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: 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.