油画系 Oil Painting Department
作品名称：《北方的冬》Title of the artwork: “Winter in the North”
作者：姜雪落 Artist: Jiang Xueluo
院系：油画系 第一工作室 Department: Oil Painting Department, First Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《北方的冬》是我对姐妹间深深的情感和中国北方冬季室内生活的再现。我与妹妹在家中的一切，都成为我绘画的源泉，这是一种深深的人文关怀和对于中国传统居家生活的热爱。在画面中，我尽力去捕捉我们的笑声，以及那些温暖的室内空间：熟悉的木质家具，热气腾腾的暖气，和窗户上凝结的冰花。我将这些细节逐一记录下来，试图通过它们传递北方冬天的室内生活的氛围和情感。这些细节虽然微小，但对我来说，它们构成了一种我们生活的独特方式，是我身为中国人的身份的一部分，也是我对这个世界的理解。
Artwork Description: “Winter in the North” is a representation of the deep emotional bond between sisters and the indoor life during the winter season in northern China. Everything within our home becomes a source of inspiration for my paintings, reflecting a profound humanistic care and love for traditional Chinese domestic life. In the artwork, I strive to capture our laughter and the warmth of the indoor space: familiar wooden furniture, the steam from the heater, and the frost patterns on the windows. I meticulously document these details, attempting to convey the atmosphere and emotions of indoor life during the winter season in the North. Though these details may seem small, they form a unique way of life for us, an integral part of my identity as a Chinese individual and my understanding of the world.
作品名称：《疏离的交响》Title of the artwork: “Symphony of Estrangement”
作者：赵晓阳 Artist: Zhao Xiaoyang
院系：油画系 第二工作室 Department: Oil Painting Department, Second Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：在《疏离的交响》中，我尝试表达自己对于现代都市生活中人与人之间疏离感的理解。北京，这个我生活的城市，充满了形形色色的人群。然而，即使在拥挤的公园里，我们都在寻找自己的一片宁静，疏离感仿佛像一座无形的墙将我们分隔开来。我试图通过细腻的笔触，捕捉这种生活的微妙情感，将其转化为视觉上的体验。希望通过我的作品，观者能感受到这种疏离感，同时也能对我们如何在繁华的都市中寻找自我进行深思。
Artwork Description: “Symphony of Estrangement” is my attempt to express my understanding of the sense of alienation among individuals in modern urban life. Beijing, the city where I reside, is filled with diverse crowds. However, even in crowded parks, we are all in search of our own moments of tranquility, as if a wall of estrangement separates us. I aim to capture the subtle emotions of this existence through delicate brushstrokes, translating them into a visual experience. Through my artwork, I hope viewers can perceive this sense of estrangement and also reflect on how we navigate finding ourselves amidst the bustling metropolis.
作品名称：《浸溺时间》 Title of the artwork: “Immersed in Time”
作者：陈瀚云 Artist: Chen Hanyun
院系：油画系 第三工作室 Department: Oil Painting Department, Third Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：在《浸溺时间》中，我试图通过象征和隐喻来捕捉并揭示时间和空间中的人性。水面下的身体，是我对于时间无情流逝和我们的生活不断沉淀的体验。我将自己的头部置于水面之上，就像一座灯塔，照亮我在时间的洪流中保持清醒的心智。面部表情，尽管无声，却饱含了我对于世界的思考、疑问和探索，这是我在无边的时空中的自我认知和内省的结果。我希望通过这个作品，能引导观者深入思考时间、空间和个体生活的微妙关系，以此触发我们对生命本质的反思。
Artwork Description: “Immersed in Time” is my attempt to capture and reveal the human essence within time and space through symbolism and metaphor. The body beneath the water’s surface represents the relentless passage of time and the continuous sedimentation of our lives. I position my own head above the water, like a lighthouse, illuminating my consciousness to remain clear amidst the torrential flow of time. The facial expression, though silent, is filled with my contemplation, questioning, and exploration of the world. It reflects my self-awareness and introspection within the boundless dimensions of time and space. Through this artwork, I aim to guide viewers to deeply contemplate the intricate relationship between time, space, and individual existence, thereby triggering reflection on the essence of life.
作品名称：《无声》 Title of the artwork: “Silent”
作者：苏清华 Artist: Su Qinghua
院系：油画系 第四工作室 Department: Oil Painting Department, Fourth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：在《无声》中，我以无人的房间作为画面的主题，试图捕捉和表达在日常生活中常被忽视的静谧感。无人的房间，没有喧闹和嘈杂，只有静静的家具和被遗忘的物品，它们讲述着无声的故事。我试图通过作品的细节，揭示那些似乎寂静无声却又饱含深意的空间，从而引发对日常生活中那些被忽视、被遗忘角落的反思。我希望，通过观看这幅作品，人们能更多地意识到日常生活中潜移默化的影响，并开始珍视那些在嘈杂中被遗忘的静谧时刻。
Artwork Description: “Silent” aims to capture and express the often overlooked sense of tranquility in everyday life through the portrayal of an empty room. The vacant room lacks noise and commotion, featuring only still furniture and forgotten objects that tell silent stories. Through the details in the artwork, I seek to reveal the seemingly quiet yet meaningful spaces that hold significance. This, in turn, prompts reflection on the overlooked and forgotten corners of everyday life. My hope is that by viewing this artwork, people can become more aware of the subtle influences in their daily lives and begin to cherish those quiet moments that are often overshadowed by noise and haste.
