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1
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.
2
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 & Linguistics Faculty of Arts & 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'.
5
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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Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.
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Lin, Tung Pei, and 林東北. "Chinese Landscape Painting." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/86014443837296402543.
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Jing-Chyi, Wong, and 翁竟期. "The Comparative Study between Chinese Ink-landscape Painting and Western Watercolor-landscape Painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/95589675566139308685.
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碩士中國文化大學
藝術研究所美術組
99
This thesis is divided into five chapters: The first chapter elaborates on the profound magnitude and the extensive impacts of Chinese culture, highlighting its uniqueness and the fusion of western and eastern cultural heritages, thus formulating an integrated entity of form and content, providing mutual evidences in support of the revelation of their preciousness. Chapter Two manifests that Chinese painting is partially characterized by giving particular importance to the pursuit of shape, spirit, disposition, and artistic conception. Chapter Three indicates that traditional Western Painting reflects the pursuit for realism, the capture of form and content, and its evolution. Chapter Four accentuates the thematic distinctions in the motivations and presentations between the Chinese and Western paintings, addressing their artistic constitutions, combination, and their mutual relationship. Chapter Five demonstrates the nature of painting brushes, painting colors, and painting papers, illustrating the differences between Chinese and Western painting materials by citing frequently-used materials. In Chapter Six, we shall conduct the survey and summery for the thesis for an articulated integration and conclusion. Chapter Seven features Discourse on Creation, highlighting specific analysis on the author’s works, with particular emphasis on materials frequently employed such as watercolor-painting and ink-painting. Through the realistic depiction of landscape and object and the conveyance of the individual subjective conception, we shall explore the connection between these two materials, and proceed to seek for the potentiality of development. The thesis is composed of separate discourses; yet the chapters are mutually-affiliated. The methodologies adopted include Cross Validation, Data Collection, Inductive Analysis, and Individual Discourse.
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Sensabaugh, David Ake. "Chao Y"uan and late Y"uan-early Ming painting." 1990. http://catalog.hathitrust.org/api/volumes/oclc/35260817.html.
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Thesis (Ph. D.)--Princeton University, 1990.Photocopy does not include plates. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 349-376).
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Chung, Wei-Chen, and 鐘唯禎. "Tour Into the 3D Chinese Landscape Painting." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/22385695040598458108.
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碩士國立交通大學
資訊科學系
90
Chinese artists capture the spirit and true beauty of the landscape to paint a Chinese landscape painting. But while a single Chinese landscape painting gives us an amazing amount of information about the scene’s structure and appearance, it is a static frozen picture. What we have lost is the ability to look in different directions and to move about in the scene. In this thesis, we propose a method to view a Chinese landscape painting from an arbitrary viewpoint. We analyze the composition of Chinese landscape painting and define 3D basic primitives of mountain and water. First, the user inputs a reference picture. Then according to the feature parameters of 3D basic primitives specified by the user, our system automatically generates a 3D scene model which is the same as the scene of reference picture. The user can move to anywhere in the scene. After the user determines the viewing position, our system outputs a picture whose viewpoint is different from the original picture.
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"國畫的承傳與創新: 以香港山水寫生為例." 2006. http://library.cuhk.edu.hk/record=b5892886.
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劉秀菁."2006年8月"
論文(碩士)--香港中文大學, 2006.
參考文獻(leaves 37-39).
附光碟規格: CD-ROM.
"2006 nian 8 yue"
Abstracts in Chinese and English.
Liu Xiujing.
Lun wen (shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 37-39).
Fu guang die gui ge: CD-ROM.
引旨 --- p.5
Chapter 第一節 --- 國畫寫生
Chapter 一 --- 傳統國畫的寫生觀念 --- p.7
Chapter 二 --- 寫生在二十世紀的時代意義 --- p.11
Chapter 第二節 --- 香港山水寫生
Chapter 一 --- 傳統蛻變 --- p.14
Chapter 二 --- 中西融合 --- p.24
結語 --- p.32
附錄一參考資料 --- p.37
附錄二 圖版 --- p.40
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Yao-Hsien, Yang, and 陽耀賢. "Furniture Design Derived from Chinese Traditional Landscape Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/94866336716982814856.
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碩士實踐大學
產品與建築設計研究所
96
Following the ascending and developing of post-modernism, the concept of managing and developing in product design has jumped out of the ”Form Follows Function” frame to emphasize on pursuing individual cultural characteristic; Chinese culture is where we are living in, and contains mass available reference resources for designing. Therefore, how to analyze and transform these resources have become the key factor to deal with cultural subject, Hence, in order to discuss the method of Chinese culture applies to product design, the research cuts into through the inheritance culture essence of traditional Chinese landscaping painting, consolidating and analyzing by constructing tree sides of “Internal Esthetics Thought”, “External Presence Method” as well as “Current Culture Product’s Display”, and use it as developing reference to design and create. According to the research from “Esthetics Thought” that we can learn, Chinese culture and landscape painting’s thinking structure are both from the same origin, “Hidden”, “Connotation” and “Metaphor” are their main explanation symbols. Moreover, to the landscape painting’s “Presence Method”, it could be concluded wth four different characters of “Imagination”, “Line”, “Perspective” and “Spatial structure”, the last one is mostly important. It is where the research’s transforming tool to connect graphic drawing and three-dimensional products. Through the observation of current related “Cultural Products”, two conclusions have obtained. First is to control and apply the “Identity of Culture”-- the contains are “black” and ”calligraphic lines”; the second is including three characteristics such as ”fit the culture into living”, “anit-simplism” and “surpass the usage of old material”. The research takes the above study results accordingly to cut as the cutting point for design, uses Chinese culture as the concept resources to create the furniture. It was found during the actual creation process, Chinese culture applies to product design’s method may consolidated through three major ranges. First of all, “from the spiritual meanings of the specific cultural media (the landscape painting) to bringing the possible product image”, second “find out the transformation between the media and products”, last “establish firmly the common balance point between the media and the product” the finish the design. The research ultimately bases the above mentioned three items to transform to Chinese cultural product designing method.
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Lin, Yu-Ru, and 林育如. "The Synthesis of Trees in Chinese Landscape Painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/41822134912050089807.
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碩士國立交通大學
資訊科學系
89
Trees are one of the essential painting subjects in Chinese landscape painting. In this thesis we present a set of methods for automatically drawing three-dimensional trees in Chinese ink painting style. A given three-dimensional tree model is drawn by image-based outline rendering and texture generation according to the information captured from the shape, shade and orientation of surface. Four reference maps are constructed to analyze the information and then create the brush strokes of outline, bark texture, and to determine inking parameters of washing tone. We are able to draw different styles of bark texture by procedurally defining the texture patterns. These analytical painting algorithms can be extended to draw other subjects in Chinese ink painting style. We demonstrate the results of our method with the accompanying still images and animations.
