘雕像的出现，人们开始反思这一偏见背后的问题。

I further thought about Chinese archaeological philosophy and archaeological artifacts. In the restoration of the Terracotta Warriors and some Chinese Buddhist statues, there has been a controversy over the concept of "repairing the old as the old" or "repairing the old as the new". Is the idea of "repairing the old as old" influenced by the Western colonialism of white skin?

I wonder if this could be a topic for further research.

我又进一步想到了中国的考古理念和考古文物。我们对于兵马俑和一些中国佛教造像的文物修复处理，关于“修旧如旧”，还是“修旧如新”的理念一直存在争议。而“修旧如旧”的理念是否是受到西方殖民主义白皮肤思想的影响呢？

Auxerre Goddess

Unknown maker (original),

Eugène Arrondelle, Chef du Moulage, Musée du Louvre (reproduction) c.640 BCE, Greece (original), purchased c. 1922 CE (reproduction)

Plaster cast

Museum of Classical Archaeology, Cambridge, 2

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Wed 7 Feb Critical thinking academic support session 

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Wed 7 Feb Critical thinking academic support session 

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Reflect on and analyse your work so far on the course.

1. Look back at your Unit 1 Padlet (self-reflective record).

2. How might you develop the themes or ideas that have emerged from your decisions and processes?

Think about what you enjoyed, what challenged you.

Enjoyed: use brush to draw relaxing lines and draw figures. Learn new techniques and skills.
Challenges: redraw again and again. Learn computer software.

Think about what feedback you received in your tutorials, what you might want to try next.

Feedback: too many ideas
Do more primary research
Don't draw too straight or too abstract.
Theme go too far
Try next: future archaeology or any imagination of museum collections

Write down your thoughts about this.

Identify something that is not immediately obvious, or that you did not continue looking into.

How the language between humans and animals is expressed through visual images

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Following the Research approach introduced by Academic Support, I tried painting while listening to music. I listened to music in the style of Ancient Greece and worked with reference to the decoratively painted figures on pottery from that time.

根据学术支持介绍的Research办法，我尝试了边听音乐边画画。我听古希腊风格的音乐，并参考那个时候的陶器上的装饰画人物进行创作。

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Questioning the Fundamental Logic of Academic Discipline 

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Questioning the Fundamental Logic of Academic Discipline 

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• What are the purposes, goals or objectives of the discipline?

What is the goals of my illustratton?

• What questions or problems are central to it?

• What point of view(s) or frame(s) of reference do I need to learn to reason within?

• What are people in this field trying to accomplish ?

What do illustrators trying to achieve?

• What kinds of questions do they ask? What kinds of problems do they try to solve?

transfer into visual expression

How can my illustrations influence my audience in other ways or techniques?

• What sort of information or data do they

gather?

resource/material

• How do they go about gathering information in wavs distinctive to this field?

sketches

• What are the most basic ideas, concepts, or theories in this field?

• How should studying this field affect one's view of the world?

• How are the  production of this field used

in everyday life?

Paul, R. and Elder, L. (2006) The art of asking essential questions. Santa Rosa CA: Foundation for Critical Thinking. p10

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Guided by Tom, I focused on the sculpture wreckage. Where the sculpture is damaged is where it shows its interior, a phenomenon where hidden parts are exposed. The section of the sculpture has a different texture than the rest, one rough and one smooth. So I delve deeper into the form of a statue, using different mediums and methods to explore the differences in texture and variations in form.

在汤姆的引导下，我关注到了雕塑残骸。雕塑受损的地方就是它展现内部的地方，是一种隐藏的部分被暴露出来的现象。雕塑的断面和其他地方的质地不一样，一个粗糙一个光滑。所以我深入对一个雕像的形式进行探究，连续的使用不同的媒介和方法来探究质地的不同和形式的变化。

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The theme of this project reminds me of a statue I once learnt about at university where the face of a Buddha was torn open. The statue of Buddha tearing its face open to reveal another face inside gave me a sense of confusion about the relationship between the inside and the outside of the statue.

Which face is his real face, and does his external face have the same meaning as his internal face? Why do you make such a bloody and horrible form of ripping off the face? What is the scriptural story behind it?