作品名称：《碰撞的和谐》 Title of the artwork: “Harmony in Collision”
作者：林烨泽 Artist: Lin Yeze
院系：油画系 第五工作室 Department: Oil Painting Department, Fifth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：在《碰撞的和谐》中，我选择红绿两种鲜明对比的颜色，通过抽象的手法展现它们之间的碰撞与和谐。红色和绿色，分别代表着热情与冷静，我试图探索在这种看似冲突的色彩对比中，如何找到一种和谐共存的可能性。在画面上，红绿两色互相渗透、碰撞、融合，产生了一种强烈的视觉冲击，同时也产生了一种和谐的节奏感。我希望，通过这种极简却又充满力量的色彩碰撞，引发观者对于生活中冲突与和谐、动与静的思考。
Artwork Description: “Harmony in Collision” explores the collision and harmony between contrasting colors through abstract techniques. I chose vivid red and green as the contrasting colors, representing passion and serenity respectively. I aim to discover the possibility of finding harmony within this seemingly conflicting color contrast. On the canvas, the red and green colors permeate, collide, and blend with each other, creating a strong visual impact while also generating a sense of rhythmic harmony. Through this minimalistic yet powerful collision of colors, I hope to provoke viewers to contemplate the conflicts and harmonies, the dynamics and stillness, present in life.
雕塑系 Sculpture Department
作品名称：《静默的交谈》 Title of the artwork: “Silent Conversation”
作者：宋晨曦 Artist: Song Chenxi
院系：雕塑系 第一工作室 Department: Sculpture Department, First Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《静默的交谈》是一件以口罩和白色便签为核心的雕塑作品。口罩和便签，这两种常见的日常物品被赋予了新的意义，它们象征着我们在这个特殊时期的生活状态——寂静，孤独，又充满希望。我希望通过这个作品，表达我们生活中常被忽视的细节，以及那些隐藏在日常物品背后的深层情感。
Artwork Description: “Silent Conversation” is a sculpture that revolves around masks and white notepads as its central elements. Masks and notepads, two common everyday items, are imbued with new meanings, symbolizing our state of life during this particular period—silence, loneliness, and yet filled with hope. Through this artwork, I aim to express the often overlooked details in our lives and the profound emotions hidden behind everyday objects.
作品名称：《现代敦煌：抽象的回响》 Title of the artwork: “Modern Dunhuang: Abstract Echoes”
作者：孙婷婷 Artist: Sun Tingting
院系：雕塑系 第二工作室 Department: Sculpture Department, Second Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《现代敦煌：抽象的回响》是我试图将古老的敦煌文化以现代、简化的艺术手法呈现出来的雕塑作品。该作品灵感来源于敦煌壁画中的人物和符号，我用简化的线条和形状去勾勒，保持了原有文化的精髓，同时赋予了其新的视觉体验。这不仅是一种文化的重新解读，也是对传统和现代之间边界的探索。
Artwork Description: “Modern Dunhuang: Abstract Echoes” is a sculpture where I aim to present the ancient Dunhuang culture in a modern and simplified artistic manner. The inspiration for this artwork comes from the figures and symbols found in Dunhuang murals. I use simplified lines and shapes to outline them, preserving the essence of the original culture while giving it a new visual experience. It serves as both a reinterpretation of the culture and an exploration of the boundaries between tradition and modernity.
作品名称：《散落的身影》 Title of the artwork: “Scattered Silhouettes”
作者：夏阳铭 Artist: Xia Yangming
院系：雕塑系 第三工作室 Department: Sculpture Department, Third Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《散落的身影》是一个由白色布料制成的装置艺术作品，我用布料塑造出模仿人体的形状，并将它们随机地散落在展览空间中。每一个“身体”都以其独特的姿态存在，他们独立又相互关联，仿佛在展示一场内外交融，个体与群体共存的演出。我希望通过这个作品，让观者能在观察和行走中，感受到布料带来的触感，同时体验到空间营造的氛围和情绪，进一步思考我们在社会中作为个体与群体的角色和意义。
Artwork Description: “Scattered Silhouettes” is an installation artwork made of white fabric. I shape the fabric into forms resembling human bodies and scatter them randomly throughout the exhibition space. Each “body” exists in its unique posture, both independent and interconnected, as if showcasing a performance of integration between inner and outer, individual and collective. Through this artwork, I aim to invite viewers to experience the tactile quality of the fabric as they observe and walk through the installation. Furthermore, I hope it evokes a contemplation of our roles and significance as individuals within society, considering the atmosphere and emotions created by the spatial arrangement.
