Special Topics •The Construction of Chinese Civilization Markings and Its Artistic Representation (III)

■ Gentleman Culture:The Symbol of Chinese Civilization and Its Artistic Presentation （PP. 4–18）Qian Niansun

Abstract: The symbol system of Chinese civilization includes both the screening of material cultural symbols and the selection of intangible cultural symbols, and more importantly, the selection of spiritual cultural symbols, because material culture and intangible culture are both materialized forms of human spiritual culture and the externalized results of spiritual culture. The core content of China's excellent traditional culture, with Confucianism as its main body, is to expound the ethical norms of benevolence, righteousness, propriety, wisdom, trustworthiness, loyalty, filial piety, integrity, and fraternal duty in handling interpersonal relations, and to promote the life pursuit of self-cultivation, family harmony, governance of the country, and pacifying the world, which are ultimately gathered, precipitated, integrated into, and sublimated into the image of the personality, namely the "gentleman". The personality of a gentleman is a time-honored personality benchmark of the Chinese nation, which can be regarded as the collective personality of the Chinese people. The gentleman culture, which is born with gentleman personality, is the cultural gene of the Chinese nation that has been tempered through thousands of years, highlighting the ideological essence and spiritual symbol of Chinese civilization. In addition to a large number of direct depictions and expressions of the image of gentlemen in the past dynasties, which is characterized by "ceaseless self-improvement and great virtue that embraces all things", Chinese aesthetics and literary and artistic creations also endow many objects, plants, animals, etc. with the connotation of gentleman culture by using objects to express one's aspirations. In particular, the revelation and depiction of the gentleman's characters embodied in jade, water, pine, lotus, plum, orchid, bamboo, and chrysanthemum and other objects in literary and artistic works are not only numerous but also rich in meaning, which can be regarded as a wonderful artistic presentation of the spiritual symbol of Chinese civilization.

Keywords: the symbol of civilization, gentleman culture, artistic presentation

■ Historical Memory Forms and Era Contexts of Civilizational Symbol （PP. 19–30）Fu Daobin

Abstract: The civilizational symbol is the collective cultural memory, the spiritual condensation and ideological sublimation of a nation and an era. The existence form of civilizational symbol is expressed in such typical styles as totemic civilizational symbol, civilizational symbol of artifacts and words, spiritual civilizational symbol and civilizational symbol of secular life. In the system of civilizational symbol, literature and art have special importance, and artistry and aesthetics are typical features of civilizational symbol. Continuity is a highlighted feature of Chinese civilization and a prominent style of Chinese civilizational symbol which is mainly reflected in the continuous telling of a topic of thought and art. In the context of the New Era, the construction of the system of civilizational symbol should emphasize the national stance of returning to the historical source, the global vision of bridging China and the world, and the current era.

Keywords: civilizational symbol, racial memory, totem emblems, continuity civilization, the era contexts

■ Achieving True Accomplishment by Comprehending the Unity between Heaven and Humanity:A Reflection on Calligraphy as A Symbol of Chinese Civilization （PP.31–39）Ye Peigui

Abstract: As a symbol of Chinese civilization, calligraphy is at least manifested in three aspects: "beautification of appearance for written expression by originating from 'characters' and extending to 'function'", "personality cultivation that originates from 'nature' and is disciplined through 'nurture'", and "the pursuit of values of attaining the 'Tao' and benefiting the 'world'". On this basis, with the basic spirit of Chinese culture as a deep support, a "system of aesthetic form theory that advocates 'nature' and values 'harmony'" is constructed, making calligraphy one of the irreplaceable symbols of Chinese civilization, even though only in the field of aesthetics.

Keywords: beautification of appearance, personality cultivation, pursuit of values, aesthetic form theory

■ On the Construction of Chinese Civilizational Symbols and the Value of Artistic Expression （PP. 40–49）Tian Chuanliu

Abstract: Chinese civilizational symbols are emblematic representations of the Chinese nation, reflecting its distinctive historical trajectory and grand cultural structure. These symbols possess both rich connotations and specific meanings, emerging through a gradual process of historical evolution and cultural inheritance. They manifest themselves in both spiritual and material forms and are commonly recognized across the nation. As multi-layered constructs, Chinese civilizational symbols are the collective creation of the entire Chinese people. The artistic expression of Chinese civilizational symbols carries the weight of cultural memory, refines their essential meanings, and contributes to the systematic construction of their significance. It embodies the evolving understanding and pursuit of national spirit across generations, while also fulfilling functions of cultural selection, refinement, and dissemination. Moreover, such artistic expression highlights contemporary Chinese characteristics: the elevation of national ethos and cultural identity, the integration of tradition and innovation, the interplay of classical and popular aesthetics, the fusion of technology with art, and the interaction among diverse artistic and cultural forms. In the context of advancing Chinese modernization, enhancing the construction and artistic expression of Chinese civilizational symbols has profound contemporary value. This includes the continuation of historical civilization, the strengthening of national identity and collective consciousness, the cultivation of aesthetic resonance among the public, and the elevation of China's international cultural influence and soft power.