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Hsu, Chih-Wei, and 徐志偉. "The Synthesis of Rock Textures in Chinese Landscape Painting." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/31533568936474484810.
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碩士國立交通大學
資訊科學系
88
In Chinese Landscape Painting, textures of rocks present the orientation of mountains and build atmosphere of paintings. Lots of skills of landscape painting are concomitant according to varied rocks. By experience, people decide which skill to be used to generate the style they expect. Once some mistake was made, painting process must repeat and repeat until it is desired. In this thesis, we propose a method to synthesize rock textures in Chinese Landscape Painting. Our system generates styles of rocks automatically according to parameters specified by painters. People can create good-looking painting styles easily just on the strength of vision concept but not the skills painting skill. Moreover, painters may try varied styles in short time to get various effects of paintings.
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Way, Der-Lor, and 魏德樂. "The Synthesis of Rock Textures in Chinese Landscape Painting." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/54999694341866637449.
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博士國立交通大學
資訊科學系所
94
Computer graphics-related research has focused on obtaining photorealistic images. However, photorealism is occasionally not the most effective means of visually expressing emotions. Accordingly, photographs can never entirely replace paintings. Non-photorealistic rendering (NPR) approaches have recently received renewed interest. Researchers have begun to study how a photograph or a photorealistic image may be made to look like a painting. In recently years, most research in NPR focused on Western painting. Lots of paintings algorithms have been proposed for convert a photorealistic image into an art form such as an oil painting or watercolor. Typically, such a painting style is created by applying masks or by placing user-defined patterns. These methods deliver good results for Western painting. But these approaches are not appropriate to Chinese ink painting. Generally, Western painting involves more precision but Chinese ink painting is more abstract. However, strokes in Chinese ink painting are in many aspects based on Chinese brushwork, including ink diffusion, pattern placing and describing details with various brush sizes and techniques. Chinese ink painting stresses the notion of "implicit meaning" in which painters use a minimum amount of strokes to express their deepest feelings. Landscapes are one of the most important themes in Chinese painting. In the Tang dynasty, the range of subjects in painting expanded and landscape became established as a distinct category. Chinese landscape painting provided a more spontaneous style that captured images in abbreviated suggestive forms. Chinese landscape painting has been cultivated by masters through a long evolution into an exquisite art form. To simulate the style of Chinese landscape painting is not trivial at all. It usually uses brushes and ink as mediums, values the expression of the artistic conception far beyond the precise appearance of the painted subjects. By means of the blending effects of brushes and ink, painters communicate their frame of mind to the viewers. This thesis proposes a set of methods to automatically create 3D animation of Chinese landscape painting. Rocks are the major painting objects in Chinese landscape painting. The given 3D models are drawn by outline rendering and texture generation, from information of the shape, shade and orientation of model’s surface. Many reference maps are constructed to analyze the information; create brush strokes for the outline and texture strokes. Finally, the target of the project will automatically create the still images and animations. The main contribution of this investigation is the modeling and implementation of six major texture strokes for terrain surface using traditional brush techniques in Chinese landscape painting. The proposed rendering technique involves many fundamental parts. First, 3D terrain information is extracted to detect the edges of the silhouettes, and to generate streamlines and ridge meshes. The outline of a silhouette is then constructed and the streamlines of the texture strokes are generated. All control lines that involve the silhouette and streamlines then are projected onto a 2D viewing plane. Brush strokes then are applied to create an outline drawing and the texture of rock is captured using vertical or slanted strokes along the control lines with a rich ink tone specified by a luminance map. Finally, the ink diffusion on the rice paper is simulated.
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Yen, Hsiu-Chen, and 顏秀真. "The Synthesis of Tree Styles in Chinese Landscape Painting." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/57002723004121164337.
Full textAbstract:
碩士國立交通大學
資訊科學系
90
Trees are one of the essential painting subjects in Chinese landscape painting. By the displaying of various tree postures and the representation of Chinese ink painting, painters’ abundant feelings can expressed. In this thesis, we propose a method to generate the model of trees and to synthesize three-dimensional trees in Chinese ink painting style automatically. We use L-systems to construct the skeleton of various tree styles and then generate their geometric models. These three-dimensional tree models are synthesized by object-based outline drawing and texture generation based on the information extracted from tree models. We are able to draw different styles of bark and leaves textures by procedurally defining the texture patterns. In this way, user can obtain various styles of tree in Chinese ink painting without the capability of painting skills.
22
"傳統的復興: 吳湖帆(1894-1968)山水畫研究." 2002. http://library.cuhk.edu.hk/record=b5896059.
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陳蓓."2002年12月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 256-273).
附中英文摘要.
"2002 nian 12 yue".
Chen Bei.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 256-273).
Fu Zhong Ying wen zhai yao.
