Relevant bibliographies by topics / Chinese Genre painting

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Chinese Genre painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Chinese Genre painting"

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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.

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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.
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CHОNG, Dingye. "GENRE-PLOT TYPOLOGY OF INTERIOR DECORATIVE PAINTING IN CHINESE PAINTING OF THE BEGINNING OF THE 21ST CENTURY." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 96–105. http://dx.doi.org/10.33625/hudprom2023.02.096.

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The article is devoted to Chinese decorative painting of the beginning of the 21st century. The purpose of the article is the genre-plot typology of the interior decorative painting in Chinese painting of the beginning of the 21st century. It is indicated that the actualization of the problem of the development of interior decorative painting was due to the dynamic urbanization of China, the improvement of the living conditions of ordinary citizens of the country since the beginning of the 21st century. The author examines the state of Chinese and foreign scientific discourse on the mentioned problem. The research methodology is based on the use of both general scientific methods of analysis and special art-scientific ones, namely: the method of morphological typology and the method of analyzing symbolic artistic forms. The given genre-plot typology of the interior decorative painting in Chinese painting of the beginning of the 21st century showed that the problematization of the genre typology of this art branch should take into account both the genre level of the canonical system of Chinese painting and the genre thesaurus of the non-canonical system of decorative painting. These are the so-called “hybrid genres”, which are the result of the use of a fairly diverse global genre thesaurus. The article proves that the plot typology= of modern Chinese interior decorative painting is based on the deep mechanisms of symbolization in the narrative structures of pictorial art forms, which are decisive both for the national artistic and cultural heritage and for modern Chinese decorative painting. The basis of such a typology is the system of “benevolent” ornament, which has been developed in China for thousands of years. In the course of the analysis, several types of plots, which are currently actively produced by artists for the design of private and public interior spaces, were identified, namely: mythological and religious plots, historical plots and genre plots, which also include the so-called “landscape narrative”. The research opens the perspective of studying the festive decorative painting and its genre-plot typology, as well as the compositional and color solution of the decorative painting in Chinese painting of the beginning of the 21st century.
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Ke, S. "Figurative oil painting in China: from Mao to Nu." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 221–26. http://dx.doi.org/10.33838/naoma.27.2018.221-226.

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The range of problems of the influence of realistic art on the genre diversity in Chinese painting is revealed in the article. The processes caused by the cultural revolution and the following historical events in China are shown by the example of the formation of figurative painting during the twentieth century. A variant of the typology of Chinese figurative painting of the studied period is proposed based on the analysis of the most typical paintings.
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He, Xing, and Eun-Jun Park. "Hair Art with Traditional Chinese Flower-and-Bird Painting as Motives." Korean Society of Beauty and Art 24, no. 1 (March 20, 2023): 151–62. http://dx.doi.org/10.18693/jksba.2023.24.1.151.

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This study attempted to suggest a new direction for hair art and provide basic academic data by creating hairstyles based on flower-and-bird paintings. For this, a pilot study was performed on such traditional Chinese paintings, and books and Internet data were collected and analyzed. Then, among four seasons, spring and fall were chosen, and two hairstyles were created for each season, using diverse hairstyling techniques. For spring, ‘Peach Blossom & Turtledove Painting’ and ‘A Painting of Five-colored Parakeet on Blossoming Apricot Tree’ were created while ‘Bird-and-Fruit Painting’ and ‘A Painting of Valley Breeze and Comfort’ were designed for fall. It is anticipated hairstyles created with traditional Chinese flower-and-bird paintings as motives are valuable enough to be displayed as an art genre and that they would make a contribution to the growth and development of hair art.
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Zhao, Wei. "An Analysis of the Influence of Ancient Chinese Frescoes on Modern Traditional Chinese Realistic Painting." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 189. http://dx.doi.org/10.32629/asc.v3i2.914.

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Ancient Chinese fresco painting has a long history and is one of the important art forms of traditional Chinese painting. As a traditional genre of painting in China, traditional Chinese realistic painting has always adhered to the spirit of the times. This paper examines the relationship between ancient Chinese fresco painting and modern Chinese realistic painting, summarising the artistic characteristics of ancient Chinese fresco painting from three perspectives: composition, materials, technique and style, and exploring the inheritance and development of modern Chinese realistic painting on ancient Chinese fresco painting.
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WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.

