Relevant bibliographies by topics / Chinese landscape painting

Contents

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

Academic literature on the topic 'Chinese landscape painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Chinese landscape painting"

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Chan, Zhuy, and Galina V. Alekseeva. "Chinese Snowscape As a Phenomenon." Observatory of Culture 21, no. 1 (March 6, 2024): 28–36. http://dx.doi.org/10.25281/2072-3156-2024-21-1-28-36.

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With unique aesthetic value, snowy landscapes are one of the most important subjects in Chinese painting. Due to their purity, elegance, serenity, simplicity and cold charm, snow scenes have been the focus of artists and scholars from long ago. The artistic features and cultural connotations of Chinese snow paintings have attracted the attention of many Chinese and Russian scholars. However, there is no typological study of snow landscape in their works. In this regard, the authors consider it necessary to actualize this topic. The article provides historical information about the study of snowy landscape, the history of Chinese painting masters’ appeal to this theme. The classification of snow painting depending on seasons, geographical regions of China, atmospheric phenomena, and themes is offered. The authors suggest their definition of the concept of “Chinese snow landscape” and the author’s classification of the content of snow paintings. The paper applies a typological approach to the analysis of “snow” scenes, and examines the development of traditional Chinese aesthetic contexts from ancient artistic codes to contemporary theories. Outstanding examples of snow landscape painting are presented. Snow painting is an important medium of Chinese cultural heritage that demonstrates the diversity and richness of Chinese culture. The given overview of China’s snow scene painting as a phenomenon in the work of Chinese artists can serve as a basis for further in–depth studies.
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Zhang, Hao. "A Comparative Study on the Painting Forms of Western Oil Painting and Chinese Ink Painting." American Journal of Arts and Human Science 3, no. 2 (May 15, 2024): 39–45. http://dx.doi.org/10.54536/ajahs.v3i2.2778.

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Since modern international students introduced oil painting on a large scale to China, oil painting has been developing in China for over a hundred years. In citing the process of progress, learning, integration, and improvement, the change in titles from “Western painting” and “Western painting” to “oil painting” and then to “Chinese oil painting” indicates that oil painting, as an art form, has deeply embodied the characteristics and connotations of traditional Chinese culture. During this period, its development is closely related to the historical background of the entire China, reflecting the continuation and evolution of traditional Chinese freehand brushwork spirit in the complex and changing context of the times. This article compares oil paintings imported from abroad with domestic ink painting, taking the artistic realm of painting in both the East and the West as the starting point. The main axis that runs through them is Chinese ink painting and Western oil painting landscapes. Showcasing the similarities and differences between Chinese ink wash landscape painting and Western oil painting landscapes, Chinese landscape painting emphasizes the expression of emotions and a sense of awe and emotion towards nature, with the main idea of “learning from nature”; The Western oil painting landscape emphasizes the realism of the scenery, which is a re-creation of nature, allowing people to have a realistic feeling of being there when watching the painting. The main reason there are these differences between Chinese ink painting and Western oil painting landscapes is due to different social and cultural backgrounds and fields of consciousness.
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Deng, Bowen. "Style transfer for converting images into Chinese landscape painting based on CycleGAN." Applied and Computational Engineering 51, no. 1 (March 25, 2024): 53–58. http://dx.doi.org/10.54254/2755-2721/51/20241162.

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Chinese landscape painting is a prevalent and unique mode of artistic expression within traditional Chinese art. It boasts intricate techniques and demands a relatively high level of artistic skill. Recent advancements in artificial intelligence have ushered in the era of image style transfer techniques, making it feasible to convert landscape photographs into stunning Chinese landscape paintings. In this study, the author has developed an image translation model that enables mutual transformation between images of landscapes and Chinese landscape paintings. This technology significantly reduces the difficulty of creating Chinese landscape paintings, allowing more ordinary people in China to experience and appreciate the joy brought by traditional Chinese art. Experimental results indicate that the style transfer model based on CycleGAN has achieved significant success in this scenario. The generated artworks successfully integrate the style of Chinese landscape painting into the original images without altering the original composition and details. As a result, the original photos gain a certain level of artistic value. Additionally, this study innovatively explores the goal of reverse restoration of Chinese landscape paintings into images, highlighting both the similarities and differences with the current research, thus laying the foundation for future studies.
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Ma, Feifei. "On Teaching the Curriculum of Urban Landscape Painting in The Field of Chinese Painting." International Journal of Education and Humanities 5, no. 3 (November 11, 2022): 124–26. http://dx.doi.org/10.54097/ijeh.v5i3.2466.