这个项目的主题让我想起了我曾经在大学学到过佛像的脸被撕开的雕像。佛像撕开自己的脸露出里面的另一张脸给我一种佛像的内部与外部关系的混淆。

究竟哪张脸才是他的真容，他外部的脸和内部的脸的意涵相同吗？为什么要做撕开脸这样血腥恐怖的形式？背后有什么佛经故事？

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Continuing the theme of future archaeology, imagining how statues will be preserved in the future

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Experiment with the texture of details with a pencil

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Experiment with the texture of details with a pencil

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I went to the graduation show at Cambridge School of Art twice, and I found that the graduates of their school do a lot of sketch books and have solid drawing skills, so I took their approach. I used the different kinds of pencils I had to mimic the texture of the skin, and then I realised that carbon pencils worked best, and that a combination of dots and short curves worked better than just lines. This pencil exercise reminded me of the chapping technique in Chinese painting. This exercise also enables me to pay more attention to zooming in on details.

我去了剑桥艺术学院的毕业展两次，我发现他们学校的毕业生sketch book做得非常的多，而且绘画功底很扎实，所以我采取了他们的方法。我用我所拥有的不同种类铅笔去模仿皮肤的质感，然后我发现碳笔的效果最好，点和短曲线的结合比单纯线条的效果更好。这个笔触的练习让我联想到了中国画的皴法。这个练习也能够让我更加关注到细节的放大。

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Deconstruction and reconstruction of cultural relics

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Deconstruction and reconstruction of cultural relics

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Under the erosion of time, the appearance of cultural relics has been damaged and missing. Similarly, the historical data will also have defects or be lost in the process of spreading, resulting in later generations to misread the historical data. Therefore, cultural relics have changed from the external form to the internal cultural meaning. It's like this broken and reassembled image, reconstituting a new form.

文物在时间的侵蚀下，外表产生了破损和缺失。同样，史料在流传的过程中也会产生缺损或失传，从而造成后人对史料的误读。所以文物从外在的形态到内在的文化意涵都发生了变化。就像这个破碎又重新拼合的图像一样，重新构成了一个新的形态。

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X-rays reveal the inside and outside of a Buddha statue

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X-rays reveal the inside and outside of a Buddha statue

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X-ray CT scan of Manjushri at Hokke-ji Temple in Nara, Nara National Museum.

The most direct representation of the internal and external relationship of the Buddha's thoughts that comes to mind is the X-ray scan.

奈良国立博物馆用X射线CT扫描奈良Hokke-ji 寺文殊菩萨。
最直接能想到的佛想内外关系的呈现就是 X光扫描。

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“The Body Invisible in Chinese Art?,” Body, Subject and Power in China, Cornell University Press (1993).

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Charcoal pen and tracing paper
碳笔和硫酸纸的肌理实验

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Use the texture paper to collage(two layers). And finally use charcoal pencil to deepen shadows and layers.

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Dip the ink in with a sponge and use chalk pastel.

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Stone book reference: 《素园石谱》明代 林有麟（ Ming dynasty Lin Youlin 

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Stone book reference: 《素园石谱》明代 林有麟（ Ming dynasty Lin Youlin 

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Stone book reference: 《素园石谱》明代 林有麟（ Ming dynasty Lin Youlin 

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Stone book reference: 《素园石谱》明代 林有麟（ Ming dynasty Lin Youlin 

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Stone book reference: 《素园石谱》明代 林有麟（ Ming dynasty Lin Youlin 

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Stone book reference: 《素园石谱》明代 林有麟（ Ming dynasty Lin Youlin 

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Stone artist reference: Dame Barbara Hepworth

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Stone artist reference: Dame Barbara Hepworth

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“Hepworth said it was a way to show the insides of the sculpture as well as the outside. It also let light through heavy blocks of stone, wood and metal. You can look through these pierced holes and spaces to frame the view behind.

Hepworth said ‘I think every person looking at a sculpture should use [their] own body. You can’t look at a sculpture if you’re going to stand stiff as a ramrod and stare at it. With a sculpture you must walk around it [or] bend towards it...’ ”

Resource from: https://www.tate.org.uk/kids/explore/who-is/who-barbara-hepworth

My thoughts:
It has similar holes to the Taihu stone in China, but it is more omitted and simplified, and has more modern and design elements.

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Inspired by Kandinsky’s artworks and Oskar Fischinger’s “An Optical Poem”.
Collage picture from Daria Chernyshova

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Try drawing curtains, indoors and outdoors, covering and revealing.
尝试画窗帘，室内和室外，遮蔽和显露的关系。

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Two common materials for Buddha statues.
两种常见的佛像材料。

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Huan Zhang. Sydney Buddha. 2015, Carriageworks.

