On October 19, 2019, the "Zhenjiang and Chinese Art History" seminar hosted by the Art College of Jiangsu University and co-organized by the library was held in the lecture hall of the school library of our school. Professor Yan Xiaohong, President of Jiangsu University, Professor Jin Lizhen, Minister of Propaganda of the Party Committee, attended the opening ceremony of the conference, 30 guests, more than 20 domestic first-class editors, scholars and from Beijing, Shanghai, Sichuan, Guangzhou, Hangzhou, Anhui, Nanjing, Changzhou Experts and scholars from Yangzhou and other places, friends from the cultural and artistic circles of Zhenjiang City, and some teachers, graduate students and undergraduate students from universities in the town participated in this academic conference.

President Yan Xiaohong delivered a speech on behalf of the school. He pointed out that Zhenjiang has been a cultural center of China since the ancient times, and it has an inextricable relationship with the history of Chinese art. He hopes that through this academic conference, he will continue to extend the opportunity of Zhenjiang and Chinese art history, and promote the rapid development of art discipline construction, art teaching research and school aesthetic education in Jiangsu University.

The meeting was divided into two halves in the afternoon. The first half of the meeting was firstly taught by Professor Zhang Hongwei, Director of the National Palace Museum of the Palace Museum, and Professor Zhu Qingsheng of Peking University, respectively. "From the perspective of the Forbidden City, the history of Zhenjiang and Chinese art", "The world's first Jiangshan - scale, city, The keynote speech of history. After that, the meeting was followed by: "Special Art History of the Song Dynasty: Examination of Friendship with Su and Mi as the Center", "The Eyes of the Guardian: Research on Books, Prints and History", "Vision of the Region: Jingkou Sanshan and Jingjiang School" , "Late Ming: a legend of region and image generation", "region and tradition: research on painting theory and painting theory", "Zhenjiang and Huan Taihu Lake: art archaeology and cross-cultural research" six topics, respectively, from the literati Interviews, collections, images, paintings, art and archaeology, etc., and analyze the relationship between Zhenjiang and Chinese art history. Each session was attended by 3-4 guests and the academic discussion was held with the reviewers. Among them, from Tsinghua University, Renmin University of China, Zhejiang University, East China Normal University, Anhui Normal University, Nanjing University of Aeronautics and Astronautics, Nanjing Art College, Shanghai Theatre Academy, Guangzhou Academy of Fine Arts, Beijing Painting Academy, Palace Museum, Tianjin Museum, Wuxi Museum, etc. Experts from universities and museums have participated in academic sharing. Zhang Hongwei of the Palace Museum, Zhu Qingsheng of Peking University, Han Gang of Sichuan University, Ren Junwei of Capital Normal University, Weibin of Shaanxi Normal University, and Li Xiaofei of Beijing Printing College have made wonderful comments on related topics.

Professor Zhang Hongwei, Director of the Palace Museum of the Forbidden City, made a keynote speech (Morning Field of Zhenjiang and Chinese Art History from the Perspective of the Forbidden City). He shared the relationship between Zhenjiang and Chinese art history from four aspects: Zhenjiang and Chinese art history are synonymous, both an important part of the composition and a representative of typical regional art.

Teacher Han Gang shared "The Knowing Minister Mo Ruojun, the Minister Knows It Well--A Study of the Relationship between Mi Fu and Song Huizong", and combed the intersection of Mi Fu and Song Huizong in their life experiences, artistic activities and artistic views. The two people know each other in art and why.

Teacher Yu Shihua shared the "two dialecticals of the relationship between Su Shi and Mi Fu", and analyzed whether the two people of Su and Mi met in Runzhou and the authenticity of "Xi Yuan Ya Ji Tu Ji".

Teacher Yang Na shared "Su Shi's play on Wang Wei's paintings and Zen." She pointed out that Su Shi’s important assertion in the book “The Two Emperors of Han Hanjie Painting Mountain” actually played the role of Wang Weishi’s paintings and pointed out the way for the development of literati painting in the future.

Teacher Shi Zhanjie shared the “Exploration of the Susie Zhenjiang Trail Image” and used the way of photography to examine the traces of Su Shi’s travels in Zhenjiang.

After the first meeting of the first half of the first session of the "Song Dynasty Art History: The study of the exchange of the Soviet Union and the Rice Center", the commentator Wei Bin and the scholars discussed the topic.

Teacher Liu Wei shared the "Shenzhen Emperor's View on the Good Book of the Emperor Qianlong", taking the first book of the royal book "King Ding Tian Lulin's Bibliography" as an example to analyze the basic understanding of Emperor Qianlong on the collection of rare books.

Teacher Ye Kangning shared "The original "Tang Tuo Seventeen Posts" and its acceptance history in the first half of the 20th century", explored the characteristics of this print and the so-called "Tang Tuo" problem, and sorted out other "markets" at that time. The Seventeenth Seal, a printed version, explores the acceptance history of this print in the first half of the 20th century.

Teacher Li Xiaofei shared the visual meaning of "People Yang Qiu" and tried to use this unique print to explore Wang Ting's use of print images and how he used his book to achieve his goal.

Teacher Zhao Jing shared a new exploration of "Several Problems in Zhenjiang's "Apricot Garden Collection", and explored the authenticity of this book by analyzing the angles of clothing, inscriptions, and seals.