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The concept of "urban landscape painting" was introduced in 1992, and thirty years have passed since the creation of this theme. This controversial new wave of painting, which has emerged in recent decades, mainly depicts urban life and urban architecture, reflecting the long-standing urbanization process in China and the increasing number of Chinese landscape paintings on urban themes. Throughout the curriculum of Chinese painting in domestic colleges and universities, there is less involvement in the teaching of urban landscapes. This paper focuses on undergraduate students, and from the author's own practice and observation, reflects on the problems in teaching urban landscape today and makes a few suggestions.
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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.

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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.
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Wenjing, Liang, and Nadia Mohd Nasir. "Principles and Practice of Landscape Design: An Application of Traditional Chinese Landscape Painting." Global Journal of Emerging Science, Engineering & Technology 1, no. 1 (May 31, 2023): 12–18. http://dx.doi.org/10.56225/gjeset.v1i1.16.

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As a unique artistic form, traditional Chinese landscape painting has aesthetic value and a close relationship with garden design. This study mainly explores the principles and practices of landscape design based on traditional Chinese landscape painting. Firstly, it introduces the brief history of the development of traditional Chinese landscape painting and its relationship with garden design. Then, it analyzes the characteristics of traditional landscape painting and garden design principles. Then, the application of traditional Chinese landscape painting in landscape design was analyzed, including landscape layout, plant selection, and matching, as well as the design of buildings and structures. In conclusion, applying traditional Chinese principles in modern landscapes presents inherent challenges that demand thoughtful consideration. As contemporary spaces evolve and adapt to changing needs, integrating traditional elements may face obstacles such as conflicting design philosophies, space constraints, and technological advancements. Addressing these challenges requires a nuanced approach that preserves the essence of traditional principles while accommodating the demands of modern living. This section explores strategies and innovative solutions to overcome these challenges and successfully apply traditional principles in the design of modern landscapes.
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Jin, Yueling, Zeyang Li, and Tiantian Lu. "The Style Transfer of Photos and Landscape Paintings Based on CycleGAN Combined with Nested Edge Detection Module." Applied and Computational Engineering 8, no. 1 (August 1, 2023): 171–79. http://dx.doi.org/10.54254/2755-2721/8/20230118.

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Chinese landscape paintings, especially Chinese landscape ink paintings have always been the treasure of the Chinese, or even the world culture. Due to the advancement of the science and knowledge, there are always interests for finding ways to produce Chinese landscape paintings through the way of the technology. In this paper, based on the original CycleGAN model, we are trying to transfer a real-world photograph to a typical Chinese landscape painting. To be specific, the brushwork in Chinese ink paintings contains enormous numbers of distinct and technical brush strokes which makes it extremely hard for CycleGAN to recognize and transfer Chinese ink painting. We improved the brushstroke effect of Chinese ink painting still by incorporating the Holistically Nested Edge Detection (HED) method into the CycleGAN model. The HED module puts the source image and the corresponding generated image into the convolution layer of five stages to generate their respective edge maps. The balanced cross-entropy loss calculated with edge maps is added to the total loss of CycleGAN to train the generator which is confronted with discriminator to improve output results. The addition of HED enables the extraction of edge features from the images, preserving the structural information and enhancing the accuracy of the style transfer, so the detailed of the Chinese ink painting can be transferred better in this sense. Experimental process with model building, training, validating, and predicting concludes that, complementing HED method into the original CycleGAN models well preserved distinct features in the conversion processes from real-world photographs to traditional Chinese landscape paintings.
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Ju, Wanying. "The Research on the Origin and Communication of Blue and Green Colors in Chinese Blue and Green Landscape Painting." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 119–25. http://dx.doi.org/10.54097/ehss.v5i.2891.

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Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic convergence of early Chinese and Western Buddhist artworks. By combining the study of the trade history of the Silk Road, which helped spread Buddhism, and analyzing the origins of blue and green pigments, this paper finds that the use of blue and green colors showed signs that they spread with Buddhist art. The conclusion is that the earliest blue and green color in Chinese Blue and Green Landscape Painting originated from the Buddhist art in the western part of China and spread with Buddhism to the east China.
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Chao, Yueqin. "Recognizing the Impact of Daoism on Song Dynastys Landscape Painting." Communications in Humanities Research 4, no. 1 (May 17, 2023): 663–68. http://dx.doi.org/10.54254/2753-7064/4/20221027.