The fact that the artist has made a Buddha out of incense ash reminds me of a very famous saying in the Bible: "Ashes to ashes, dust to dust". With the passage of time, this statue of Buddha will also change from tangible to intangible, and eventually turn into dust. The ash is a material symbol of the wishing process of the believers, in which people's good wishes and beliefs are gathered.

The fact that the artist was able to utilise the ashes is a very ingenious point. The Buddha statue made of incense ash serves as the spiritual core, while the metal statue is the external appearance, and this relationship between the inside and the outside leaves room for contemplation.

艺术家将香灰制作成佛，让我想起了《圣经》中很著名的一句话：“尘归尘，土归土”。随着时间流逝，这尊佛像也会随之从有形变为无形，最终化为尘埃。香灰是信众许愿过程的物质象征，里面凝聚了人们的美好期许和信念。

艺术家能够将香灰利用起来是一个很巧妙的点。香灰制作而成的佛像作为精神内核，而金属的佛像则是外在的表象，这种内外关系留下了思考的空间。

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The metal texture of the sculpture uses the effect of light to reflect the appearance of the surrounding environment on the object itself, and the metal material confuses the space inside and outside.

雕塑的金属质地是利用了光的作用，能够在物体本身反射周围环境的样貌，金属材质混淆了内部和外部的空间。

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Learned some textures and structures of buddha’s X-rays pictures from David Maisel.

向David Maisel学习佛祖x光照片的纹理和结构。

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Chinese artist Zhang Huan has created a giant wooden skeleton of a Buddha statue. I think it's quite surprising that he came up with the idea of making the skeleton of the Buddha. Although some physical Buddhas have real skeletons of monks inside, it is associated with blood and creepiness. He chose wood, a material rich in nature and life, to reduce the horror of the skeleton, and at the same time to express the seriousness of death and the eternal meaning of time.

中国艺术家张洹制作了一个巨型的木制的佛像骨架。我觉得他能够想到制作佛像的骨架这一点非常出人意料。虽然说有一些肉身佛会有真实的高僧骨架在里面，但是那会让人联想到血腥和毛骨悚然。他则选择了以木材这种富有自然和生命的材料来削减骷髅的恐怖气氛，同时又能够表达这种死亡的肃穆和时间的永恒的意味。

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Roman

14–68 CE

On view at The Met Fifth Avenue in Gallery 162

Copy of a Greek work of the second century B.C.

During the Hellenistic period, artists became concerned with the accurate representation of childhood, old age, and even physical deformity. The range of subject matter was extended to include genre-like figures from the fringes of society. Fine, large-scale statues of fishermen, peasants, and aged courtesans became valued religious dedications, sometimes placed in a park-like setting within the sanctuary of the god. Although this statue is known familiarly as The Old Market Woman, it probably represents an aged courtesan on her way to a festival of Dionysos, the god of wine.

Resource from: https://www.metmuseum.org/art/collection/search/248132

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A screen is a way of dividing and folding space, and also distorts the spatial relationship between inside and outside the object. So I wanted to give this spatial relationship to the Buddha with its face torn apart, making it flat and geometric.

屏风是一种分割空间和折叠空间的方式，也扭曲了物体的内外空间关系。所以我想将撕开面容的佛像赋予这种空间关系，让他变得平面化、几何化。

The piece depicts “the monk’s face in supernatural corporeal transformation, splitting open to reveal the face of the numinous Eleven-Headed Kannon [Guanyin],” symbolizing his enlightenment (Levine, 2005, p. 72).

Reference: Levine, G. P. A. (2005). Daitokuji: The Visual Cultures of a Zen Monastery. Seattle: University of Washington Press.

Web resources:
https://journeytothewestresearch.com/tag/monk-baozhi/

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Reasons for choosing this artwork:
The mutilated portion of the sculpture reveals the rough texture of the interior, in contrast to the smoothness of the exterior.

选择这件文物的原因：
这是一件残缺的文物，它露出内部粗糙的肌理，与外表形成反差。

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Some of the broken pieces of porcelain from the vase were put into a jar of glass, which struck me as an interesting contrast between this inside/outside relationship and the complete and broken forms.

一些花瓶的碎瓷片被装进了一个玻璃的罐子里，让我觉得这种内外关系和完整与破碎形式的反差很有趣。

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I also tried some experiments with paint for fonts, I used the printmaking workshop method I've taken before, cutting out the paper to make the holes for the fonts and then brushing the colours with a roller.

我还尝试了一些字体的颜料实验，我利用了之前上过的版画workshop的方法，把纸剪出字体的孔隙，然后用滚轴刷颜色。

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Were there no sculptures in ancient China?

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Were there no sculptures in ancient China?