Keywords: Chinese civilizational symbols, system construction, artistic expression, contemporary value

■ The Symbol of Chinese Civilization and the Image Narrative of the "China" Concept of the Sun God Bird（PP. 50–63）Tian Zhaoyuan

Abstract: The identification symbol of Chinese civilization shows the dilemma of selecting representative works due to the richness and diversity of Chinese culture, and the concept of cultural genealogy has important theoretical significance for understanding the identification symbol of Chinese civilization. The iconic cultural symbol is a comprehensive presentation of the three narratives of language and text, ritual behavior, and image landscape. The iconic symbol of Chinese civilization is an orderly integration of diverse symbol systems, which cannot be inseparable from the selection and identification of cultural order and representative symbols. Representative cultural symbols embody the orderliness and leadership of culture, and are of great significance to the construction of the diversity and unity of Chinese civilization. The gold ornament pattern of the Sun God Bird (four birds surrounding the sun) unearthed from the Jinsha Ruins Site in Chengdu, Sichuan, as a symbol of Chinese cultural heritage, is a representative image of the symbol of Chinese civilization and a product of the continuity and innovation in the combination of the ancient sun myth and the phoenix myth, which is the visual narrative of the concept of "China" and has unique advantages for the recognition and international dissemination of Chinese culture.

Keywords: cultural genealogy, pattern of Sun God Bird, iconic symbol, visual narrative, representative symbol

■ The Connotation, System Construction and Artistic Presentation Principles of the Symbol of Chinese Civilization （PP. 64–69）Xiao Fang

Abstract: The symbol of Chinese civilization is a prominent presentation of the connotation and form of Chinese civilization. The core connotation of the Chinese civilizational symbol is closely related to the five outstanding characteristics of Chinese civilization, namely, continuity, innovation, unity, inclusiveness and peace. The concept of ecological civilization that aligns with nature, adapts to the times, and promotes the harmonious coexistence among heaven, earth and humanity, the compassionate philosophy of universal kinship and harmonious coexistence for mutual prosperity, and a civilizational ethos grounded in integrity, openness, strength, and resilience, the three aspects constitute the core connotation of the Chinese civilizational symbol. The symbol of Chinese civilization is a vivid presentation of national psychology, national beliefs, national ethical concepts, national aesthetics, etc. It is a symbolic expression of national emotions and national identity, and is an important part of the image of the Chinese nation. As a symbolic system of Chinese civilization, it mainly consists of three levels: material civilizational symbol, social civilizational symbol and spiritual civilizational symbol. The formation of the symbol of Chinese civilization has gone through the refinement of historical time and the fusion of artistic aesthetics, which is the combination of cultural design and artistic expression. The true symbol of Chinese civilization requires the confirmation and inheritance from the holders of civilization.

Keywords: symbol of Chinese civilization, civilizational connotation, cultural design, artistic presentation

Dialogue in the Art Word

■ The Exchange and Transcendence of Chinese and Western Aesthetics:Interview on Gao Jianping's Monograph The Invisible Body in Chinese Calligraphy and Painting（PP. 70–83）Interviewed by An Jing

Incisive Commentary on Literature and Arts • Criticism of the Phenomenon of "Everything Can Be Short Videos"

■ Breaking through Barriers to Eliminate Obstacles, Upholding Balance to Achieve Harmony:A Reflection on the Development of Short Videos （PP. 84–88）Peng Wenxiang

Abstract: In the current new media ecology, art ecology and industrial ecology, literary and artistic short videos have developed rapidly and quickly emerged as a new form of expression. Literary and artistic short videos have distinct characteristics and unique advantages, but the bias and even dislocation in their creation and production have cast a thick barrier on their healthy and orderly development, especially the shrinking of aesthetic significance, the affectation of post-emotionalism, the tendency to flatter and cater to, the misunderstanding of standardization and homogenization, etc., making breaking through barriers and achieving artistic consciousness an arduous and long-lasting task. Practice has shown that in the face of a series of binary structures such as quantity and quality, elegance and vulgarity, popularization and improvement, aesthetics and entertainment, art and economy, career and industry, holding the middle ground and maintaining balance is not only an aesthetic concept, but also a practical requirement. In view of the popularity of literary and artistic short videos and other "short" and "micro" literature and art, the key to their high-quality development of literary and artistic short videos and similar literary and artistic forms is to highlight the artistic background and aesthetic nature, and strengthen the organic combination of innovative forms and high-quality content..