論文提要 --- p.i
圖版目錄 --- p.vii
緒論 --- p.1
Chapter 第一章 --- 生平及藝術活動 --- p.8
Chapter 第一節 --- 蘇州時期（1894-1924) --- p.8
Chapter 一、 --- 家學淵源 --- p.8
Chapter 二、 --- 從私塾到學堂 --- p.12
Chapter 三、 --- 望族結合 --- p.14
Chapter 第二節 --- 藝壇地位的確立(1924-1949) --- p.15
Chapter 一、 --- 藝術活動與交遊 --- p.16
Chapter 二、 --- 收藏與鑑定 --- p.21
Chapter 三、 --- 藝術教育 --- p.24
Chapter 第三節 --- 藝壇地位的下沉（1949-1968 ) --- p.28
Chapter 一、 --- 文藝方針 --- p.28
Chapter 二、 --- 藝術活動 --- p.33
Chapter 三、 --- 政治運動 --- p.38
Chapter 第二章 --- 藝術歷程´ؤ´ؤ山水畫分期 --- p.54
Chapter 第一期 --- 兼收並蓄（一九一零年代至二十年代中期） --- p.55
Chapter 一、 --- 清末民初藝術潮流 --- p.55
Chapter 二、 --- 師承江南山水畫傳統 --- p.58
Chapter 第二期 --- 追綜正統（二十年代中期至三十年代中期） --- p.60
Chapter 一、 --- 追宗董其昌 --- p.62
Chapter 二、 --- 上溯元四家 --- p.63
Chapter 第三期 --- 南北融合（三十年代中期至五十年代） --- p.65
Chapter 一、 --- 初探北宗 --- p.66
Chapter 二、 --- 南北結合、借古開今 --- p.67
Chapter 第四期 --- 政治藝術（五十年代以後） --- p.70
Chapter 一、 --- 集古的延續 --- p.71
Chapter 二、 --- “標準´ح藝術 --- p.72
Chapter 第三章 --- 吳湖帆山水畫的特色 --- p.80
Chapter 第一節 --- 筆筆入古 --- p.81
Chapter 一、 --- 山水畫“仿古´ح的傳統 --- p.81
Chapter 二、 --- 母題的運用 --- p.83
Chapter 三、 --- 筆法的結合 --- p.85
Chapter 第二節 --- 色籠墨染 --- p.89
Chapter 一、 --- 設色山水的傳統 --- p.89
Chapter 一、 --- 重現唐宋青綠 --- p.90
Chapter 二、 --- 色墨交融 --- p.92
Chapter 第三節 --- 煙雲供養 --- p.95
Chapter 一、 --- 傳統山水畫中的煙雲 --- p.95
Chapter 二、 --- 煙雲山水 --- p.98
Chapter 第四節 --- 詞意山水 --- p.100
Chapter 一、 --- 詞與畫 --- p.100
Chapter 二、 --- 詞意山水 --- p.101
Chapter 第四章 --- 緊守傳統´ؤ´ؤ吳湖帆的畫學思想 --- p.112
Chapter 第一節 --- 傳統文化的守護 --- p.112
Chapter 一、 --- 傳統文化的守護 --- p.112
Chapter 二、 --- 傳統藝術的守護 --- p.116
Chapter 第二節 --- 吳湖帆的畫學思想 --- p.120
Chapter 一、 --- 畫史觀 --- p.121
Chapter i. --- 追本溯源 --- p.121
Chapter ii. --- 正統觀念 --- p.124
Chapter iii. --- 南北宗論 --- p.125
Chapter iv. --- 文人畫觀 --- p.128
Chapter 二、 --- 創作觀 --- p.132
Chapter i. --- 工具、功夫 --- p.132
Chapter ii. --- 緊守系統 --- p.134
Chapter iii. --- 筆精墨妙 --- p.136
Chapter 第三節 --- 對時代藝術潮流的回應 --- p.138
Chapter 一、 --- 檢視傳統的利弊 --- p.139
Chapter 二、 --- 當下畫壇的評論 --- p.141
Chapter 三、 --- 現代中國畫的路向 --- p.143
結語 --- p.150
附錄一吳湖帆生平年表 --- p.159
附錄二吳湖帆山水畫作品著錄 --- p.179
參考書目 --- p.256
圖版第一章圖版 --- p.274
第二章圖版 --- p.280
第三章圖版 --- p.312
結語圖版 --- p.339
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Sheng-Fu, Lo, and 羅勝夫. "The cloud painting-style of Chinese landscape painting on Ming Dynasty and Qing Dynasty." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/45246530373315733267.
Full textAbstract:
碩士中國文化大學
美術學系
98
Chapter 1: The preface. This chapter illustrates the motivation, purpose, scope, and the way of research of this essay. Chapter 2: Assortment of the painting-style of cloud. This chapter classifies and find out the drawing mode of the cloud painting-style in Chinese landscape painting on Ming Dynasty and Qing Dynasty. Chapter 3： Investigate of traditional Chinese aesthetics. This chapter investigates the discussion of painting-style of cloud in traditional Chinese aesthetics, and find out the meaning and the position of cloud in Chinese landscape painting. Chapter 4：Enlightenment from the developing of Western painting. This chapter discusses the painting-style of cloud in Western Landscape to comprehend the different opinion between Chinese Aesthetics and Western Aesthetics. Chapter 5：The concept and motivation of creation—the analysis of personal article. This chapter analyzes and introduces the motivation of the creation, the theme of the article, material, dimension and the idea of the creation. Chapter 6：Summary This chapter concludes the object of the essay.
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Lu, Cheng-Tung, and 呂振東. "The Using of Computer Graphic in Animating Chinese Landscape Painting." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/97305739794386705220.
Full textAbstract:
碩士國立交通大學
應用藝術所
88
The innovation of computer graphics technology comes from the pursuit and aspiration of the new and diversified visual experiences. In order to create works for these sophisticated sense perceptions, the professional comes from various fields works together to achieve this goal - the visualization of mental image and the arousal of spiritual interaction between designers and audiences. According to the investigation of the history and recent circumstances of computer graphics developments, most of the computer graphics works in Taiwan are duplications or imitates of others'' works, rare are based on our own history and culture. Consequently, Taiwan''s computer graphics works do not show their own style. This thesis begin with flashing back to the history of Chinese painting. trying to analysis the components of the Chinese landscape painting, and representing in the computer graphics creation environments. Finally the demonstration of "谿山清遠圖" reveals and illustrates this concept, meanwhile, to propose feasible directions for the local development of computer graphics in Taiwan.
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Cheng, Ye-Shine, and 鄭怡欣. "The correspondence between nature and humanity in Chinese landscape painting." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/35946580787800813924.