作品名称：《跨越的力量》 Title of the artwork: “The Power of Crossing”
作者：齐霖 Artist: Qi Lin
院系：雕塑系 第四工作室 Department: Sculpture Department, Fourth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《跨越的力量》描绘的是一位老人拄着拐杖的形象，通过这个简单但充满力量的形象，我试图传达出生命的坚韧和毅力。老人的形象并不是传统意义上的弱者，他们的智慧和经验使他们成为我们的导师，他们的坚韧和决心展示了人类面对困难和挑战时的力量。我希望这个作品能够引发人们对生命的尊重，对挑战的勇气，以及对生活的深深敬仰。
Artwork Description: “The Power of Crossing” depicts the image of an elderly person leaning on a cane. Through this simple yet powerful representation, I aim to convey the resilience and determination of life. The image of the elderly person is not that of a traditional “weak” figure, but rather showcases their wisdom and experience, making them our mentors. Their resilience and determination demonstrate the strength of human beings when faced with difficulties and challenges. I hope this artwork will evoke respect for life, courage in the face of challenges, and a deep admiration for living.
作品名称：《城市之环》 Title of the artwork: “City Circle”
作者：王语嫣 Artist: Wang Yuyan
院系：雕塑系 第五工作室 Department: Sculpture Department, Fifth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：我的创作灵感来自日常生活中的城市环境。作品《城市之环》在形式上表现出一个似乎无尽的循环，这个循环是城市的映射，也是生活的象征。每个人都是这个城市中的一员，我们在这座巨大的迷宫中穿行，寻找各自的道路。而这个迷宫，看似混乱，实则有其固有的秩序。通过这个作品，我试图引发观者对于个体在城市空间中的位置和意义的思考，希望它能让人们看到生活中的复杂性和可能性。
Artwork Description: “City Circle” is inspired by the urban environment of our daily lives. The artwork visually represents an endless loop, symbolizing the reflection of the city and the essence of life. Each person is a part of this city, navigating through the vast maze, searching for our own paths. While the maze may appear chaotic, it has its inherent order. Through this artwork, I aim to provoke contemplation among viewers about the position and significance of individuals within urban spaces, hoping to shed light on the complexities and possibilities of life.
壁画系 Mural Painting Department
作品名称：《相遇的碎片》 Title of the artwork: “Fragments of Encounter”
作者：沈骁 Artist: Shen Xiao
院系：壁画 第一工作室 Department: Mural Painting Department, First Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《相遇的碎片》是一个综合媒介的艺术作品，我运用了各种材料和形式，如绘画、雕塑、音频等，组合成一种新的视觉和感知体验。作品中，各种元素相互碰撞、交织，形成一种多元的、充满张力的空间。每个元素都像是生活中的一片碎片，他们各自带有自己的故事和情感，当他们在作品中相遇，就仿佛构成了一部丰富多彩的生活长卷。我期待观者能在其中找到自己的影子，体验到艺术和生活的交融。
Artwork Description: “Fragments of Encounter” is a mixed-media art piece where I incorporate various materials and forms, such as painting, sculpture, and audio, to create a new visual and perceptual experience. In the artwork, different elements collide and intertwine, forming a diverse and tension-filled space. Each element is like a fragment of life, carrying its own stories and emotions. When they encounter each other within the artwork, they come together to weave a vibrant tapestry of life. I hope that viewers can find their own reflections within it and experience the fusion of art and life.
作品名称：《静止的抵抗》 Title of the artwork: “Still Resistance”
作者：卢钧翔 Artist: Lu Junxiang
院系：壁画 第二工作室 Department: Mural Painting Department, Second Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：作品《静止的抵抗》是一幅以荷兰静物画为灵感的油画，通过富有象征意义的静物，描绘了我们在抗击疫情过程中的生活状态。画面中的物品并非日常之物，而是代表了我们在疫情中的情感和经历——恐惧、希望、无奈和坚韧。荷兰静物画的细致描绘和强烈的象征性为我提供了丰富的视觉语言，使我能够深入探讨这场疫情对我们生活的影响。我希望观者能在静物的寓意中，感受到生活的不易，同时也看到我们共同抵抗困难的决心和力量。
Artwork Description: “Still Resistance” is an oil painting inspired by Dutch still life paintings, depicting our state of life during the fight against the pandemic. The objects in the painting are not ordinary items but represent our emotions and experiences in the midst of the pandemic—fear, hope, helplessness, and resilience. The meticulous depiction and strong symbolism of Dutch still life paintings provide me with a rich visual language to delve into the impact of the pandemic on our lives. I hope that viewers can feel the challenges of life through the symbolism of the still life and also witness our collective determination and strength in overcoming difficulties.