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The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
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Meng, Hao. "The Formation of Chinese Still Life Paintings in the Context of the Interaction of Western and Eastern Artistic Traditions." Человек и культура, no. 5 (May 2022): 48–61. http://dx.doi.org/10.25136/2409-8744.2022.5.38791.

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Chinese painting of flowers and birds and Western still life paintings are unique, but they have a certain similarity in the representation of objects of the material world. The artists who created them belonged to different cultures, but turned to similar motives, means of expression, as well as artistic materials and techniques of working with them. Gradually, their interaction intensified, which led to borrowings and changes in artistic concepts. The main problem of this study is the parallels in the evolution of the genre of still life paintings in Chinese and Western European painting from the XVII century to the present — the time of the active development of this genre both in the West and in the East. The aim of the research is to find similarities and differences in the approaches of Chinese and Western European artists when creating works in the genre of still life in terms of background construction, composition, color, ways of expressing the idea, as well as the choice of theme and motif of the image. A comparative characteristic of the work of artists of various periods from Caravaggio and Li Song to Marcus Lupertz and Zhou Shaohua, as well as a number of modern Chinese painters, is consistently given. A comprehensive artistic analysis of paintings by various authors shows that at present we can talk about the search for traditions in the creation of still life in the synthesis of the principles of Western European art and Guohua.
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Ли, Ю. "The Genre of Seascape in the Guohua Technique (An Example of Song Mingyan’s Art)." Nasledie Vekov, no. 2(34) (June 30, 2023): 115–24. http://dx.doi.org/10.36343/sb.2023.34.2.009.

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Статья посвящена анализу художественных особенностей морских пейзажей китайского художника Сун Минъюаня – основателя данного жанра в национальной живописи – и их эволюции по мере профессионального становления художника и изменения его эстетических предпочтений. Базу исследования составили работы китайских и российских искусствоведов, изучавших творчество китайского мастера в период с середины 1980-х гг. по начало XXI в. Художник стал первопроходцем в использовании художественных средств выразительного языка гохуа, который ранее считался не способным передать в полной мере всю силу и мощь величественной, порой яростной морской стихии. На примере творчества Сун Минъюаня и его серии картин «Ода морю» определяются возможности и перспективы использования традиционной техники гохуа для создания морских пейзажей, осмысляется процесс ее эволюции в начале XXI столетия, а также выделяются специфические черты китайской версии марины в контексте общемирового художественного процесса. The study examines the emergence of the seascape genre in Chinese art on the example of the works of its main representative, the marine painter Song Mingyuan. The author analyzes the artistic features of his seascapes and their evolution as the artist develops professionally and his aesthetic preferences change. The materials of the study were research of art historians on the works of the Chinese master from the mid-1980s to the early 21st century. The research methods are artistic and stylistic analysis and the iconography of Song Mingyuan’s sea paintings at different stages of his creative life, and the study of documentary materials. The author consistently studies Song Mingyuan’s early works made in the guohua technique and then those created under the influence of his acquaintance with the principles of Western oil painting. Further, the author analyzes the mechanism of the “birth” of the artist’s specific manner in creating maritime paintings through the synthesis of Chinese and Western traditions. The analysis begins with Song Mingyuan’s first work, Unrest at Sea (1986), which already shows the artist’s special attitude to the sea element and manifests hiss search for a new language of artistic expression. Particular attention is paid to the 1980s – the time of the official formation of the “school of the seascape”, when the artist skillfully combines Chinese and Western features, applied innovation in terms of technique and motives, and showed various artistic styles. After acquaintance with oil painting in the 1990s, Song Mingyuan uses color much more boldly and departs from the compositional scheme characteristic of his early works – a combination of rock and sea elements; he increasingly turns to the image of boundless waves and sky. In 2002, Song Mingyuan founds the Sea Stone painting school. During that period, the artist tends to depict coastal waters, but then returns to the sea element again. His image of water becomes more dynamic, complex in color, which is typical for se-i painting. On the example of his works, the artist showed other Chinese painters unique methods and techniques that formed the basis of his authorial system of artistic expression, which absorbed the traditional techniques of Chinese national painting in combination with Western expressive techniques. His students (Zhao Xiyun, Deng Zijing, Lin Qian, and others) now devote their watercolors and oil paintings to the sea and navigation, which reflects the heyday of China’s maritime power.
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Li, Yue. "The spiritual essence of Chinese seascape art." Культура и искусство, no. 3 (March 2024): 40–49. http://dx.doi.org/10.7256/2454-0625.2024.3.70121.