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Sculpture is just a word. An English word.
In China there were ancient objects that might look like sculpture, but they were not sculpture.
No classic ideal, no canon of masterpiece. No nude or plaster casts. No portrait busts. No union of sculpture and architecture. No hierarchy of art and progress.
There were small buddhist or Daoist zaoxiang造像(made images) and large inscribed stele with images called zaoxiangbei造像碑, or image stele. Modeling is called diaosu雕塑 and carving diaoke雕刻. But there was no sculpture or sculptors in China until modern times.

There are no relics of carved stone in China to be compared in importance or antiquity with the ancient monuments of Egypt, Chaldea, and Susa. —Stephen W. Bushell, Chinese Art, 1904

Until our knowledge of china is far more complete than it is at present we must presume that the nation has never possessed any noble school of monumental sculpture. —C.J. Holmes, The Burlington Magazine for Connoisseurs, April 1905.

Abe, Stanley K. "Imagining sculpture: a short conjectural history." (No Title) (2022).

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First layer:  crayon
Second layer: gouache

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Drawing with reference to ancient Greek pottery patterns.
参考古希腊陶罐图案所画。

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Artist use its distorted features to confuse our concepts of interior and exterior, contraction and expansion.

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Relationship between inside and outside of tree holes.
树洞的内部与外部关系。

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crayon+chalk pastel+scraping knife

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Reminds me of a cyberpunk Buddha.

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The wrinkles on the face of this statue are exceptionally well done, what if the face could be cut open along each wrinkle and used as different parts or sections of a robot?

这件雕像脸上的皱纹做得特别好，如果可以沿着每条皱纹将面部分割开，作为机器人的不同零件或者部分，会是什么样的？

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Unravel: The Power and Politics of Textiles in Art —Barbican Art Gallery 

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Holes in the human body and some connections between them

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Holes in the human body and some connections between them

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The color of this texture is very beautiful, it reminds me of origami, the screen, the texture on the wall and Cubism paintings.
这一张肌理的颜色非常漂亮，它让我想起了折纸、屏风、墙上的纹理很有立体主义画作。

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A screen is a way of dividing and folding space, and also distorts the spatial relationship between inside and outside the object. So I wanted to give this spatial relationship to the Buddha with its face torn apart, making it flat and geometric.

屏风是一种分割空间和折叠空问的方式，也扭曲了物体的内外空间关系。所以我想将撕开面容的佛像赋予这种空间关系，让它变得平面化、几何化。

The piece depicts "the monk's face in supernatural corporeal transformation, splitting open to reveal the face of the numinous Eleven-Headed Kannon [Guanvin]." symbolizing his enlightenment (Levine, 2005, p. 72).

Reference: Levine, G. P. A. (2005). Daitokuji: The Visual Cultures of a Zen Monastery. Seattle: University of Washington Press.

Web resources:

https://journeytothewestresearch.com/tag/monk-baozhi/

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On the subject of hidden, my starting point comes from the welcome collection of ancient Greek sculptures. Regarding the colours of the ancient Greek statues, it was always thought that the ancient Greek statues were made in sublime and pure white. Due to the colonialism that existed since the opening of the New Voyages, the idea that "white skin is superior" dominated.

In recent years, archaeological research has revealed that the statues of ancient Greece were originally painted, which has greatly shattered people's previous perceptions. This discovery made me interested in the skin of sculpture. As a result, I would like to take the sculpture as the object of my research to explore the relationship between the inside and the outside of the sculpture in relation to the theme of hidden.

The first example I looked for was the Hellenistic sculpture The Old Market Woman, whose internal and external relationship I observed in its broken sections. These temporal breaks not only physically create a difference between the rough texture of the interior and exterior, but also mentally constitute a misinterpretation of the sculpture's cultural connotations. I have made an in-depth attempt to paint the same sculpture, and I have also adopted a musical approach to appreciate the artistic style and life atmosphere of that era.

The second example that I have found is the act of tearing the face of a Buddha statue. This behaviour comes from the story of "Use finger to tear the face". This legend is based on the Southern Dynasty monk Baozhi. According to the legend, Emperor Wu of Liang dynasty asked the artist Zhang Shengxiao to paint a portrait of monk Baozhi. Baozhi tear his face and appeared as an "eleven-faced statue of Goddess of Mercy", so he was also regarded as the incarnation of Goddess of Mercy. I found the relationship between the internal and external faces of this statue very interesting. Then I also found other cases of the internal space of the Buddha statue, such as the use of X-rays, exploring the skeleton of the statue, and scenes of the statue during the restoration process. I also found some contemporary art artists who have a great understanding of Buddha statues as reference.