作品名称：《各自的空间》 Title of the artwork: “Individual Spaces”
作者：叶凡琪 Artist: Ye Fanqi
院系：壁画 第三工作室 Department: Mural Painting Department, Third Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《各自的空间》是一组描绘了不同人物在自己房间中的组画。这些人物有高有矮，有胖有瘦，他们在自己的房间中生活、思考、放松。我希望通过这些画面，呈现出人们在自己的私人空间中的多元状态和内心世界。每个人物的房间都反映出他们的个性和生活方式，每个人都有自己的故事和经历。作品是对生活多样性的赞美，同时也引发观者对个人空间和内心世界的思考。
Artwork Description: “Individual Spaces” is a series of paintings depicting different individuals in their own rooms. These individuals vary in height, weight, and body type, and they live, think, and relax in their respective rooms. Through these artworks, I aim to present the diverse states and inner worlds of people in their personal spaces. Each character’s room reflects their personality and lifestyle, and each person has their own stories and experiences. The artwork celebrates the diversity of life while also provoking viewers to contemplate personal spaces and inner worlds.
作品名称：《等待的交响》 Title of the artwork: “Symphony of Waiting”
作者：邵卓尧 Artist: Shao Zhuoyao
院系：壁画 第四工作室 Department: Mural Painting Department, Fourth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《等待的交响》描绘了一个在火车站候车厅中等待的人群。在这幅画面中，每个人都戴着口罩，身处于人群中却各自有自己的空间。口罩成为了共享的标志，让每个人在安全的距离里相互关联。我希望通过这个作品，反映出我们在特殊时期中的共享体验，以及人与人之间的关联和互动。虽然我们每个人都有自己的目的地，但在这个共享的时刻，我们在一起，等待，这就像一首无声的交响乐。
Artwork Description: “Symphony of Waiting” portrays a crowd of people waiting in a train station’s waiting hall. In this painting, each person wears a mask, occupying their own space within the crowd. The mask becomes a shared symbol, connecting everyone while maintaining a safe distance. Through this artwork, I aim to reflect the shared experience and interconnection among individuals during special times, highlighting the relationships and interactions between people. Although each of us has our own destination, in this shared moment, we are together, waiting, like a silent symphony.
版画系 Printmaking Department
作品名称：《异想》 Title of the artwork: “Fantasia”
作者：雷昊天 Artist: Lei Haotian
院系：版画 第一工作室 Department: Printmaking Department, First Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《异想》是一幅以水印木刻为媒介，描绘城市与怪兽主题的艺术作品。在这幅作品中，我以充满力量的线条和紧凑的结构，表现了一个充满活力又稍显混乱的城市景象。怪兽的形象出现在城市的上空，它既象征着未知的力量，也暗喻着城市生活中人们需要面对的困扰和压力。我希望通过这样的对比，引发观者对于城市生活的深入思考，探索人与城市、现实与幻想之间的关系。
Artwork Description: “Fantasia” is an art piece created using water-based woodcut printmaking, depicting the theme of the city and monsters. In this artwork, I use powerful lines and compact structures to portray a vibrant yet somewhat chaotic cityscape. The image of the monster appears overhead, symbolizing both unknown forces and the troubles and pressures that people face in urban life. Through this contrast, I hope to provoke viewers to engage in profound reflections on urban living and explore the relationship between individuals and the city, as well as the interplay between reality and fantasy.
作品名称：《城市印记》 Title of the artwork: “City Impressions”
作者：程骐 Artist: Cheng Qi
院系：版画 第二工作室 Department: Printmaking Department, Second Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《城市印记》描绘的是一座由废品和垃圾堆积形成的山，它同时也是一座城市的微缩模型。我通过这个作品，希望呈现出城市发展与废弃物的关系，以及废弃物在我们生活中的存在。我把废弃物看作是城市的印记，它们承载着城市的历史、文化和变迁，它们与我们的生活紧密相连。这个作品既是对过去的回顾，也是对未来的思考，让我们重新审视我们与废弃物、与城市的关系。
Artwork Description: “City Impressions” portrays a mountain formed by the accumulation of waste and garbage, which also serves as a miniature model of a city. Through this artwork, I aim to present the relationship between urban development and waste, as well as the presence of waste in our lives. I view waste as the imprint of the city, carrying the history, culture, and transformations of the urban environment. It is closely intertwined with our lives. This artwork serves as a reflection on the past and a contemplation of the future, prompting us to reexamine our relationship with waste and the city.
作品名称：《上升的故事》 Title of the artwork: “Rising Story”
作者：赵千寻 Artist: Zhao Qianxun
院系：版画 第三工作室 Department: Printmaking Department, Third Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《上升的故事》是一幅铜版画作品，以森林为背景，以精灵为主角，通过描绘精灵们在森林中上升的场景，讲述了一个富有隐喻意味的故事。这个作品试图通过精灵的形象和动作，象征我们面对困境时的坚韧与毅力，展示出生命力的顽强和不屈。森林、精灵、上升，这些元素共同构成了一种富有象征意味的场景，引发观者对于生命、力量和希望的深入思考。
Artwork Description: “Rising Story” is a copperplate print that features a forest as the backdrop and elves as the main characters. By depicting the scene of elves ascending in the forest, the artwork tells a metaphorical story. It seeks to symbolize the resilience and perseverance we exhibit in the face of challenges through the imagery and actions of the elves, showcasing the tenacity and indomitability of life. The elements of the forest, elves, and ascension together create a symbolic scene, prompting viewers to engage in profound contemplation about life, strength, and hope.