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Daoism, as one of the major Chinese ideologies in Chinese history, devoted in finding the way to build harmony between society and nature. This paper investigates Daoisms impact to Song Dynasty Landscape paintings. The paper is going to compare two representative Song Dynasty landscape paintings, and combining the Daoisms classic Laozi and other documents to analyze Daoisms ideologys impact to Song Dynasty Landscape paintings and its painting skills. By determining the Taoisms influence to the Song Dynastys landscape paintings, it can help us to understand the influence of religious culture and philosophical thought on artistic artifacts in ancient China, and in turn, to some extent, the influence of recent iterations of Chinese thought on art and even literature. As a result, we find that Daoism has significant and imperceptibly impact in forming the Song Landscape painting style, this could be seen as an example of determine the philosophical ideology impact to the art in ancient China, and might been used as an analogy to examplify the impact of religion and philosophical ideology to modern Chinese arts and literature.
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Liu, Peipei, and Yakup bin Mohd Rafee. "Integrating Miao Traditional Elements into Chinese Figure Painting: Exploring Significance and Cross-Cultural Exchange." Art and Society 3, no. 1 (February 2024): 1–12. http://dx.doi.org/10.56397/as.2024.02.01.

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This paper endeavors to investigate the utilization of Miao traditional elements in Chinese figure painting, assessing its significance and potential value in the realm of Chinese painting creation. The study examines the contemporary landscape of Chinese figure painting, identifying its prevailing issues, while also delving into the fundamental characteristics and application techniques of traditional Miao elements. By analyzing the works of prominent artists Pang Xunqin, Liu Quanyi, and Feng Yuanming, who have adeptly incorporated Miao traditional elements into their paintings, this research aims to bolster the preservation and perpetuation of Miao cultural heritage, augment the artistic expression within Chinese paintings, and foster cross-cultural exchanges and dialogues. Employing a qualitative research approach, this investigation adopts literature review and artwork analysis to discuss the integration of Miao traditional elements in Chinese figure painting. The research findings illustrate that the traditional elements inherent to the Miao ethnicity exude unparalleled artistic allure and cultural significance within Chinese figure paintings, thereby presenting novel creative resources and modes of expression for the wider domain of Chinese artistic creation. This research contributes to the enrichment of Chinese artistic heritage while facilitating a harmonious exchange of cultural values between the Miao minority and the broader Chinese cultural landscape.
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Dissertations / Theses on the topic "Chinese landscape painting"

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Scully, Regina S. "Landscape to Mindscape." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2109.

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In each of my paintings I try to create an individual micro-universe made up of elements that resonate between the familiar and the unknown. I carve up space and hybridize disparate elements, in an effort to excavate objects and spaces from our collective unconscious. By employing different perspectives, I try to encourage an experiential view of the landscape, like the one that exists for the viewer in the physical world, where sightlines are constantly shifting. These landscapes become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal associations. In this thesis, I will explore the painted landscape in Western and Eastern traditions and discuss different types of landscapes as they relate to my paintings and my personal commentary on the landscape. I will also examine my painting process and my personal approach to fundamental elements including perspective, line, and color.
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Chung, Miu-fun Anita. "Jiehua of the Qing Dynasty (1644-1911) /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21254205.

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Chen, Weihe. "The landscape painting of Li Keran and its special qualities." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/995/.

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Lim, Chye Hong Languages &amp Linguistics Faculty of Arts &amp Social Sciences UNSW. "[Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua ?????????" Awarded by:University of New South Wales. Languages & Linguistics, 2009. http://handle.unsw.edu.au/1959.4/44708.

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This thesis, titled '[Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua ?????????,' examines shanshuihua as a 'theoretical object' through the intervention of the present. In doing so, the study uses the body as an emblem for going beyond the surface appearance of a shanshuihua. This new strategy for interpreting shanshuihua proposes a 'Chinese' way of situating bodily consciousness. Thus, this study is not about shanshuihua in a general sense. Instead, it focuses on the emergence and codification of shanshuihua in the tenth and eleventh centuries with particular emphasis on the cultural construction of landscape via the agency of the body. On one level the thesis is a comprehensive study of the ideas of the body in shanshuihua, and on another it is a review of shanshuihua through situating bodily consciousness. The approach is not an abstract search for meaning but, rather, is empirically anchored within a heuristic and phenomenological framework. This framework utilises primary and secondary sources on art history and theory, sinology, medical and intellectual history, Chinese philosophy, phenomenology, human geography, cultural studies, and selected landscape texts. This study argues that shanshuihua needs to be understood and read not just as an image but also as a creative transformative process that is inevitably bound up with the body. In addition, the thesis contends that the body is 'invisible' in shanshuihua not because it is absent or irrelevant, but rather because it had been 'naturalised' within the landscape as a palimpsest. Further, the thesis urges that the seemingly 'invisible' may be made visible through knowing how and what to see. In all, this study presents a different view of shanshuihua: as a theoretical object it 'theorises'; as a painting it 'transforms'; and as a process it 'embodies'.
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司徒元傑 and Yuen-kit Szeto. "Xiao Yuncong (1596-1669) and his landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31223424.

