Rouge, a ghost film in which the ghost could well be Hong Kong itself, is about a female ghost from 1930s Hong Kong comes back to 1980s Hong Kong to look for her lover with the help of a couple, whose relationship is affected by her presence. In the film, one can see issues of multiple temporalities, spatialization of history, the deja disparu, etc. The director uses cross-cutting back and forth between the 1930s and 1980s stories to give us a sense that the two timelines are

作者：黄冰 （美国哈佛大学艺术与建筑史博士） 世界艺术史大会 第十八分会 媒介与视觉 青年主席 这个时代媒介技术的革新最好放在宏观艺术史的背景下去理解，而艺术史本身也是一部媒介史。在油画发明前，视觉的精确表达方式、传播方式或者说保留方式相对有限，当油画等架上绘画发明以后，油画某种程度上成了最便捷、有效、精美的视觉表达和遗存方式。今天的人要还原15世纪至照相术发明前的视觉生态，包括当时的服装，饮食，舞蹈等生活方式，最直观的便是通过画作，比如说油画、版画、教堂里的天顶画、石版画等当时传统的静态图像。在那个时代绘画近乎等同于图像。雕塑也是记录当时审美的最好方式之一，因为是三维立体，并且能在广场等大众能通行的地方展示，传播力极广，影响力悠久。古希腊人对于男性人体的审美仍然是我们今天全球通用的明星标准——六块腹肌、人鱼线、九头身，这一现象本身就是一部文明史和传播史……这些能够留存于世的精美的艺术表达方式，也就是我们今天常常说的媒介，渗透到我们当今生活的每一个层面。这是因为视觉是人类最为直观的感官，也是最重要的感官，是我们和这个世界联系的最主要的途径，这也是

This photo perfectly revealed the design concept of the new Tea-Cafe designed by ARCHSTUDIO in old Beijing city : the duality of old and new. By introducing an additional roof element filling the residual space between the traditional structures, the architects are seeking to transform the exterior back into the interior, and yet maintain the in-betweeness of the new structure by punching openings in the roof. As one example of the adapted reuse projects in inner Beijing, the

“Ningbo Buddhist Painting,” a term created by Japanese scholars in the 1960s, refers to a large corpus of paintings produced in the Chinese port city Ningbo (in nowadays Zhejiang Province) during the Song (960-1279) and Yuan (1271-1368) Dynasties. Painted in a colorful and meticulous style and usually produced in sets, these paintings feature themes of Chinese Buddhism and Buddhist folklores, such as “Five Hundred Arhats” and “Ten Kings of Hells”. Known from the inscriptions,

Notes on the Art of Looking in Chinese Painting Xia Yong (mid-14th C.), Palace of the Prince Teng, Museum of Fine Arts, Boston. Xia Yong’s Place of the Prince Teng, painted with the finest brushstrokes of the fourteenth century, is perhaps the most iconic representations of the legendary seventh-century pavilion, Tengwang ge 滕王閣. Yet besides its breathtaking details, which are crafted with the precisions of a Swiss watch, a viewer may find himself intrigued by the approaching