作品名称：《纵横交错的寓言》 Title of the artwork: “Interwoven Fables”
作者：黄锦轩 Artist: Huang Jinxuan
院系：版画 第四工作室 Department: Printmaking Department, Fourth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《纵横交错的寓言》并非寻常的视觉篇章，而是对于存在的微妙描摹，试图在显瞭与隐晦之间找到一个平衡。借由四元素——水、火、土、风，我置身于一个充满可能性的剧场，将观者引向元素交织的场域。那里的水火相济，风土相依，既隐喻着内在的心灵漩涡，又反映出外在的生存困境。这些元素在舞台的纵深中游弋，宛如人性的多重镜像，它们的存在即是我们内心深处的投射。我希望观者在观看时能捕捉到那些在剧场的灯光下短暂闪耀的元素碎片，它们或许能引导我们对存在和意识的本质有更深的理解。
Artwork Description: “Interwoven Fables” is not an ordinary visual narrative but a subtle portrayal of existence, attempting to find a balance between the obvious and the elusive. Through the four elements—water, fire, earth, and wind—I immerse myself in a theater filled with possibilities, leading the viewers into a realm where the elements intertwine. There, water and fire coexist, while wind and earth are interdependent, metaphorically representing the inner whirlpools of the soul and reflecting external struggles for survival. These elements traverse the depths of the stage like multiple reflections of human nature, their presence serving as projections of our innermost selves. I hope that viewers can capture those fleeting fragments of elements shimmering under the theater lights, as they might guide us towards a deeper understanding of the essence of existence and consciousness.
作品名称：《边缘之歌：中年的哀愁》 Title of the artwork: “Song of the Edge: Melancholy of Middle Age”
作者：陆熙明 Artist: Lu Ximing
院系：版画 第五工作室 Department: Printmaking Department, Fifth Studio
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《边缘之歌：中年的哀愁》尝试深入到被社会边缘化的中年群体内心的角落，揭示他们鲜为人知的生活状态和精神世界。中年，这一特定的生命阶段，在我眼中充满了尖锐而又微妙的矛盾，他们既处在生命的中央，又被推向社会的边缘。他们的内心世界如同一个独特的宇宙，充满了欲望、恐惧、希望和失望。这件作品试图破解中年人内心的谜题，同时也探索我们如何理解和关爱这个被忽视的群体。它是对中年人内心的一次深度洞察，也是对人类生活状况的一次独特反思。
Artwork Description: “Song of the Edge: Melancholy of Middle Age” delves into the corners of the hearts of the middle-aged population who are marginalized by society, revealing their lesser-known life conditions and inner worlds. The middle age, as a specific stage of life, is filled with sharp yet subtle contradictions in my eyes. They are situated in the center of life, yet pushed towards the edges of society. Their inner world resembles a unique universe, brimming with desires, fears, hopes, and disappointments. This artwork attempts to unravel the mysteries within the hearts of middle-aged individuals while also exploring how we can understand and care for this overlooked group. It is a profound insight into the inner world of middle age and a unique reflection on the human condition.
实验艺术学院 Experimental Art School
作品名称：《季节游戏》 Title of the artwork: “Seasons Game”
作者：苏煜晨 Artist: Su Yuchen
院系：实验艺术 Department: Experimental Art
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《季节游戏》既是一次行为艺术的表演，也是一次对人类感知与环境关系的探索。在夏季炎热的阳光下，我选择以兜售寒意的方式试图打破常规的季节感知。寒意在此，既是一种物理状态，也具有象征意味，暗指内心深处的情感与思考。通过这样一种对抗的方式，我试图破解我们对季节感知的固有认知，并重新审视我们与环境的互动方式。这个作品是对感知、体验和意义的一次深度探索，让观者在其中得以反思我们如何认识世界，如何理解生活。
Artwork Description: “Seasons Game” is both a performance of performance art and an exploration of the relationship between human perception and the environment. Under the scorching summer sun, I choose to sell a sense of chilliness, aiming to challenge the conventional perception of seasons. The chilliness here serves as both a physical state and a symbolic element, hinting at the emotions and thoughts deep within. Through this act of resistance, I attempt to unravel our ingrained understanding of seasonal perception and reexamine our interaction with the environment. This artwork is a profound exploration of perception, experience, and meaning, inviting viewers to reflect on how we perceive the world and understand life.
