JACAC 2025, 3(1), 16-34; https://doi.org/10.59528/ms.jacac2025.0618a10 - June 18, 2025

Cunming Zhu * ,  Xinying Xia

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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.

Zhen Zhou * , Xiaoyun Ma      

JACAC 2025, 3(1), 35-48; https://doi.org/10.59528/ms.jacac2025.0630a11 - June 30, 2025

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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).

JACAC is a scholarly journal founded in July 2023, committed to publishing high-quality, original research worldwide through scholarly publishing, with a peer-reviewed and no-fee open-access policy. The policy ensures that no fees are charged for either authors or readers.

Thematic research articles, literature reviews, and book reviews are the three types of original articles accepted by the journal. The subjects cover these fields of ancient Chinese painting, sculpture, calligraphy, handicrafts, and so on. JACAC aims to share ancient China's arts and crafts culture, thoughts, and theories, disseminate the brilliant achievements of ancient Chinese arts and crafts, promote the study of ancient Chinese arts and crafts, and strive to maintain a leading position in these fields. As both a scholarly resource and cultural bridge, JACAC continues to advance our understanding of these remarkable traditions while making them accessible to new generations of researchers, practitioners, and appreciators worldwide, ensuring that these ancient arts maintain their relevance in our contemporary global context. 

See Instructions for Authors for manuscript requirements.  

Submitting Your Manuscript: jacac-editor@michelangelo-scholar.com; jaca.editorialmanager01@gmail.com

or Online Submission System: https://ojs.michelangelo-scholar.com/index.php/JACAC/submissions

May 7th, 2025

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Abstract: Auspicious motifs evolved from nature worship and totemic beliefs into symbolically rich graphic signs that served cognitive, communicative, and social compartmentalization functions. Between 1573 and 1815, bird motifs from Chinese auspicious designs were introduced to Mexico through Chinese blue and white porcelain exported to the Americas. These motifs became associated with Mexican indigenous cultures, first appearing in the tin-glazed pottery of Talavera, Puebla. They were later widely used in native lacquerware, textiles, and other folk art, symbolizing nobility and exoticism. Over time, these motifs diverged from the cognitive and aesthetic interests of the Spanish patriarchal homeland, ultimately becoming folkloric symbols representing Mexican traditions and appearing in various contemporary Mexican folk artifacts.

by  Fan Liu       * ,  Huamin Wang

JACAC 2025, 3(1), 1-15; https://doi.org/10.59528/ms.jacac2025.0406a9 - April 5, 2025

Shengfang Peng*      , Wang Liuzhuang      

JACAC 2024, 2(2), 1-10; https://doi.org/10.59528/ms.jacac2024.1115a8 - November 15, 2024

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