Keywords: literary short video, creation and production, breaking through barriers to eliminate obstacles, upholding balance to achieve harmony

■ The Strange Phenomena of Short Videos:Considering on the Basis of the Inherent Limitations of Media Genes（PP. 89–94）Dai Qing

Abstract: While fully acknowledging the achievements and value of the widespread use of short videos, this article critically examines and reflects on the inherent limitations of the media attributes of short videos and the accompanying cultural symptoms. First, the shallowness and self-repetition of content caused by the pursuit of monetization through popularity metrics and user stickiness are closely related to the audience's expectations of receiving different media arts and cultures. Secondly, the imitation and homogenization tendency of short videos is intrinsically rooted in their media nature - the imitation nature of Internet Memes; and the reception of short videos is always based on the habits and interests of users, and is repeatedly recommended by big data algorithms, which also creates a "perfect" closed loop of short video creation-reception that is constantly homogenized. Finally, this article further reflects on how, beyond limitations of duration, the relentless pursuit of attention, virality, and instant gratification in short videos has led to a survival-of-the-fittest ecosystem in which depth is increasingly marginalized. Moreover, the sensationalized promotion of film and television content through short videos has played a significant role in the deterioration of audience aesthetic preferences and the overall devaluation of aesthetic standards.

Keywords: short video, media gene, Internet Memes, "Brain rot"

■ The Crisis of Stories in the Era of Deep Mediatization （PP. 95–98）Li Ning

Abstract: In the era of deeply mediated short videos, the production, dissemination and reception of stories are subject to the function of data and traffic logic, facing multiple crises. In terms of storytelling, stories tend to be processed more and more as digital information, and the ways of telling stories is becoming more and more monotonous. In terms of story dissemination, the original texts are always engulfed by a flood of accompanying texts and media events on the short video platforms. Regarding story reception, the emotionally affective techniques of short videos fragment the complete story's narrative time, prompting viewers to pursue high-intensity and desire-driven sensory stimulation. The current story production is increasingly skilled at leveraging the sense of network/view-driven thinking, crafting emotionally charged narratives that deliver instant gratification and emotional resonance. In the future, it will be urgent to explore how to get rid of the envelopment of deep mediatization and rebuild the benign relationship between individuals and classics, reality and media. This calls for a renewed advocacy for the reading/watching of classic narrative works, a reaffirmation of real-life experience as a foundation for story creation, and a comprehensive enhancement of media governance surrounding short video narratives.

Keywords: story, deep mediatization, short video, classic, media governance

Diverse and Extensive Art Phenomena

■ Drawing Images with Brush:On the Thought of Brushwork in Zhang Yanyuan's Records of Renowned Paintings Through the Ages（PP. 99–111）Shen Liyuan

Abstract: Zhang Yanyuan's Records of Renowned Paintings Through the Ages contains rich ideas on brushwork. "Brushwork"is essentially a way of applying brushstrokes that integrates calligraphy into painting. Zhang criticized late - Tang painters for overly relying on "boundary pens and straight rulers" to achieve resemblance. The emphasis, he claimed, should be on "brushwork" as a painter's core competence. Under the concept of "the same method of using the brush for both painting and calligraphy", he divided brushwork into two types: sparse and dense, and emphasized the importance of brush techniques in painting creation. Zhang Yanyuan believed that painters need to master brushwork and focus on "establishing an artistic concept". Only by conceiving before creating and applying the brush with intention can artists break free from the constraints of craftsmanship. Through brushwork guided by conception, painters no longer depict mere "forms" but rather "images" imbued with subjective emotions. "Drawing images with brush" conveys the spirit and vitality of the subjects, creates an aesthetic effect of "expressing all with implied meaning", and achieves the supreme state of "vitality and rhythm". Zhang's thoughts on brushwork are highly profound and can be applied in today's society to offer theoretical and methodological guidance for artistic innovation.

Keywords: Zhang Yanyuan, brushwork, establish the intention, drawing images with brush

Interview with Renowned Experts

■ Passion is the Main Thing: An Interview with Oil Painter Lin Gang（PP. 112–124）Interviewed by Peng Weihua

Inside Front Cover 

Chinese Literary Critics: Zhao Haizhong

Inside Back Cover 

Recommendation of Important Academic Organizations in Literary and Art Theory andCriticism:National Research Association of Marxist-Leninist Literary and Art Works

Back Cover 

New Book Recommendation: Annual Report on Art Development of China 2024