作品名称：《红线仪式》 Title of the artwork: “Red Thread Ritual”
作者：吴念真 Artist: Wu Nianzhen
院系：实验艺术 Department: Experimental Art
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《红线仪式》是一场以红色丝线、女性与碗为主要元素的视觉表现。红色的丝线绕过碗口，犹如流动的血液，象征着生命与联结。碗，作为日常生活中的物品，暗指着女性的内心世界和生活状态。在这个作品中，我设定了一种仪式，让女性在碗中缠绕红丝，这一动作既是女性内心情感的投射，也象征着她们的期望和愿望。这个作品的灵感来源于日常生活中的观察和思考，我试图通过它探索女性的内心世界，同时引发观者对生活、关系和女性角色的深入思考。
Artwork Description: “Red Thread Ritual” is a visual representation featuring red threads, women, and bowls as its primary elements. The red threads, winding around the rim of the bowl, resemble flowing blood, symbolizing life and connections. The bowl, as a common object in daily life, alludes to the inner world and living conditions of women. In this artwork, I have created a ritual in which women wrap the red threads around the bowl. This action serves as a projection of women’s inner emotions and also symbolizes their hopes and desires. The inspiration for this artwork stems from observations and reflections on daily life. Through it, I aim to explore the inner world of women and provoke viewers to contemplate life, relationships, and the roles of women.
作品名称：《直到大厦崩塌》 Title of the artwork: “Until the Skyscraper Collapses”
作者：谢秋水 Artist: Xie Qiushui
院系：实验艺术 Department: Experimental Art
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《直到大厦崩塌》是一系列摄影作品，记录了鹤岗这个曾经繁华的城市现在面临的衰败和崩塌。这些摄影作品呈现了一种深沉的悲哀，它们不仅记录了物质世界的变迁，也捕捉到了人们内心的失落和无力。鹤岗，这个城市的名字，象征着曾经的辉煌，但是现在，它正在崩塌，象征着一种无法避免的终结。这些照片的背后，是对过去的追忆，对未来的忧虑，也是对生活本质的深度反思。我希望通过这个作品，让观者对历史、现实和未来有更深的思考。
Artwork Description: “Until the Skyscraper Collapses” is a series of photography works documenting the decay and collapse faced by the once prosperous city of Hegang. These photographs present a profound sense of sorrow, capturing not only the transformation of the physical world but also the feelings of loss and powerlessness within people’s hearts. The name Hegang symbolizes the city’s past glory, but now it is crumbling, representing an inevitable end. Behind these photographs lies a reflection on the past, worries about the future, and a deep contemplation of the essence of life. Through this artwork, I hope to provoke viewers to engage in a deeper reflection on history, reality, and the future.
中国画学院 Chinese Painting Department
作品名称：《深圳山水之象》 Title of the artwork: “The Essence of Shenzhen’s Landscape”
作者：罗晓霜 Artist: Luo Xiaoshuang
院系：中国画 Department: Chinese Painting
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《深圳山水之象》是我用传统山水画的技法，对现代城市深圳的探索与解读。这部作品并非简单地将深圳的城市风景描绘成山水画，而是试图在山水画的语境中呈现出深圳的独特精神。这座城市的高楼大厦在我的笔下化为峻岭之巅，繁忙的街道化为流淌的溪流。我尝试用传统的山水画的语言来诠释现代城市的韵律和节奏，探索传统与现代、自然与人造之间的微妙关系。这个作品是一次跨越时空的对话，让观者在其中感受深圳这座城市的力量和魅力，同时也让我们对传统与现代的关系有更深的思考。
Description: “he Essence of Shenzhen’s Landscape” is my exploration and interpretation of the modern city of Shenzhen using traditional landscape painting techniques. This artwork goes beyond simply depicting the urban scenery of Shenzhen as a landscape painting; it attempts to present the unique spirit of the city within the context of traditional landscape art. The towering skyscrapers of this city transform into majestic peaks under my brush, and the bustling streets become flowing streams. I strive to use the language of traditional landscape painting to convey the rhythm and pace of the modern city, exploring the subtle relationship between tradition and modernity, nature and artificiality. This artwork serves as a cross-temporal dialogue, allowing viewers to experience the power and charm of Shenzhen as a city. It also encourages deeper contemplation on the relationship between tradition and modernity.
作品名称：《悠游电子时空》 Title: “Journey through the Electronic Time-Space”
作者：蔡瑞瞳 Artist: Cai Ruitong
院系：中国画 Department: Traditional Chinese Painting
导师：米俊妮，蔡特，吉霹替，方政 Mentors: Mi Junni, Cai Te, Ji Piti, Fang Zheng
作品简介：《悠游电子时空》
是一部以工笔人物画技法创作的作品，其主要元素是电子设备和古装人物。在这幅作品中，我尝试将现代的电子设备与古装人物相结合，创造出一种别样的视觉效果和想象空间。古装人物手中握着的是现代的电子设备，面对这种悖论的情景，我期望观者能在这种现代与传统、现实与虚构之间的冲突和交融中，寻找到新的理解和解读。这部作品不仅是对传统工笔人物画的一种再创新，同时也引发我们对于现代生活和传统文化的深度反思。
Description: “Journey through the Electronic Time-Space” is a work created using the meticulous figure painting technique. Its main elements are electronic devices and traditional costume characters. In this artwork, I attempt to combine modern electronic devices with characters in traditional attire to create a unique visual effect and imaginative space. The characters in traditional attire hold modern electronic devices in their hands, presenting a scene of paradox. Through this juxtaposition of modernity and tradition, reality and fiction, I hope that viewers can find new understanding and interpretation. This artwork not only represents an innovative approach to traditional meticulous figure painting but also triggers a deep reflection on modern life and traditional culture.