Full textAbstract:
碩士中國文化大學
藝術研究所
86
<自然與人文在山水繪畫中的對應> 論文提要 所有的藝術審美活動，都是人文精神與自然相遇合後的 成果． 而自古至今，凡是關於藝術的大部份問題，在風格形式的 表現上，脫離不了人文精神的影響，在題材方面的考慮則脫離不了自然的 表現．因此對於人文精神與自然間的關係探討，是每一個藝術家在創作上 都必須要面對的問題． 而現代的藝術家在面對自然時，必須建 立起新的藝術價值觀，清楚的在作品中透析出現代的時代特徵，並建構起 人文精神與自然間的新關係，這正是現代藝術家該努力的方向． 本研究便在這樣的想法下，分別從形式與理論中，分析傳統山水畫在人文 精神與自然中的對應，再一次的對傳統作全新而深刻的認識，並將研究所 得落實在個人創作表現之中． 本論文的架構包含理論整理與個人 理念兩大部份．各章摘要如下：一 緒論：分析本論文的研究動機目的及 研究的方法與範圍． （一）研究方法 本論文的研究方法在理論 整理部份，以哲學思想，時代風潮，畫論，現代人文精神等四個方向進行 探討，分析傳統山水繪畫與人文精神之間的關聯．在個人理念部份則分成 個人創作理念，題材規劃及作品形式分析等三方面進行探討，並將分析之 結果落實到創作的表現上．（二）研究範圍 在研究範圍方面則有 三方面的限定．在時間的限定上，以中國正式山水畫論最早出現的魏晉南 北朝作為本研究之起始，而以現代作為研究的終止．在主題的限定上，主 要以表現自然景色的中國山水繪畫作為研究之對象．在媒材的限定上則以 水墨作為表現的主要工具材料．二 理論整理部份 第一章 自然與人文 解釋自然與人文二名詞的定義，並略述二者間的關聯． 第二章 中國人 的自然觀與藝術精神 此章由儒家，道家，佛禪，玄學，理學等五 種影響中國人較為深刻的哲學思想中，分析中國人的自然觀與藝術精神． 並由政治，經濟，文化發展等方面，分析社會環境變動對歷代山水繪畫表 現上所產生的影響． 第三章 中國山水繪畫呈現的人文精神 在 此章中，共分成樸實表現期，天人諧調期，人我疏離期，崇古表現期，百 家爭鳴期等五個時期，由畫論及山水畫作中來分析山水繪畫與人文精神間 的關聯． 第四章 現代人文精神對山水繪畫的影響 現代的山水 繪畫受到西方寫生，抽象觀念及現代民主思潮，社會環境變遷的影響，與 傳統的山水畫表現已經有了很大的差異．本章中，嘗試由個人風格及形式 的開拓上分析現代山水繪畫表現上的特徵．三 個人理念部份 第一章 創作理念 本章中，由現代藝術精神的個人看法，山水繪畫創作的 時代意義及創作的態度三方面來剖析個人創作的理念與態度．創作者本身 應該要有明確的定位，誠懇的創作態度；在創作上則應該要求作品具有深 刻的意蘊，在內容與形式上達到平衡． 第二章 題材的選擇與規劃 在意念的傳達方面，本次的創作希望傳達出現代人與自然間虛幻疏離的關 係及現代人渴望回歸自然的想法；在意象的成形上，則選擇山，窗，瓶三 者作為傳達人與自然之間關係的象徵符號． 第三章 形式構成與作品分 析 在形式分析方面，提出了本次創作中，對色與墨，工具材質， 空間表現，線條，變形，留白的個人看法；在作品分析方面，則分為形式 發展期，意象整合期，風格建構期，及理念成形期等四個階段，對作品進 行分析與探討． 第四章 結論 此次的論文研究，除了對於自然 與人文在傳統山水畫中的對應表現，重新再作了一番整理與認識外，更大 的收穫是得以藉著創作，吸收傳統中的精粹，思考本身與環境間的互動， 建立自己的審美價值判斷，並從對作品的創發，構成中理解自己的思考模 式．而這個創作歷程的體驗，也將是我再邁上創作之路的起點．
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Chiang, Chun-Sung, and 江俊菘. "The Synthesis of Rock Textures in Three - Dimensional Chinese Landscape Painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/63090179228153011922.
Full textAbstract:
碩士國立交通大學
資訊科學系
89
Chinese ink painting has rather a long history. Burgeoned with landscaping painting in East Chin Dynasty, legacy has been passed down through many masters over more than sixteen centuries, accruing tremendous technique and experience. Given the complexity of the technique, the diversity of the subject matters involved, the manipulation of brushes and ink alone require much practice. The quick water absorbency nature of the paper dictates sure, skillful command of technique; there is simply no room for mistakes. It is only so, can the tonality of ink in a single brush stroke be rendered to marvel. Therefore, linear beauty and ink variety of landscape painting can be the most difficult in Chinese ink painting. In this thesis, we propose a three-dimensional geometric analysis of landscape scene and ink painting simulation synthesizing system for automatic rendering of rocks in landscape painting style. Through the composite of mountain model assigned by the user and the system’s 3D geometric analysis of scene contours and rock textures, all the aforesaid digital data input into the ink painting simulation model will be able to produce computer imagery of landscape painting automatically. With arranging 3D landscape scenes, even a layman, entirely ignorant of the complexity of the technical skill, will be able to produce a beautiful landscape ink painting
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Lin, Bo-Han, and 林柏翰. "Applying the Composition of Chinese Landscape Painting to the Stationery Design." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/20438727102906011898.
Full textAbstract:
碩士國立臺灣師範大學
設計學系
103
Chinese landscape painting is unique and visually distinguished from western landscape painting by its special touch of brushwork, ink, style and prospect. Cultural product expresses different specialties and levels of culture. It fulfills not only material, but also spiritual needs. At the same time, the product’s symbolic value exceeds its practical value. Using Cultural product as a cultural bearer should be cautious on symbol annotation and application, avoiding simply shapes or images copy. In this research, the literature review helps the understanding of the relating theories between Cultural product, symbol and Chinese landscape painting. With case studies, picture elements, space presentation and composition combination of Chinese landscape painting are generalized and applied to stationery design intending to create Chinese landscape painting characterized cultural commodities. The result of the research is applied to designing Chinese landscape painting composition characterized stationery and presents the process of creation. With profound research, the selected symbols can be used in designing cultural commodities. Considering the compatibility of cultural and commodity, the symbols are transformed and re-created to ensure the cultural and practical value of the commodity. With the designer's familiarization with the culture symbols combination, even though the elements are replaced or the shapes are re-created, the commodity still presents the features and style of the culture. The conclusions of this research are as follows: (1) The various forms of culture provide a large number of design elements for culture commodity, therefore, the analysis of culture levels and commodity attribution helps transforming the designing thinking. (2) Diagonal and parallel compositions contain simple and common elements, but central axis, central parting axis and “S”-shape compositions usually contain a large number and various elements. (3) The downward view to depth of space and upward view to height of space are usually applied in central axis, central parting axis and “S”-shape compositions. In Diagonal and parallel compositions mostly use the downward view to depth of space. (4) In central axis, central parting axis and “S”-shape compositions, a large number of rocks are often stacked up and precipitous. But rocks sweep gradually and horizontally in diagonal and parallel compositions. (5) With the transforming of the symbols and designing thinking, the commodity frees itself from the original shape and form and presents the feature of the culture. (6) A new creation process is provided as a reference for Cultural product designers.
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Wu, Ya-ting, and 吳雅婷. "A study of literati thought and style in trees of Chinese Landscape Painting." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/17206741269895088992.
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碩士南華大學
美學與視覺藝術學系碩士班
97
Landscape painting is a unique part in Chinese paintings, mainly driving from Chinese people’s human nature which liking to be obscure and enjoying life in the woods and mountains, so the spirit of Chinese landscape painting is totally different from that one of the Western.Trees is one of the important subject in the Chinese landscape paintings, expressing the painter’s inner abundant feelings by means of brush pens with various form, ink lines and fading skill, which also brewing the endless mental inspiration. Trees is not only can be independent to be an entire body of aesthetics, but also interfere the transformation of landscape paintings, even having influence on the whole picture of one — on the technique, owing to the various form of trees, which having some difficulties: on the content, the vivid of the landscape paintings and aesthetics need to be expressed by the image of trees: on the form of the paintings, since trees is the crucial factor, point, line, and plane which constrcts in the space with the image of trees needing to be controlled considerably. The study is focus on the form of trees, coming with the work of historical Chinese landscape paintings to research the relationships between meaning and style as well as the technique, historical development, and display among the traditional Chinese culture. This study is conducted with five chapters. The first chapter is Introduction, which contains rationale, research background and scope. The second chapter is Literature Review. The third chapter is the Philosophy of Trees with style of trees in the historical Chinese paintings. The fourth chapter is the analysis of trees with structure, display and generalizing the interfere relationship. The fifth chapter is Conclusion and suggestions to the research. After comprehending the study of theory, it turns over to list following several arguments and thinking as well as the following direction of creative research: First, it is very intimate between trees and human and has tree parts of aesthetics of trees statue on the religious, social and artistic characteristic. Second, it includes general rules of trees in structure and principle. Third, it has the effect on leading visual focus and increasing picture distance in general appearance of pictures. In General, Trees is one of the very important visual symbols in Chinese landscape painting, with mountains, clouds and waters which having occupied different areas in the Chinese paintings. The form of trees is a technique ink brush pens with signs to show a unique style and form in the Chinese landscape paintings, which easily expressing the conation and spirit of Chinese philosophy. From the discussion, analysis and reflection on the historical Chinese landscape paintings and literature, this study already has built an obvious context and research proposition on the subjects of trees systematically.