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The article "The Spiritual Essence of Chinese Seascape Art" explores the evolution and specifics of seascape in Chinese painting, in the context of the spiritual and cultural life of China. The genre of seascape in Chinese art began to form relatively late, at the end of the 20th century, and became significant for modern landscape painting. The article pays special attention to the rarity of the depiction of the sea and ocean in traditional Chinese painting, due to philosophical and aesthetic grounds. The changes in the perception of the sea element are analyzed, which reflect the fundamental transformations in the thinking of Chinese society. The research covers the historical period from the end of the XX century to the beginning of the XXI century, revealing the contribution of individual authors and the influence of Western art on the development of the genre. The presented analysis demonstrates how, through the study of marine painting, a unique combination of traditional Chinese and Western aesthetics is revealed, forming a new artistic language and approach to the perception of nature and the sea element. The article uses an integrated approach, including historical and comparative analysis, stylistic interpretation, to explore the evolution of the seascape in Chinese painting and its spiritual and philosophical and aesthetic content. The article explores the spiritual essence of Chinese seascape art, describing its development as a late phenomenon in comparison with Western art and as an important element in modern Chinese painting. Special attention is paid to rethinking traditional artistic methods and approaches to depicting the sea, considering it as evidence of fundamental changes in the spiritual life of Chinese society. The article discusses how the seascape reflects philosophical and aesthetic changes, especially in the last third of the 20th and early 21st centuries. The authors analyze the works of Chinese artists seeking to find unique artistic languages by integrating traditional and Western elements. The novelty of the research lies in a deep analysis of the impact of socio-cultural changes on the formation and development of the seascape in Chinese painting, which allows for a better understanding of the uniqueness and dynamics of this genre in the context of global artistic and cultural trends.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)." Scientific and analytical journal Burganov House. The space of culture 17, no. 3 (September 10, 2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.

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This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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Dissertations / Theses on the topic "Chinese Genre painting"

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Bickford, Maggie. "Momei (ink plum) the emergence, formation, and development of a Chinese scholar-painting genre /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/23169560.html.

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Hsu, Chia-Hung, and 許嘉宏. "Identifying Chinese painting genres with deep learning." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/793856.

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碩士
國立政治大學
應用數學系
107
In this paper, we want to recognize one image with multiple genres. We collected data from National Palace Museun. If we just use traditional CNN to recognize it, we only get one genre with one image. Hence, we segment image with SLIC algorithm. It can segment image into fixed size with similar range, then we can use them to train the model. After training, if we get the new image, we can use SILC algorithm with same parameter and put it in the model. Then we can recognize this new image with multiple genres.
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Han, Chi-yen, and 韓其延. "Application of elements of Chinese paintings’ realistic genre skills to deliberation and creation of Taiwan’s panorama." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/13073540061092098760.