The third example is about "nude" sculpture in ancient China. Nude sculpture occupies a large part of Western art history while it seems to be rare in China. According to the subject of nudity. I found in the library to check the information, a scholar said that there is no nude sculpture in ancient China can be compared with the Western nude sculpture, if you have to find out a counterpart, that in the traditional Chinese culture should be the “strange stone”. A typical representative of this is the Taihu Lake Stone, which is a kind of porous rock. In this type of stone, I also see a natural connection as a relationship between inside and outside. And according to my research, there are contemporary Western artists who have learnt about Chinese stone appreciation culture and added this natural element to their creations.

The last point I mentioned, which I have not yet developed, is the screen. The idea of the screen came from my first idea of origami which is the flip of the inside and outside of an object. At that time, my idea was to create an original way of folding origami to present the form of space folding, but I failed. So later on, based on the form of folding fan, I associate it with screen. In ancient China, there are many paintings that include screens, and one of the most interesting in my opinion is the "Chess Meeting on a Repetitive Screen(重屏会棋图)". In this painting there is a screen, and on top of the screen another space containing the screen is painted. I am very interested in this relationship between inner and outer space and may continue to explore it in depth in the future.

In the process of this project, I also went to three exhibitions related to sculpture to study the external materials and forms of sculpture. What I was most influenced by was the material of textile and its rich cultural symbols.

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关于hidden这个课题，我的出发点来自

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关于hidden这个课题，我的出发点来自于welcome collection的古希腊雕塑藏品。关于古希腊雕像的色彩问题，之前人们一直以为古希腊雕像是从制作出来就是崇高而纯洁的白色。由于新航路开辟以来存在的殖民主义观念，人们认为“白色的皮肤是高级的”这一观点占据了主流。而近几年的考古研究表明，古希腊的雕像原来是彩绘的，大大打破了人们之前的认知。这个发现让我对雕塑的皮肤产生了兴趣。由此，关于hidden的主题我想将雕塑作为研究对象，去探讨其内部与外部的关系。

我寻找到的第一个例子，是希腊化时期的雕塑The Old Market Woman，我对于其内外关系的观察在于它的破损断面。这些时间所导致的破损不仅物理层面上造成了它内部和外部粗糙质地的差异，还在精神上构成了对雕塑文化内涵的误读和曲解。我对同一个雕塑进行了深入的绘画尝试，还采用音乐的方法去体会那个时代的艺术风格和生活气息。

我寻找到的第二个例子，是佛像的“剺面”行为。这个行为来自于“指剺面门”的故事。这个传说的原型是南朝僧人宝志。相传梁武帝曾使张僧繇为他画像，志公现出了“十一面观音像”，因此他又被认为是观世音菩萨的化身。我觉得这个佛像内部的脸和外部的脸之间的关系非常有意思。然后我还找到了其他佛像内部空间的案例，例如利用X光片，探索佛像的骨架，还有佛像在修缮过程中的场景。还找到了一些对佛像很有理解的现当代艺术家作为参考。

第三个例子是关于中国古代的“裸体”雕塑。裸体雕塑在西方美术史中占有很大的比重，而在中国似乎很少见。根据裸体这个课题。我在图书馆查阅资料时发现，有位学者认为中国古代没有裸体雕塑能够与西方的裸体雕塑相对应，如果一定要找出来一个对应物的话，那在中国的传统文化中应该是奇石。其中典型的代表就是太湖石，这是一种多孔洞的岩石。在这类石头身上，我也看到了作为内外关系的自然联通。并且根据我的调研，也有西方的当代艺术家学习中国的赏石文化，并将这种自然的元素加入到他们的创作当中。

最后提到一个，我还未展开的点就是屏风。屏风这个想法的雏形来自于我一开始的折纸的想法，因为折纸是一种物体内外空间的翻转。当时我的构想是创造一种原创的折纸方式来呈现空间折叠的形式，但是我失败了。所以后面根据折扇的形式，我又联想到了屏风。在中国古代有很多包含屏风的画作，其中我认为最有意思的是《重屏会棋图》。这幅画里有一个屏风中，而在屏风上又画了一个包含屏风的空间。我对于这种内与外的空间关系很感兴趣，可能会在未来继续深入的探讨。

在这次项目的过程中，我还去了三个与雕塑相关的展览，来研究雕塑的外部材料和形式，我从中最受影响的是纺织品的材料和其富含的文化符号。