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Li, Yingying, and 李盈瑩. "The Concept of Mindscape and The Spatial Pattern Language of Chinese Landscape Painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/53250033961648041330.
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碩士實踐大學
建築設計學系碩士班
101
The “mindscape” of Chinese literati was expressed in their poetries and landscape paintings. On the other side, Chinese classical gardens represent the “mindscape” concretely in reality through spatial construction. Therefore, we can see abundant spatial patterns in these art forms, especially in the landscape paintings. The main topic of the research is the “mindscape” and spatial pattern in the landscape paintings. “Mindscape” is an emotional consciousness what was displayed in spatial dimension. The research was divided into three steps. First, the research explained the concept of “mindscape” by discuss its significance in Zen, poetics and the theory of painting. Then, the research surveyed both the mode of composition in 2-dimensional space and spatial structures of landscape paintings. Finally, the research drew up the spatial pattern of landscape paintings. In order to achieve it, the research attempted to make an induction for the spatial element which in the ancient works by explaining the substance of “mindscape”, referring landscape paintings in Yuan and Ming Dynasty. The book “A Pattern Language: Towns, Buildings, Construction” has also been accepted as a reference book.
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Huang, Jin-Ting, and 黃晉亭. "A study of literati thought and style in water of Chinese Landscape Painting." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/80083294586641927090.
Full textAbstract:
碩士國立成功大學
藝術研究所
93
In this paper, I discuss the literati thought and style in water of Chinese Landscape Painting. In the first to third section, I study the history of Chinese Landscape Painting, ancient philosopher’s thought, the problem of active water, and the painting style of water. The last section, I focus the Su-Shi and Shi-Tao's literary, brushwork and analysis their aesthetics of water.
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LIN, SHU-SHIU, and 林淑秀. "The Landscape of Fashion Applying Principles of Chinese Mountain Painting to Fashion Design." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/52510766807769224310.
Full textAbstract:
碩士實踐大學
時尚與媒體設計研究所碩士在職專班
95
Abstract The landscape water color is one of Chinese cultural essences。 It originally is used to record the landscape；or to express the beauty、grandness or mystery of landscape in an artistic way；or to paint on the building structures : or to paint on the hand-held fan、clothing、silk fabrics as decorations. In this thesis，the modern costume design techniques and materials are applied to create a series of rocky landscape like costumes。 After I have studied the line drawing、calligraphic pouring、theme composing、and space arranging techniques in Chinese landscape water color, I use the idea --- conception as the base and show the material outside---to create the costumes. The thermoplastic materials can be easily molded into the shape of rocky landscape which represents the space of different kinds of human body。 The concept of feelings or emotions are all added to this creation represents the parts of formless. Both form and formless ideas are embedded in the costume design in this thesis.
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Wang, Teh-yu. "The "Rivers and mountains in autumn colors" by Zhao Boju, and associated attributions." 1991. http://catalog.hathitrust.org/api/volumes/oclc/34188030.html.
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Fang, Ming-Chang, and 方明昌. "The Research on the Landscape-Sketch of Taiwan Brook-Valley in Chinese Ink Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/06893480315172251474.
Full textAbstract:
碩士長榮大學
視覺藝術學系碩士班
96
The Research on the Landscape-Sketch of Taiwan Brook-Valley in Chinese Ink Painting Abstract The objective of this paper is to study the “landscape of Taiwan brook valley”, and applying the technique and the form of media-material to deal with the research on Chinese ink painting creation. Taking the landscape of Taiwan brook valley as a subject in painting, it originates from the point of “behaving toward the Nature”, and finds out a primary rule of creation that seeks for the process of translating the natural beauty into the art’s beauty. In the premise of “the identity of others and self” in the art’s horizon, the creation of the landscape of Taiwan brook valley deeply inspires me a native interest in my emotion. In the reflection and comprehension of my art’s practice, the author is searching for the direction of combining former scholar’s theory in painting into a unity in meaning, and expecting to develop a unique thinking and idea in the process of painting creation, and finally forming a personal style in appearance. Therefore, the study of this paper is to attain those aims as the following statement: （1）The author will be engaged in the analysis of theory and image that relate to those achievements of former scholars in the art’s history, which includes the absorption of traditional essence and a particular display of self-idea and an advanced development that has a personal style in painting. （2）Taking the landscape of Taiwan brook valley as an example, the author wants to reflect the comprehension in mind through a real observation on the spot of sight-seeing, and learning the foundation and the application of a sketch-rule, and revealing the inner feeling of a native merit. （3）By means of the environmental observation around oneself, the author will display the painting style in a way of concern、reflection and criticism. Besides, the author takes the traditional brush in use to produce a contemporary characteristic in the performance of painting. （4）Through the construction and the becoming of self-idea, the author can be familiar with the application and the use in the combination of media-material, techniques and forms in the painting which acquires from a specific experience by means of a long discipline and understanding in mind. In addition to, this can be founded for the constant creation and procession of the art’s activity in the future. The author has already adopted four kinds of methods in this paper, which states in detail as the following：（1） the theoretical method of research and : This method is used in the sketch-creation of collection, analysis and investigation that involved with the view of former famous scholars.（2）the analytic method of picture: This method is applied to the gathering、analysis and investigation which involved with the picture of brook valley that is provided by former artists.（3）the field-investigation method: This method is used in a actual observation、interview、sketch、photograph and record-collecting of the brook-valley in Taiwan.（4）the quality-thinking method of research: This method is used in the process of an ink-brush in practice, and seeking the testament、self- criticism and revision between of theory and creation. This study of references on this paper is divided three parts, which states as the following: 1、The author discusses that of former references involved with the sketch-creation, 2、The author analyses the referential picture involved with the display of brook-valley in the art’s history, 3、The author gropes the characteristic and the prospect of Taiwan brook-valley. As for the statement of former painters concerning the discussion of brook-valley, the author will study the effects on the development of thinking that involves the relation of man and Nature, and transforming it into the view of “behaving toward the Nature” in the sketch-view, and finally attaining a prospect of “behaving toward a mind”. As to the well picture of brook-valley, the author points to the referential paintings and analysis them, which is intended to seek a developing cause involved with the investigating process of former painters. Thirdly, taking the landscape of Taiwan brook-valley as a aim, the author visits and interviews the actual place, and recording the references and abstracting the useful element from this endeavor. Finally, the author combines the views above-stating and forms a unique idea in the painting creation. In this respect of painting in practice, the author intends to show many different faces of brook-valley in Taiwan and divides this statement into three parts in interpretation. They are respectively stated as the following: the series of “the natural landscape of brook-valley”、the series of “the humane landscape of brook-valley” and the series of “the humane concern of brook-valley” etc. As for the analysis of painting, the author explains their connotation according to the idea of creation、the foundation of theory、the form of context、the technique of material、the performance of totality etc. There are five items in discussion. This paper includes three items in the comprehension: Firstly, the ideal foundation of self-sketch; Secondly, the creative certainty of self-sketch: Thirdly, the establishment of self-sketch spirit. The development and reflection after the graduate school: The author has concretely made progress, however in the depth of a creative idea or the grope of techniques, in this paper. This is a decisive beginning for the author to learn and study in the subsequent career of the painting, and hoping to skill well a self-brush in use and a style of creation. Keywords: brook-valley, sketch, behaving to ward the Nature.