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碩士
嶺東科技大學
視覺傳達設計系碩士班
103
A picture surmounts thousands of words. The cultural historic school in the West identifies pictures as an image, making viewers imagine the past vividly and thus exerting the vicarious sensation through vivid pictures. This artwork not only expresses the local humane and scenic features by documenting the local landscapes but also employs the realistic genre painting skills for expressing the rich cultural heritages in Taiwan. 　　First, according to the popular scenic spots database compiled by the Tourism Bureau, the scenic spots with popular, religious, historic and ethnic characteristics were screened and chosen for further selection of visual objects fit for the panorama via analysis and collation. 　　Second, the blueprint planned by referencing the skills and expressive manners of Along the River during the Qingming Festival with the most famous and finest painting techniques picturing the urban prosperity managed an antique atmosphere. The design that adopted the cavalier perspective method exclusive to scrolls not merely renders the overall structural integrity to the screen but also actualizes the intent to express Taiwan’s landscapes via a panorama by including the matters and objects unable to be seen at the same room and time point in one scroll. 　　Finally, the panorama processed by glass printing (full transparence) was displayed at both sides of the corridors at Taiwan Hu-sheng Temple (a glass temple enshrining Mazu the Goddess). The strong hues and colors valued by gold-green landscapes (blue-green scenery) as the main technique in arranging colors aim at conformity to the magnificence of the Temple with the visual banquet full of sublime and solemn, thriving and promising, and densely lush senses. 　　In the recent years, most industries have been confronted with Marketing Taiwan as the key issue to be tackled. It goes without saying that many previous artworks used to express Taiwan with Chinese conventional techniques where the poster medium ranks the top. Inspired by the previous creators, the author expects to let the viewers in respective domains acknowledge the Beauty of Taiwan in appreciating such artwork by describing how beautiful Taiwan is at diverse perspectives of observation in addition to drawing Taiwan in the form of scroll with realistic genre painting skills.
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Books on the topic "Chinese Genre painting"

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Peijin, Lan, ed. Folk genre paintings. Beijing: Foreign Languages Press, 2002.

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Peijin, Lan, ed. Folk genre paintings. Beijing: Foreign Languages Press, 2002.

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Bickford, Maggie. Ink plum: The making of a Chinese scholar-painting genre. Cambridge: Cambridge University Press, 1996.

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Japan) International Symposium on Art Historical Studies (4th 1985 Kyoto. Tōyō bijutsu ni okeru fūzoku hyōgen: Kokusai Kōryū Bijutsushi Kenkyūkai Daiyonkai Shinpojiamu. Toyonaka-shi: Kokusai Kōryū Bijutsushi Kenkyūkai, 1986.

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Jingsha, Chen. A masterpiece of Chinese genre painting: Suzhou's golden age : elaborate analysis and full-length painting. Harrow, Middlesex: CYPI Press, 2014.

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Yajun, Wang, ed. Ci hui liang xin: Minguo zao qi ci hui nü xing feng su hua kao cha. Beijing: Dong nan da xue chu ban she, 2014.

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Meijing, Zhang, Mao Zengyin, and Jing Xiaomin, eds. Verse in three characters and genre pictures =: San zi jing yu Zhongguo min su hua. Beijing Shi: Wu zhou chuan bo chu ban she, 2005.

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China) Jiaxing duan wu quan guo xue shu yan tao hui (2020 Jiaxing Shi. Feng su hua de 20 shi ji: 2020 nian Jiaxing duan wu quan guo xue shu yan tao hui lun wen ji. Beijing Shi: Beijing lian he chu ban you xian ze ren gong si, 2021.

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Lee So-Ji's Genre Painting [CHINESE]. Seomoonmoongo, 1997.

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Bickford, Maggie. Ink Plum: The Making of a Chinese Scholar-Painting Genre. Cambridge University Press, 1996.

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Book chapters on the topic "Chinese Genre painting"

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Humphrey, Caroline. "Chiefly and Shamanist Landscapes in Mongolia." In The Anthropology of Landscape, 135–62. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198278801.003.0007.

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Abstract The Western idea of ‘the landscape’ arises from objectification and is closely related to practices such as painting, map-making, song, and poetry. The secular, appreciative gaze is certainly not unknown among the Mongols. But it was historically intermittent and was inspired by non-Mongol kinds of representation, such as Manchu maps, Chinese and Russian landscape painting, or the ‘genre’ scenes in Tibetan religious paintings. In Mongolian culture itself landscapes are more in the nature of practices designed to have results: it is not contemplation of the land (gazar) that is important but interaction with it, as something with energies far greater than the human. The Mongols do not take over any terrain in the vicinity and transform it into something that is their own. Instead, they move within a space and environment where some kind of pastoral life is possible and ‘in-habit’ it. That is to say, they let it pervade them and their herds, influencing where they settle, when they move, and what kinds of animals they keep. However, this is not a pre-reflective or spontaneous existence, but one recognizing human choice and agencies, which are conceived as interrelated with and subordinate to the agencies attributed to entities in the land. Thus the Mongols choose to avoid forests and narrow ravines, preferring wide-open steppes, where the land is before them in a limitless expanse. But the most featureless plain has its gentle curves, or bushes, or marshy patches, and even such entities are credited with powers of some kind. I shall use the word ‘landscape’ to designate the ways in which these energies are envisaged, or, to put this another way, to describe the concepts by which social agencies constitute the physical world.
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Garfield, Rachel, Jenny Chamarette, and Darragh O’Donoghue. "Stephen Dwoskin, an Intermedial Artist." In The Moving Form of Film, 225—C14P53. Oxford University Press, 2023. http://dx.doi.org/10.1093/oso/9780197621707.003.0015.