After the expert report of the second session of the first half of the "Guessing Eyes: Research on Books, Prints and History of Collections", the commentator Zhang Hongwei and scholars discussed the topic.

Teacher Xu Wei shared the image of "Jingkou Sanshan" in the middle and late Ming Dynasty and its immortality in the Ming Dynasty. Through literature and image analysis, the relationship between "Jingkou Sanshan" and the image of Chinese traditional Xianshan, and further explaining how "Jingkou Sanshan" was endowed with Xianshan Culture Meaning.

Teacher Wang Zhaoyu shared the "Wuxi Museum Tibetan Ming and Qing Dynasties Jiangwen Painter Works", combined with the physical image data, the contents of the paintings, paintings, seals and authenticity of the paintings of the Zhenjiang painters of the 13th Ming and Qing Dynasties in the Wuxi Museum. Ask questions one by one.

Teacher Pan Heng shared the "Dark Night Sky Lone Stars - Jiadao Years Landscape Painting and Jingjiang Painting School", and analyzed the painting characteristics and artistic value of Jingjiang School through the collection works.

After the third session of the first half of the "Special Vision: Jingkou Sanshan and Jingjiang School" expert report, the commentator Li Xiaofei and the scholars discussed the topic.

Professor Zhu Qingsheng of Peking University gave a keynote speech (afternoon) of “The First Mountain in the World – Scale, City, History”. From the perspectives of history, culture and art, he talked about the evolution of the concept of "Jiangshan" and the formation of Zhenjiang Beigushan as the "first river in the world".

Teacher Fu Yanghua shared the "game in the hole - the interpretation of the painting of the stone chamber fairy machine" by Zhang Ming, a painter of the Ming Dynasty. In the context of the survivors, why did Zhang Feng take the form of the game and draw a picture without any landmarks? Jiyou map.

Teacher Zhao Yuzhe shared the "artistic expression and self-identity of the famous portraits of the late Ming and early Qing dynasties", and analyzed the hidden emotions and true meanings behind the famous portraits hidden in the turbulent era of the home country.

Teacher Shi Yi shared "Shao Mi's "Yunshan Pingyuan Map" and its history of painting history", explored the style change of the map and outlined Shao Mi's teacher and friendship, and studied the "Yunshan" in the map. Art style".

Teacher Chen Yusha shared the examination of the "Hanshan Bridge Scrolls" of the Nanjing Museum, and proceeded from the content of the scrolls. Through the comparison of real scenes and local history, it was judged that the scrolls should be non-textual and true.

After the expert report of the first session of the second half, "Late Ming: A Legend of a Region and Image Generation", the commentator Ren Junwei and the scholars discussed the topic.

Teacher Wei Bin shared the "Study on the Zen Thought of Painting in the Qing Dynasty" and analyzed the evolution of the "Painting Zen Thought" in the Qing Dynasty.

Teacher Chen Jiandong shared "Zhang Wei's painting thoughts and regional cultural influences", and discussed the painting thoughts of Zhang Jing, a character of the "Jingjiang School of Paintings", and its role in the formation of Jingjiang School style and painting concepts.

Teacher Ren Junwei shared the influence of Mi Fu on the painting of Cha Shibiao, and discussed the source of the teacher's paintings in Cha Shibiao's paintings. He also pointed out that Mi Fu is an important subject in the study of Shan Shi's landscape and injects fresh life into his paintings. Ink and ink factor.

Teacher Cheng Guodong shared "Deng Shiru's description of Zhenjiang's travels", combined with Deng Wen's three kinds of related works, such as seal carving, calligraphy and poetry, and his biographies, and traced his interactions and creative activities in Zhenjiang to further understand the value of Deng Shiru's works of art. , meaning and influence.

After the expert report of the second session of the second half "Regional and Tradition: Research on Painting Theory and Painting Theory", the commentator Han Gang and scholars discussed the topic.

Teacher Yao Yibin shared "images: circulation and return - Zhenjiang Longan two-year painting brick tomb again", starting from the image of Longan two-year portrait brick unearthed in Zhenjiang, discussing its origins and significance and value in the development of Weijin murals.

Scholars quietly shared the traceability of the image of the bronze mirror of the Han and Jin Dynasties in Zhenjiang, and explored the image of the feathers as a standard style and the mainstream feather culture of the Han Dynasty.

Teacher Zhang Tongbiao shared "Zhenjiang's Contribution to the History of Chinese Buddhist Art" and elaborated on the theme of the report from three aspects: the Han Dynasty ancient Buddha statue, the ancient land of water and land, and the Jinshan temple complex.

After the expert report of the third session of the second half, "Zhenjiang and Huan Taihu: Art Archaeology and Intercultural Studies", the commentator Zhu Qingsheng and scholars discussed the topic.

During the meeting, the delegates also inspected Zhenjiang historical and cultural relics such as Zhenjiang Jiaoshan Beilin and Miyuanzhang Tomb. Through the academic sharing of many influential art historians in China, this conference will work together in the new goals and new opportunities, inherit the traditional context, accelerate the pace of innovation, and strive to expand the research space of art history. At the same time, we will build an academic communication platform to jointly exchange the development trends and innovation paths of art history research in the new era, and make good use of Chinese stories and disseminate good Chinese voices.