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Lin, Ying Chuan, and 林英娟. "The Ch'an-Aesthetics of Yih-jung in the Theory and Practice of Chinese Landscape-Painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/14205992730619960915.
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HUI-MIN, OU-YANG, and 歐陽惠敏. "A Study of the Ordinary and Extraordinary in Chinese Landscape Painting on One’s Own Artistic Awareness." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/28891303031148300545.
Full textAbstract:
碩士中國文化大學
藝術研究所
94
The main purposes of this thesis are to discuss the intention of “Ordinary and Extraordinary” contained in the landscape paintings, and to clarify the original meaning of “Ordinary and Extraordinary” through two Chinese books, Sun Zi Bingfa in “the change and mutual influence of the Ordinary and Extraordinary” and Su-p’u Hsü by Sun K’uo-t’ing in Tang Dynasty who proposed that calligraphy study has three stages. Through the process of calligraphy to study the process of a painting, the relationships of each stage to human’s life can be analyzed. “Ordinary and Extraordinary” is normal and abnormal in the landform situation which is fluctuated by the terrain. Firstly, it was used to allegorize soldier in military tactics. “The most abruptness in a running script of calligraphy is extraordinary.” (Dong qi Chang, Ming Dynasty) Therefore, “the extraordinary” is also extended into abruptness, meaning various changes and novel. Sun K’uo-t’ing in the Tang Dynasty applied “Extraordinary” to military tactics in political strategy, and rose “the extraordinary is to face and overcome the dangerous situations and to realize the change of the authority.” Therefore, “Ordinary and Extraordinary” are used in the structure of calligraphy naturally. “Ordinary” has two meanings. One is the foundation. When foundation is solid and naturally developed, principle naturally exists in heart and the common sense can be known. Another is personal character. Personal character is the foundation of calligraphy and painting. Personal character is formed by external orders, then naturally developed into characteristics till the positive essence conduced and reaching the condition of peace. Therefore, personal character is not only the inner foundation of “Ordinary”, but also the intrinsic key of “Extraordinary”.
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Yuan, Kuang-Ming, and 袁光明. "The Discussion on the Space Perspective as seen in Chinese Paintings- On the Basis of Chinese Landscape Painting from Qin to Song Dynasty (221 B.C. to 1279 A.D.)." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/kmr65m.
Full textAbstract:
博士中國文化大學
哲學系
106
This dissertation investigates and describes the concept of the relation and mutual influence between the Space Perspective and the medium in Chinese Landscape Paintings. The study examines that the trend of the Space Perspective in Chinese Philosophy from Qin to Song Dynasty has crucial influence on the development of the Chinese Landscape Painting Art. Chinese Landscape Painting is defined as a significant role in Realm Aesthetics by artists, painters, poets, and scholars. Since the early Qin Dynasty, the Taoist Theory of Knowledge, such as “Chouyi”, “Laozi”, “Zhuangzi”, and etc., has convey and illustrate the meaning of “the extensive image of the context and the context about the image itself” as well as the Realm Aesthetics of “Uncertain Definitions of Phrases and Descriptions”. There are historical layers of thoughts embedded in Chinese Landscape Paintings while the new era styles were gradually created and developed on the foundation of in-depth thinking. The ancient Chinese Landscape Paintings has begun with the performance on “The human figures are bigger than the mountains.” in the Dunhuang Murals since Wei and Jin Dynasties. Then, the focus onChinese Landscape Paintings transformed and enlarged the proportion of mountains. Meanwhile, artists constantly convey their experiences in Space Perspective and attempt new skills to express their ideas. Consequently, the magnificent landscape images were first created and developed from Tang Dynasty(618-907), Five Dynasties (907-960) and Ten Kingdoms (902-979), and the early Song Dynasty. Chinese artists and painters among these dynasties created mainly “three-kind of performances on distance” through the art representation. There are two crucial stages in the development on the concept of “the three-kind of performances on distance” namely “Styleinfluenced from Tang Dynasty” and “Style influenced from Song Dynasty”. The main features of the Style influenced from Tang Dynasty are “vertical”, “deep”, and “horizontal” extending visionswhile the other Style influenced from Song Dynasty focused more on the concept of vanishing point, which also contributed “misty”, “ancient”, and “vast” Space Perspective. The “three-kind of performances on distance” were demonstrated and transformed by the artists and painters through five centuries. Subsequently, “the extending image out of the concrete one” were formed as an imaginary in mind. This wonder vision in Chinese Landscape Paintings which was combined with real and virtual images contributed to the highest achievement in Song Dynasty. The development of Space Perspective also meets the Realm Aesthetics in Zen Art Theory. In conclusion, the Space Perspective in the Medium of Chinese Landscape Painting actually combined and applied the concept of real and virtual images that deeply influenced by the historical and philosophy experiences of the artists and painters from Qin to Song dynasties.
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"仇英仙境圖研究." 2012. http://library.cuhk.edu.hk/record=b5548998.
