Abstract: Based on its unique natural scenery and the later humanistic shaping, the West Lake in Hangzhou gradually became one of the most popular themes in traditional Chinese culture and art since the Tang and Song Dynasties. Through the form of “Ten Scenes of West Lake,” it was transformed into an artistic carrier that integrated poetry, landscape and painting. After the Song Dynasty, the artistic theme of the West Lake increasingly broke through the traditional scholarly-oriented paradigm of classical landscape painting, and moved into the increasingly popular field of decorative arts. During the Ming and Qing dynasties, this theme was assimilated into the construction of gardens as well as the decoration of furniture and daily objects through various designs and techniques. From the creation of landscape paintings to the production of woodblock print illustrations, and then to the development of lacquer screen decoration designs, the artistic expression of the scenery of the West Lake reflected the persistent spiritual pursuit of the Chinese people. They looked for an artistic life that integrated nature and human culture. Meanwhile, as the spread of Chinese export art in the Ming and Qing dynasties continued, the landscape of the West Lake in Hangzhou, as a regional landmark, became a popular subject for paintings and decorations. With this trend, this theme gradually spread to regions outside East Asia. Lacquered screens depicting the scenery of the West Lake and other movable artworks played a significant role in this process. With their circulation, the beauty of the West Lake was transmitted to all corners of the world.

Abstract: The Han Dynasty was an important period in the development of traditional Chinese society, and Han Stone Reliefs are epic images of Han society. By studying images from the Han Dynasty, historians can use visual evidence to support historical claims. The emergence of the Han-painted ranger image is a product of the social and cultural changes of the Han Dynasty, reflecting the political and cultural transformations brought about by the unification of the Han Dynasty. The image of the Han-painted ranger holds symbolic significance in the political and power discourse of the Han Dynasty. Through specific analysis, it becomes evident that the culture of wandering knights in the Han Dynasty was a product of the interaction and integration between official and folk cultures. This cultural dynamic provided the foundation for the inclusion of wandering knights as a theme in Han Stone Reliefs. The article categorizes the images of knight-errant stories in the Han Dynasty Stone Reliefs into two types: one depicting acts of resistance, and the other portraying heroic rescues. These two themes reflect how the image of the knights-errant in the Han Dynasty Stone Reliefs became a unique symbol within the political discourse of Han Dynasty power. Through the study of the ranger image in the Han Dynasty stone reliefs, this paper reveals that these reliefs, as an art form, vividly express the aesthetics and values of the Han Dynasty through their image design. When applied to the artistic form of Han Dynasty stone reliefs, this artistic expression is realized through the narrative function of imagery.

Abstract: In an era of fast-food culture where entertainment often overshadows substance, a rigorous examination of Chinese culture should be conducted through the dissemination of entertainment, which is crucial for ensuring the public’s accurate understanding and interpretation of the culture. Movies and TV dramas, as vehicles of entertainment, often prioritize box office performance and online ratings as key metrics of success. Characters and plots may be fictional, but for those movies and TV dramas rooted in historical and cultural contexts, showcasing the essence of history and culture is of significance and necessity for the accuracy of such cultural depictions. Its significance lies in the faithful transmission of culture, while its necessity involves guiding the public toward a correct cultural understanding. This paper examines the porcelain culture depicted in the historical drama The Story of MingLan as a case study. The aim is not to utterly negate the effort put into the show’s props but rather to identify relevant issues and to analyze and discuss the discrepancies between the drama’s porcelain props and authentic artifacts/paintings from the Song Dynasty (960-1279).

Abstract: Banqueting was a cornerstone of Northern Song Dynasty (960–1127 CE) social life, with dining utensils serving as vital artifacts that embodied the era’s aesthetic sensibilities, social customs, and cultural values. This study examines the typology, forms, and compositional arrangements of utensils depicted in Northern Song tomb murals, drawing on archaeological evidence from sites in Henan and Hebei, textual records, and surviving ceramics. It elucidates the ritual frameworks, social hierarchies, and dining practices reflected in banquet scenes, offering a comprehensive analysis of their role in Northern Song society. By correlating mural depictions with material artifacts, this research provides fresh insights into the interplay of functionality and symbolism in banquet culture and establishes a methodological framework for evaluating the authenticity and interpretive potential of historical imagery. The study underscores the critical role of material culture in reconstructing past social practices, contributing to a deeper understanding of Northern Song cultural history.