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鍾妙昏 and Miu-fun Anita Chung. "Jiehua of the Qing Dynasty (1644-1911)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31238373.

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Li, Yuping. "Landscape painting as a critical cross-cultural art practice : exploring how the theories and methodologies in ancient Chinese painting can be fused into contemporary landscape art practice to expand existing artistic formats." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/83083/.

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This thesis is part of a practice-based Ph.D. study that investigates the genre of landscape painting through a cross-cultural perspective and method of practice. It attempts to link and step across the fields of ancient Chinese and contemporary Western art, with a focus on how to critically understand and use Chinese aesthetic traditions to make a contribution to contemporary landscape painting practice. This study argues that ancient Chinese art theory can provide unique insights and ways of thought, as a different interpretive strategy from the Western art tradition; and the traditional Chinese pictorial methodology is able to integrate into contemporary landscape painting practice and, as a result, expand existing artistic formats. This study aims to provide a cross-cultural perspective on thinking and the methods of analysis, broadening the cultural boundary of landscape painting and enriching the current understanding in the field. The theoretical section aims to provide the direction and systematic inquiry to develop a critical awareness and the appropriate methodology of studio practice. Studio practice, in the study, seeks the possibilities to create new forms of contemporary landscape painting as well as the new methods of making it, which include diverse aesthetic traditions and cultural understandings.
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Leung, Pui-yi, and 梁佩儀. "Refuge and empty pavilions: encountering Ni Zan (1306-1374)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44523798.

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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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Zhao, Yanji. "The Journey from Chinese Landscape Paintings to Architecture." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491318233161403.

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Books on the topic "Chinese landscape painting"

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Cassettari, Stephen. Chinese landscape painting techniques. London: Studio Vista, 1992.

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Cassettari, Stephen. Chinese landscape painting techniques. North Ride, Australia: Angus & Robertson, 1990.

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Wang, Chi-chʻien. C.C. Wang: Landscape paintings. Seattle: Distributed by the University of Washington Press, 1986.

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Yunfu, Yuan, ed. Song dai shan shui hua zao jing yan jiu. Jinan Shi: Shandong mei shu chu ban she, 2006.

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Wong, Wucius. The Tao of Chinese landscape painting: Principles & methods. New York: Design Press, 1991.

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Smith, Caron. The Fan Kʻuan tradition in Chinese landscape painting. Ann Arbor, Mi: University Microfilms International, 1992.

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Quigley, Audrey. Chinese landscape painting for beginners: A practical course. Port Melbourne, Vic: Lothian, 1991.

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1948-, Li Huayi, Li Junyi 1965-, Liu Guosong 1932-, Liu Dan 1953-, Zhan Wang 1962-, and Arthur M. Sackler Museum, eds. The new Chinese landscape: Recent acquisitions. [Cambridge, Mass.]: Harvard University Art Museums, 2006.

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Malenfer, Valérie. "Dream journey over the Xiao and Xiang": Scholar-amateur landscape painting in Southern Song China (1127-1279). Ann Arbor, Mi: University Microfilms International, 1990.

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Chen, Lei. Zhao Gan "Jiang xing chu xue tu". Wuhan: Hubei mei shu chu ban she, 2000.

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Book chapters on the topic "Chinese landscape painting"

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Wang, Keping. "The Art of Painting Landscape." In Beauty and Human Existence in Chinese Philosophy, 231–49. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_10.

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Zhang, Yike, and Yi Zhang. "Research on Rural Landscape Space Design Strategy Driven by Chinese Landscape Painting Space Image." In Advances in Social Science, Education and Humanities Research, 520–28. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-062-6_66.

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Yao, Bo, Qianzheng Ji, Xiangdong Zhou, Yue Pang, Manliang Cao, Yixuan Wu, and Zijing Tan. "Ancient Chinese Landscape Painting Composition Classification by Using Semantic Variational Autoencoder." In Database Systems for Advanced Applications, 264–67. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18590-9_25.

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Chang, Rong, and Yiyuan Huang. "Towards AI Aesthetics: Human-AI Collaboration in Creating Chinese Landscape Painting." In Culture and Computing. Interactive Cultural Heritage and Arts, 213–24. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77411-0_15.