Full textAbstract:
本論文主要探討十六至十七世紀的仙境繪畫及其所反映的仙境觀念，並以歸入仇英名下的仙境圖為中心，通過分析畫中的內容意涵，藉以展現十六至十七世紀明人對仙境圖處理的多樣性。基於現時傳為出自仇英手筆的仙境圖最多，仇英可以說是當時十六至十七世紀對仙境題材創作情況的一個縮影。加上，仇英作為十六世紀具代表性的職業畫家，其仙境圖很有可能是針對具體的「使用對象」而生產，迎合不同人的不同想法和需要。在這種前提下，本文將仇英以及託名仇英的仙境圖理解為十六至十七世紀藝術市場需求下的產物，並從剖析它們的題材和構圖入手，以揭示受畫人對於仙境畫作的情感寄託。
所謂仙境圖，即是描繪神仙所居的圖像。仙境圖可歸入山水畫科，而且與山水畫的界定比較模糊。就畫中不同的圖像表現，可將仇英名下的仙境圖分成五類：第一種是以個別神仙入畫的仙境圖；第二種是畫中出現道士煉丹場景的仙境圖；第三種是畫有等候飛昇的歷史人物的仙境圖；第四種是描繪「桃花源」主題的仙境圖；最後一種是懷有文人情調的仙境圖。
本文以其中三類仙境圖為例，指出時人對仙境的運用各有差別：以個別神仙入畫的仙境圖較適用於壽慶場合，畫有道士煉丹場景的仙境圖則似是作為當時追求長生的慰藉，而以文人形象入畫的仙境圖即蘊含隱世思想；從而說明這些仙境圖在明代社會中發揮不同的作用，傳達不同的信息，滿足不同的需求，反映出繪畫與使用場合及使用對象之間的緊密關係。
This thesis attempts to study the immortal landscape paintings from the sixteenth to seventeenth century as well as the ideas on the realm of immortals embodied in these paintings. Focusing on the immortal landscape paintings attributed to Qiu Ying, this thesis analyses their themes and allusive meanings, and thus presents the diversity in the diverse approaches adopted in the immortal landscape paintings in the late Ming period.
Since a majority of the immortal landscape paintings survived today is attributed to Qiu Ying, his works can be seen as the encapsulation of the artistic creations on the theme of the realm of immortals dated in the sixteenth and seventeenth century. A representative professional painter of the time, Qiu Ying probably produced his works for a certain group of intended audience in accordance with a variety of ideas and needs. With this presupposition this thesis regards Qiu Ying’s works and the imitations of such as the products responding the demands of the art market in the sixteenth and seventeenth century. Through an analysis of the subject matter and composition of the paintings, this thesis reveals the sentimental values held by the immortal landscape paintings for their possessors.
Depicting the dwellings of deities, immortal landscape paintings can be identified as a sub-genre of landscape paintings and are hardly distinct from other landscape paintings. The immortal landscape paintings by Qiu Ying can be classified into five types in terms of visual elements, including: I) particular deities; II) Taoist adepts practicing alchemy; III) historical figures awaiting respectfully for ascending to celestial realms; IV) Peach Blossom Spring, the Chinese equivalent of utopia; and V) scenes imbued with literati spirit.
Of these five types of immortal landscape paintings, examples from three are selected to demonstrate their different functionalities in Ming society; immortal landscape paintings portraying particular deities were created for festive occasions, while those depicting Taoist alchemy and literati figures offered reassurance on the quest for immortality and implied reclusive spirit respectively. Through a detailed investigation this thesis illustrates that immortal landscape paintings were produced to serve a variety of functions, to convey different messages, and to accommodate various needs in Ming society, thus testifying the close association between paintings, objects of utility and the occasions they are created for.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
楊晉宜.
"2012年8月".
"2012 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 105-122).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Yang Jinyi.
內容摘要 --- p.i
誌謝辭 --- p.v
前言 --- p.1
Chapter 一、 --- 研究動機與目的 --- p.1
Chapter 二、 --- 近人研究概況 --- p.3
Chapter 三、 --- 研究意義 --- p.5
Chapter 1. --- 仇英仙境圖作為道教藝術的一個面向 --- p.5
Chapter 2. --- 仙境圖作為十六世紀藝術市場需求下的產物 --- p.7
Chapter 第一章 --- 研究對象的釐清與選取 --- p.9
Chapter 一、 --- 仇英與仙境圖的關係 --- p.9
Chapter 二、 --- 仙境圖的定義 --- p.16
Chapter 三、 --- 仇英仙境圖比例分析 --- p.24
Chapter 1. --- 數字統計 --- p.24
Chapter 2. --- 歸納分類 --- p.31
小結、仙境圖類型與研究路徑 --- p.38
Chapter 第二章 --- 仙境圖中的神仙與蟠桃 --- p.40
Chapter 一、 --- 兩件畫作的產生情況 --- p.41
Chapter 二、 --- 內容意涵的差異 --- p.44
Chapter 三、 --- 為祝某人之壽辰 --- p.54
小結、神仙形象與仙境圖 --- p.59
Chapter 第三章 --- 仙境圖中的道士燒丹場景 --- p.60
Chapter 一、 --- 明代有關煉丹的畫作 --- p.61
Chapter 二、 --- 燒丹與神仙的關係 --- p.64
Chapter 三、 --- 煉丹對明人的意義 --- p.68
Chapter 四、 --- 仙真與山水相融的構圖 --- p.71
小結、道士燒丹與仙境圖 --- p.74
Chapter 第四章 --- 仙境圖中的文人雅趣 --- p.76
Chapter 一、 --- 仙境圖中文人形象的顯隱差異 --- p.77
Chapter 二、 --- 文人形象在仙境圖的其中一種作用 --- p.84
Chapter 1. --- 以玉洞桃花造境 --- p.86
Chapter 2. --- 人迹於仙山 --- p.90
Chapter 3. --- 畫中人的真實身份 --- p.94
小結、文人形象與仙境圖 --- p.99
結論 --- p.101
參考書目 --- p.105
Chapter 附表一、 --- 文獻著錄的仙境圖統計 --- p.124
Chapter 附表二、 --- 仇英仙境圖列表 --- p.126
Chapter 附表三、 --- 〈蟠桃圖〉各版本場景列表 --- p.128
圖版 --- p.131
38
"Conformity and divergence: perception of garden spaces by Gong Xian and Yuan Jiang from Nanjing in early Qing dynasty." 2008. http://library.cuhk.edu.hk/record=b5893423.
Full textAbstract:
Chan, Yuen Lai.Thesis submitted in: December 2007.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2008.
Includes bibliographical references (leaves 125-133).
Abstracts in English and Chinese ; some text in appendix also in Chinese.