人文学院 Department of Humanities
标题：《桥社、青骑士与二次元美学的战后混沌秩序：追溯至早期现代主义的抽象画派对日本后现代审美转型的影响》
Title: “The Post-War Chaotic Order of the Bridge Society, Blue Knights, and the Influence of Abstract Art Movements on the Transition of Japanese Postmodern Aesthetics”
作者：李萌璇 Author: Li Mengxuan
院系：人文 Department: Humanities
导师：蔡特，吉霹替，方政 Mentors: Cai Te, Ji Piti, Fang Zheng
论文概述：
本研究采用深度映射的方式，重新剖析了二战后桥社与青骑士表现主义的影响力，进一步揭示它们如何塑造了日本二次元美学的独特风貌。初步探讨了追溯至早期现代主义的抽象画派的影响，我们试图理解其如何在战后的日本社会中催生了一种全新的审美转型。
利用本格尔森的时间观念，本文在穿越历史的长河中，提炼了从桥社到青骑士表现主义、再到二次元美学的微妙转变，尝试从鲍德里亚的”消费社会”视角，解读其对战后日本美学的深刻影响。这种深度探索将能使我们从新的角度理解二次元美学的产生、发展与转变。
然后，从德勒兹的“成为”的观点出发，我们将细化二次元美学的语境，探讨其如何从战后日本的社会与文化矛盾中生发，并以此理解其对于现代主义审美观的回应与超越。同样，通过寻找到二次元美学的扎根之处，我们能够更好地理解它如何推动了艺术、社会乃至哲学层面的全新探索与认知。
在透过福柯的“权力/知识”的光谱看待这一问题时，我们必须承认，这种视角为我们揭示了二次元美学的隐形维度，暗示了它在战后日本社会中产生的必然性及其对于美学研究的深远影响。通过此次研究，我们期望能揭示出二次元美学在艺术史和哲学史中的重要地位和深远影响。
Thesis Overview:
This study employs a deep mapping approach to reanalyze the impact of the Bridge Society and Blue Knights expressionism after World War II, further revealing how they shaped the distinctive aesthetics of Japanese 2D culture. By exploring the influences tracing back to early modernist abstract art movements, we aim to understand how they sparked a new aesthetic transformation in post-war Japanese society.
Using Georg Simmel’s concept of time, this paper navigates through the course of history, extracting the subtle transitions from the Bridge Society to Blue Knights expressionism and eventually to 2D aesthetics. It attempts to interpret their profound influence on post-war Japanese aesthetics from the perspective of Jean Baudrillard’s “consumer society.” This in-depth exploration allows us to comprehend the emergence, development, and transformation of 2D culture from a fresh perspective.
Furthermore, drawing upon Gilles Deleuze’s notion of “becoming,” we delve into the contextualization of 2D aesthetics, exploring how it emerged from the societal and cultural contradictions of post-war Japan. Through this, we seek to understand its response to and transcendence of modernist aesthetic perspectives. By identifying the roots of 2D aesthetics, we can better grasp how it has propelled new explorations and understandings in art, society, and even philosophy.
Approaching the subject through Michel Foucault’s spectrum of “power/knowledge,” we must acknowledge that this perspective reveals the hidden dimensions of 2D aesthetics, implying its inevitability in post-war Japanese society and its profound impact on aesthetic research. Through this study, we hope to uncover the significant position and far-reaching influence of 2D aesthetics in art history and philosophical discourse.
标题：《希腊化犍陀罗造像与兵马俑对话：以社会文化解码西北印度与中国早期艺术交汇的象征意涵》
Title: “Dialogue between Hellenistic Gandhara Sculpture and Terracotta Warriors: Decoding the Symbolic Significance of Early Artistic Intersection between Northwestern India and China”
作者：韩宇骏 Author: Han Yujun
院系：人文 Department: Humanities
导师：蔡特，吉霹替，方政 Mentors: Cai Te, Ji Piti, Fang Zheng
论文概述：
本文旨在通过揭示西北印度地区的希腊化犍陀罗造像与中国秦朝的兵马俑之间的内在联系，来深入研究古代东西方艺术及其社会文化内涵的交叉影响。
以吉登斯的“结构化社会理论”为理论支撑，本文将挖掘这两种独特艺术形式中的社会符号和集体记忆。我们将追溯它们在历史变迁中的演变过程，挖掘出在特定社会文化环境中，这些艺术品如何反映出相应社会的权力结构、文化习俗与宗教信仰。
进一步地，借助博尔迪厄的“艺术领域”理论，我们将研究希腊化犍陀罗造像与兵马俑在各自社会中的象征地位，探讨它们是如何表达和塑造公众对权力、英雄主义和人性的理解。从而，揭示了西北印度地区和中国秦朝社会中的相似性与差异性。
最后，我们将尝试构建一个“艺术交汇的社会文化模型”，用以解读希腊化犍陀罗造像与兵马俑在早期文化交融中的重要角色和深远影响。这种方法尝试超越艺术史的传统视野，连接艺术、社会和文化的多维度，为理解古代东西方艺术交汇提供新的视角。
Thesis Overview:
This paper aims to deeply explore the cross-cultural influences and social-cultural implications of ancient Eastern and Western art by revealing the inherent connection between Hellenistic Gandhara sculpture from Northwestern India and the Terracotta Warriors of China’s Qin Dynasty.
