Abstract: The scholarly community has yet to reach a consensus on the authenticity of Zhang Daqian’s copies of frescoes from the Mogao Grottoes in Dunhuang and the path of their circulation. This interview revolves around the Fenben (粉本) created by Zhang Daqian at Dunhuang and compares the concepts of Fenben and the manuscripts. Through dialog, this article discusses the role and function of the Fenben (粉本) concept in traditional Chinese painting. It is hoped that through this interview, the two concepts of Fenben and manuscript can be identified and traced back to their origins and, at the same time, trigger an in-depth academic discussion on the circulation of Zhang Daqian’s works copied at the Mogao Grottoes in Dunhuang.

Abstract: The Records of Lacquering《髹饰录》was written in the Ming Dynasty, has been cited by Chinese and foreign researchers as the most classic text in the study of ancient Chinese lacquer art. The book was lost in China during the Qing Dynasty, and it was not until modern times that it was introduced back to China. In addition to the legendary circulation of the Records of Lacquering, the knowledge of ancient Chinese lacquer art recorded in this book is also invaluable. Huang Cheng (黄成), the author of the book, and Yang Ming (杨明), the annotator, are from Xin’an (新安), Anhui (安徽) Province, and Xitang (西塘), Zhejiang (浙江) Province respectively. Although they did not come from the same place and lived in different periods of time, with the frequent exchanges between craftsmen in the Jiangnan (江南) area in the late Ming Dynasty, and the continuous expansion of lacquer production, the related craft knowledge also circulated rapidly. Eventually, these two master lacquer carvers, though in different ages and places, had the opportunity to bring together various popular lacquer art knowledge, which led to the Creation of the Records of Lacquering. It played an invaluable role in the dissemination of traditional Chinese lacquer knowledge.

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.

Abstract: The characteristics of Cantonese-style furniture in function, form, construction, materials, and craftsmanship are all products of a specific historical time and space. Based on the investigation of social history, this study uses historical materials and image analysis, interviews with inheritors, 3D scanning, digital reconstruction, dismantling, and other methods to explore the characteristics of the structure of Cantonese-style furniture and analyze its causes by combining elements such as function, form, materials, and craftsmanship. Thus, we can further understand and comprehend Cantonese-style furniture from the perspective of the integration of Chinese and Western cultures and the characteristics of Lingnan local culture and provide evidence for its design and production.