English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Norman Bryson regards art as a "symbol" and regards art history as a history of conflicting transformations within the symbolic interior, which helps to locate the special examples of art history that cannot be explained by the “history of the visual style”. In comparison, the study of Chinese art history is still mostly based on the method of social history. From this point, the semiotic perspective of Bryson's study of art history undoubtedly has positive practical significance for the study of Chinese contemporary art theory. Keywords—Bryson; tradition; Lin Fengmian; Chinese art

Analysis of Lin Fengmian's Paintings from the Perspective of Bryson's Semiotics Theory