Grounded in Anthony Giddens’ “structuration theory,” this study will excavate the social symbols and collective memories within these two distinctive art forms. We will trace their evolutionary processes throughout historical changes and uncover how these artworks reflect the power structures, cultural customs, and religious beliefs of specific societies within their respective social-cultural environments.
Furthermore, drawing upon Pierre Bourdieu’s “artistic field” theory, we will examine the symbolic significance of Hellenistic Gandhara sculpture and Terracotta Warriors in their respective societies, exploring how they express and shape public understanding of power, heroism, and humanity. This will reveal both the similarities and differences between the societies of Northwestern India and China’s Qin Dynasty.
Lastly, we will attempt to construct a “socio-cultural model of artistic intersection” to interpret the significant role and far-reaching impact of Hellenistic Gandhara sculpture and Terracotta Warriors in the early cultural fusion. This approach seeks to transcend the traditional perspectives of art history, connecting the multidimensional aspects of art, society, and culture, providing a new lens for understanding the intersection of ancient Eastern and Western art.
标题：《寻踪阿伊努族意识形态与后法兰克福学派视野下的反思：对异质文化碰撞的深层解构》
Title: “Tracing Ainu Ideology and Reflection from the Perspective of the Frankfurt School: Deep Deconstruction of Heterogeneous Cultural Encounters”
作者：周漾涵 Author: Zhou Yanghan
院系：人文 Department: Humanities
导师：蔡特，吉霹替，方政 Mentors: Cai Te, Ji Piti, Fang Zheng
论文概述：
本文将以后法兰克福学派的批判理论为基石，对阿伊努族的独特文化及其意识形态进行全方位的深度解析。通过这种思想碰撞，试图揭示它们之间可能存在的隐形连接，进而重新定位两者在现代社会文化格局中的地位。
首先，本文将从阿伊努族的社会文化现象出发，尝试理解其意识形态是如何形成并通过特殊的文化符号传递的。对此，我们将采用后法兰克福学派的“交往行动理论”(Kommunikatives Handeln)进行解构，以揭示在这种独特文化中隐藏的社会力量。
然后，我们将引入后法兰克福学派的“消费社会”(Gesellschaft des Konsums)观念，以理解阿伊努族的文化特征是如何在现代消费社会中保持其独特性。进一步的，我们将利用哈贝马斯的“系统与生活世界”(System und Lebenswelt)理念，探讨在现代社会系统压力下，阿伊努族的生活世界是如何应对和转变的。
最后，本文将尝试从批判理论的角度，对阿伊努族的文化现象进行进一步的解读和反思。借此，我们期望能以“文化多元论”(Multikulturalismus)的视角，重新理解异质文化的价值与意义，并对现代社会的多元文化交流与碰撞提供新的思考。
Thesis Overview:
This paper aims to conduct a comprehensive and in-depth analysis of the unique culture and ideology of the Ainu people, based on the critical theory of the Frankfurt School. Through this intellectual encounter, the paper seeks to reveal possible hidden connections between them and reposition their status within the contemporary social and cultural landscape.
Firstly, this paper will start with the socio-cultural phenomena of the Ainu people, attempting to understand how their ideology is formed and conveyed through distinctive cultural symbols. In this regard, we will employ the Frankfurt School’s “communicative action theory” (Kommunikatives Handeln) for deconstruction, in order to unveil the underlying social forces within this unique culture.
Next, we will introduce the Frankfurt School’s concept of the “consumer society” (Gesellschaft des Konsums) to understand how the cultural characteristics of the Ainu people maintain their uniqueness within modern consumer society. Furthermore, we will utilize Habermas’ concept of “system and lifeworld” (System und Lebenswelt) to explore how the lifeworld of the Ainu people responds to and transforms under the pressures of modern social systems.
Lastly, this paper will attempt a further interpretation and reflection on the cultural phenomena of the Ainu people from the perspective of critical theory. Through this, we hope to reevaluate the value and significance of heterogeneous cultures from a perspective of “cultural pluralism” (Multikulturalismus) and provide new considerations for the diverse cultural exchanges and collisions in modern society.
注：
本文所有学生照片，作品图片，姓名，作品名称以及阐述，皆为Midjourney与ChatGPT生成，并且充满偏见与刻板印象。
Note:
All student photos, artwork images, names, artwork titles, and descriptions in this text are generated by Midjourney and ChatGPT, and they are filled with biases and stereotypes.