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Abstract The work of Stephen Dwoskin (born 1939 in Brooklyn, died 2012 in London) is varied in form, subject matter, and genre. He is best known for his early underground films, his seminal book Film Is . . ., and his role in setting up the London Film-Makers’ Co-op. Dwoskin was a working-class man, part of the Eastern European Jewish diaspora, and a survivor of childhood polio who used calipers, crutches and a wheelchair to support his mobility. He navigated experiences of multiple exclusion across his lifetime, and nevertheless had a prolific output of films, graphic design, painting and writing. This chapter explores his artwork through the films Chinese Checkers (1965), Trixi (1969), Dyn Amo (1972), Central Bazaar (1976), Trying to Kiss the Moon (1994), and Grandpère’s Pear (2003), which span his life and demonstrate the breadth of his oeuvre. These provide an examination of Dwoskin as an intermedial artist who came to artistic maturity in the multimedia New York Underground of the early 1960s, and whose practice was informed by, and often incorporated, other art forms, such as dance, painting, performance, avant-garde theatre, literature, and music. Through close readings of film works as well as historical contextual analysis, this medial multiplicity will be shown to be an artistic embodiment of the layered complexities of any person’s life: the relationship between the individual, the family, and ethnic and national tradition; the interplay between the artist and histories of art; the conflation of varied temporal, spatial, and even metaphysical coordinates; and the paradox of the organic individual using impersonal reproductive technology to record and provide access to a life.
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Elsner, Jaś. "Introduction." In Landscape and Space, 1–14. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192845955.003.0001.

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The chapters gathered in this volume are the product of a conversation at the Center for Global Ancient Art in the University of Chicago. They address a theme that has had exceptional trans-cultural traction for well over half a century in art history as a discipline—with long scholarly (“secondary”) and historic (“primary”) literatures as well as deeply established visual genres in both European and Chinese landscape painting. Likewise, landscape is a key issue in all areas of archaeology—from questions about the placement of monuments to the understanding of human interventions in natural topography through such methods as field archaeology....
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"bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo." In Tradition & Change Performance, 32. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-4.

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Conference papers on the topic "Chinese Genre painting"

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Xiaoyang, Qi, and Roslina Mamat. "Emotions in Jimmy Liao’s Picturebook: A Case Study of Pictorial Metaphors." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.7-2.

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Pictorial and visual metaphors have been the subject of much conceptual metaphor theory (CMT) research since the 1990s, and possibly prior to that time. The graphic metaphor constitutes one category of multimodal metaphor, and hence suggests and requires an understanding of abstract concepts in visual information (Forceville 1996). A picturebook, for example, is a visual genre containing various such pictorial metaphors. It is generally acknowledged that picturebooks have narrative value, and convey emotions, while stimulating the reader’s intellectual and aesthetic affordances. These semiotic repertoires also contribute to health. As many people experienced solitude in the COVID pandemic, such semiotic banks provided a service. This research examines the pictorial metaphors in ‘Beautiful Solitude,’ painted by the Chinese picturebook artist, Jimmy Liao, following his survival from leukaemia. The study employs Kovecses's three-stage emotional metaphor framework; emotional motives, emotional existence, and emotional expression. The study observes the visual design grammar of the paintings as a theoretical framework to analyse these pictorial metaphors of emotion. The results of the study include the impact that these visual metaphors have on the portrayal and treatment of mental health. This study contributes to work on pictorial metaphors, and thus suggests ways in which individuals envisage self, other, and the world, when in pain and at times when they sense themselves as isolated from their surroundings and communities.
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