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The "political pop" heat possesses the intent of modern art movement in 1980s apparently, and the representative artists deconstruct the revolutionary realism set up in the Mao Zedong's Time by peculating the trends of western modern art and post-modern art. The more important cause is that the great transformation of Chinese social background, reform and opening-up policy made by Deng Xiaoping let China transit from the original political country to economic country. And this kind of profound change compels sensitive artists to pay attention on current reality in new approach. The angles of view of "pop" let artists find popular approach to confront the political complex of the past.

政治波普热明显的带有80年代现代艺术运动的意向，它的代表性艺术们通过挪用西方现代与后现代艺术的思潮使毛泽东时代建立的革命现实主义得到了解构，更重要的原因是中国社会背景的大变化，邓小平的改革开放使中国由原来的政治国家逐渐过渡到经济国家，这种深刻的变化逼迫敏感的艺术家们必须以新的途径关注当下现实，而波普的视角使艺术家们找到了与过去的政治情结相对抗的流行途径。

Repin predigests art for the spectator and spares him effort, provides him with a shore cut to the pleasureof art that detours what is necessarily difficult in genuine art.

列宾为观众事先消化了艺术，免去了他们的努力，为他们提供了获得愉快的捷径，从而绕开了对欣赏真正的艺术来说必然是十分困难的道路。

It looked for the direct performance or metaphor of drama in daily life or the political symbols of country. After 1980's, based on ""thick-descriptive"" ethnographies on art, it called for renegotiating the relationship between art and anthropology in order to the further development of anthropology of Art.

解释人类学从日常生活的游戏、国家的政治象征中找寻戏剧的直接展演或隐喻，探寻社会生活的符号意蕴；80年代的艺术人类学在反思&深描&艺术的阐释民族志的基础上，重新审视艺术与人类学之间的关系，以此为发展艺术人类学的途径。

It looked for the direct performance ormetaphor of drama in daily life or the political symbols ofcountry. After 1980"s, based on "thick-descriptiveethnographies on art, it called for renegotiating therelationship between art and anthropology in order to thefurther development of anthropology of Art.

解释人类学从日常生活的游戏、国家的政治象征中找寻戏剧的直接展演或隐喻，探寻社会生活的符号意蕴；80年代的艺术人类学在反思&深描&艺术的阐释民族志的基础上，重新审视艺术与人类学之间的关系，以此为发展艺术人类学的途径。

The second was Quanzhou Modern Art Exhibition ,held in September of 1986, displayed 55 pieces of artworks, which were created based on physical objects mostly. During the second exhibition, the members agreed on the concept : Let painting art get rid of distance feeling , restituting essence of art by random physical objects.

第二次展叫做《泉州现代艺术展》，举办于1986年9月，作品55件，多为随手可得的实物，这次展览，大家在&以随机性还原艺术的本质，摆脱架上绘画的贵族气息&的观念上取得了一致。

Volume 1 introduces the history of accordion , Volume 2 is about the preliminary spread of accordion in China . I dug into great amount of concerning historical data of four aspects, they are the early accordion textbooks, the accordion activities happened in Shanghai, Haerbin and Yanan, which veritably resurges the development of accordion art in China before 1949. Volume 3 reveals the development of Chinese accordion art from after 1949, I focused on five aspects, namely the production, education, performance, theoretical study and communication between China and foreign counties, in time order. This part comprehensively shows the plenty fruits of accordion art in around 50 years after the foundation of China. Volume 4 mainly concerns the development of Chinese accordion music composing. It reviews the history in four periods. Meanwhile, this part also analyses in detail the nationalization pursuit and the utilization of performance skills in composing.

第一章是对&手风琴历史源流&的介绍；第二章是&中国最初的手风琴艺术传播&，本人挖掘出大量的相关史料，从&早期的中国手风琴教科书、上海、哈尔滨和延安的手风琴活动&四个方面进行了研究，真实地再现了1949年以前的中国手风琴艺术发展；第三章是&新中国成立以来的手风琴艺术发展&，分别从&乐器制造、手风琴教育、表演、理论研究与中外交流&五个方面按时间顺序进行了论述，全面反映了手风琴艺术在新中国成立后50余年所取得的丰硕成果；第四章是&中国手风琴音乐创作的发展&，论文将手风琴音乐创作分为四个时期进行了历史的回顾，并对创作中的民族化追求以及手风琴演奏技巧在创作中的运用作了具体分析。

What we have witnessed is a revaluing of the Artists Studio Practice within the Sphere of Public Art. I'll be presenting to you work produced on a number of different projects that have brought what is essentially a Fine Art studio practice to serve the needs of a public Art.

我们已经目睹了公共艺术范围内对艺术家工作室艺术实践的再评价，在这里，我将展现一系列出自不同艺术创作项目的作品，这些项目让美术工作室创作实践以其最独特的贡献满足了公共艺术的需要。

The question solicits many thoughts, but it is mainly trying to direct attention, against the background of Chinese art, to the role of an art gallery in the interconnected universe of art.

这个问题会引发很多思考，但是它主要的用意是让人们以中国现代艺术为背景关注一个画廊在彼此勾连的艺术世界里扮演的角色。

But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而，艺术领域的实用主义与后殖民的结合，蚕食着了艺术的良知；江湖文化的狭窄、扭曲和失衡，必然催生一种文化的怪胎，因而使得作为时代心声的当代艺术丑陋不堪、问题多多，它既没有把中国人的美好意愿引向光明，也不可能使中国的当代艺术走向辉煌，而是，将一个至纯之地推向一个遥遥无期的晦暗之境。

But, the combination of the pragmatism and the post-colony world is eating the conscience of the art. The narrow twisted and unbalanced folk culture definitely gives birth of a strange baby of the culture; it uglifies the modern art that represents the voice of the modern time. Neither does it brings the Chinese good wishes to a bright future, nor does it lead the Chinese modern art to a brilliant future, yet, it does pushes the clean world into an endless dark world.

然而，艺术领域的实用主义与后殖民文化的结合，蚕食着了艺术的良知；江湖文化的狭窄、扭曲和失衡，必然催生一种文化的怪胎，因而使得作为时代心声的当代艺术丑陋不堪、问题多多，它既没有把中国人的美好意愿引向光明，也不可能使中国的当代艺术走向辉煌，而是，将一个至纯之地推向一个遥遥无期的晦暗之境。

Breath, muscle contraction of the buttocks; arch body, as far as possible to hold his head, right leg straight towards the ceiling (peg-leg knee in order to avoid muscle tension).

呼气，收缩臀部肌肉；拱起身体，尽量抬起头来，右腿伸直朝向天花板（膝微屈，以避免肌肉紧张）。

The cost of moving grain food products was unchanged from May, but year over year are up 8%.

粮食产品的运输费用与5月份相比没有变化，但却比去年同期高8％。