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Jiang, Chengzhi, and Chunshen Zhu. "Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting." In Of Mind and Machine, 71–89. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003283355-5.

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Xie, Jiaqi, Hao Zheng, Junxian Lin, and Xiaoying Tang. "Digital Gamification Design of Chinese Landscape Painting Based on Gesture Interaction." In Lecture Notes in Computer Science, 127–42. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60692-2_10.

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Tu, Derrick. "Identity and Citizenship in Hong Kong: A Theoretical Reflection Using Chinese Landscape Painting." In Citizenship and Education in Contemporary China, 96–105. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003261285-12.

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Rist, Peter. "Renewal of Song Dynasty Landscape Painting Aesthetics Combined with a Contemplative Modernism in the Early Work of Chen Kaige." In The Poetics of Chinese Cinema, 51–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55309-6_4.

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Way, Der-Lor, Chang-Hao Lo, Yu-Hsien Wei, and Zen-Chung Shih. "A Structure-Aware Deep Learning Network for the Transfer of Chinese Landscape Painting Style." In Culture and Computing, 326–37. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-34732-0_25.

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Tian, Di, and Ji Xiao Zhang. "The Influence of the Concept of Virtual-Actual Coexistence in Taoist Aesthetics on Traditional Chinese Painting and Landscape Art." In Proceedings of the 2022 International Conference on Science Education and Art Appreciation (SEAA 2022), 248–55. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-05-3_32.

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Conference papers on the topic "Chinese landscape painting"

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DU, YI-FAN. ""SOIL" OF MODERN CHINESE LANDSCAPE PAINTING—ANALYSIS OF RACE, ENVIRONMENT AND THE TIMES." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35693.

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As we all know, material civilization and spiritual civilization depend on three factors: race, environment, and times. [1] As a kind of culture, modern Chinese landscape painting has undergone new changes, mainly because the "soil" and "climate" on which it depends for survival have changed. In order to clarify how the changes of modern Chinese landscape painting in recent years are affected by three factors, this article will take the modern Chinese landscape painting as the research object, and study its influence on modern Chinese landscape painting from three aspects: race, environment, and times. The author hopes that this article can provide a reference for the future development of Chinese landscape painting.
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Luo, Peixiang, Jinchao Zhang, and Jie Zhou. "High-Resolution and Arbitrary-Sized Chinese Landscape Painting Creation Based on Generative Adversarial Networks." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/695.

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This paper outlines an automated creation system for Chinese landscape paintings based on generative adversarial networks. The system consists of three cascaded modules: generation, resizing, and super-resolution. The generation module first generates a square-shaped painting, then the resizing module predicts an appropriate aspect ratio for it and performs resizing, and finally the super-resolution module is used to increase the resolution and improve the quality. After training each module with the images we collected from the web, our system can create high-resolution landscape paintings in arbitrary sizes.
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Yuan, Shaozu, Aijun Dai, Zhiling Yan, Ruixue Liu, Meng Chen, Baoyang Chen, Zhijie Qiu, and Xiaodong He. "Learning to Generate Poetic Chinese Landscape Painting with Calligraphy." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.

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In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an image fusion module to fuse the two images into a whole piece of aesthetic artwork.
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Sun, Zengguo, Haoyue Li, Xiaojun Wu, Yumei Zhang, Rong Guo, Biyu Wang, and Liren Dong. "A Dataset for Generating Chinese Landscape Painting." In 2023 International Conference on Culture-Oriented Science and Technology (CoST). IEEE, 2023. http://dx.doi.org/10.1109/cost60524.2023.00048.

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Jin, Xin. "Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.
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Liu, Liping. "The Basic Features of Traditional Chinese Landscape Painting." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.003.

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Mei, Ming. "Space and Time Study of the Chinese Landscape Painting." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.140.

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Cao, Shunxing, and Liyun Kong. "Cultural Background and Philosophical Connotation of Chinese Landscape Painting." In 2014 International Conference on Education Technology and Social Science. Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetss-14.2014.21.

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Yang, Xiaoxi, and Jiaxi Hu. "Deep neural networks for Chinese traditional landscape painting creation." In 2nd International Conference on Artificial Intelligence, Automation, and High-Performance Computing (AIAHPC 2022), edited by Ligu Zhu. SPIE, 2022. http://dx.doi.org/10.1117/12.2641585.

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Xue, Qinglin, Xu Zhang, and I. S. Karimova. "AESTHETIC AND ECO-CULTURAL PRINCIPLES OF CHINESE LANDSCAPE PAINTING." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.14.

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