Abstract
Acknowledgement
Table of Contents
Chapter 1 --- INTRODUCTION --- p.1
Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1
Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2
Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5
Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9
Chapter 1.3 --- RESEARCH MATERIALS --- p.10
Chapter 1.3.1 --- "Forms, words and images" --- p.10
Chapter 1.3.2 --- Research materials --- p.11
Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11
Chapter 1.4.1 --- Study of gardens from paintings --- p.11
Chapter 1.4.2 --- Research methodology --- p.14
Chapter 1.5 --- OUTLINE OF THESIS --- p.14
Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17
Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17
Chapter 2.1.1 --- Early landscape depictions --- p.17
Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18
Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19
Chapter 2.2 --- EARLY QING NANJING --- p.20
Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20
Chapter 2.2.2 --- Garden culture --- p.21
Chapter 2.2.3 --- Artistic milieu --- p.23
Chapter 2.3 --- CHAPTER SUMMARY --- p.26
Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32
Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32
Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32
Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34
Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38
Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39
Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41
Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43
Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47
Chapter 3.3.1 --- Ambiguous boundary --- p.48
Chapter 3.3.2 --- Everyday social encounters --- p.49
Chapter 3.3.3 --- Narrated landscape of the past --- p.52
Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53
Chapter 3.4 --- CHAPTER SUMMARY --- p.54
Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60
Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60
Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61
Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62
Chapter 4.2 --- ZHAN YUAN --- p.67
Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68
Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68
Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69
Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70
Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77
Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77
Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80
Chapter 4.4 --- CHAPTER SUMMARY --- p.82
Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90
Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90
Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90
Chapter 5.2.1 --- Garden boundary and conception --- p.90
Chapter 5.2.2 --- Archetypal garden readings --- p.91
Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92
Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92
Append --- p.ix
Bibliography
39
HSU, YU–FU, and 許玉富. "Emotions Captured in Art—Shueinan hole﹒Chinkuashih﹒Jiufen Area— The Landscape of Humanity and Natural in Chinese Classical Brush Painting." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/n456y9.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系
102
The topic of this thesis is “emotions captured in art—Shueinan hole﹒Chinkuashih﹒Jiufen area—the landscape of humanity and natural in Chinese classical brush painting” . This study manily bases on the nature and humanity at the areas of Shueinan hole, Jinguashih and Jioufen, Ruifang Dist., New Taipei City, The auther searches the emotional appeal and inspirational objects for the article creation from these areas. Shueinan hole, Jinguashih and Jioufen were famous for their goldmines, then known as “The small Shanghai”. The geography is rugged and steep, the black felt roofs cover with thick overlap one to another, and stone steps stretch for as far as the eyes will allow, all of them are the features of the towns. In these areas, the mine culture is the most important nostalgic theme because of producing gold. For instance, the Gold Museum, which displayed many kinds of historical relic that sufficiently attested the former grandeur of the places. And such as animals, plants, rivers and waterfalls .The towns are rich in nature ecosystems also for artistic creation. As time goes by, the towns change, facing with challenges of long-term gold- industry decline, and increasing migrated population rate. For these reasons, the areas once were too desolate to forgotten, and eventually became “a city of sadness”, the movie which directed by Hou Hsiao-hsien. Recently, these towns have been returned to its former glory because of movies that made tourism development, and bringing many of artists to come here for setting up studio. In the mind of many travellers, they wish this place will be preserved and won’t be overdeveloped, keeping the face of these areas as usual. Although observing and imitating nature are the best ways for artist to create masterpieces, but how to integrate the personal creative idea into theory that is a long-term goal for author. In order to break through an obstacle of creation, such as art psychology, art anthropology, semiotic and iconography were adopted in this study. Not only ananlyze the techniques from tradition-modernity- chinese-western, but also absorb the experiences from the ancient people, and use “metaphor” technique and “nostalgia”visual-concept were used in this study. The study consists of three series of “describing scenes with feelings”, “describing objects with feelings”and “nostalgia”. It is primarily prsented by “landcapes”, “flowers and birds” and “figures”which enrich author’s expression of emotion to Shueinan hole , Jinguashih and Jioufen areas.
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CHENG, PEI-YU, and 鄭佩玉. "The Beauty of Taiwan’s Wave and Rock–A Study of Transforming Northeast Coast Landscape into Chinese Ink Painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/23qq5f.
Full textAbstract:
碩士國立臺灣藝術大學
書畫系造形藝術碩士班
105
The writer was born and raised up in Keelung, which is the lobby portal of the northeast coast national scenic area of Taiwan. Being a member of this area, I lived, studied and played there; certainly I have a very deep affection toward the natural landscape and human landscape of this area around me. The northeast coast national scenic area is an area in northeastern Taiwan with special geographical and historical distinction, ranging from Badouzi Fishing Village (Keelung city), Nanya Borough, Ruifang and Gongliao District (New Taipei city) to Toucheng Township (Yilan county). With great enthusiasm, the writer was eager to select the Northeast Coast National Scenic Area as research area, which is rich in culture, history, geography and natural resources. The rocks and sea waves in this area were therefore selected as research focus and scope for the writer’s creating artworks of Chinese landscape paintings. After entering the graduate program, the writer has become an art creator as well as a researcher. Based on the above background and motivation, the purpose of this research was fourfold: (1) To build a personal creative concept through the elaboration of related documents. (2) To carry out artistic creation through creative concept and skills. (3) To carry out self-assessment on artistic creation works through accumulation of artistic knowledge in theory and skills in practice. (4) To explore the direction of future artistic creation works. The research methodology adopted in this study was document analysis method and action research method. Document analysis is a method of qualitative data collection and analysis method, in which related art documents were interpreted by the writer to give voice and meaning related to the research area in order to provide references for author’s creation works. Action research is a method adopted to bring together action and reflection for the accumulation of the artistic theory and practice. The term "aesthetic" refers to a type of phenomenal experience, called as aesthetic experience. The aesthetic experience is an action research process to create and reflect artworks. By combining the relevant artistic theory and practice, the writer consistently identified, analyzed, introspected and adjusted herself in the course of artistic action research process. Nature can inspire and produce aesthetic experiences. The writer therefore established her creative concept of “the infinite power of Nature's way” in her created ink paintings, i.e. the creative concept of “harmony between man and nature” and “the vivid artistic conception”. The artistic creation results showed that the research methodology is appropriate for using in creation works of Chinese ink painting. This research has raised author’s enthusiastic and skills. It leads to consistent pursuit of higher level of aesthetic experience of Chinese ink painting, i.e. the introspection of the creative concept of “harmony between man and nature” and “the vivid artistic conception.” In the future research, the writer is trying to contribute her efforts to explore “the endless existence and the wonderful presence” of the Nature's way in her works.
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Jiang, Ji-en, and 姜霽恩. "A Study on the Thinking of Aesthetics in China--A philosophical interpretation of chinese Painting of Landscape as a Centre." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/07881954822658120746.
Full textAbstract:
碩士南華大學
哲學與生命教育學系
100
In my study the relationship between the philosophy of Taoism and landscape is the main theme. In Weijin chinese began to make aesthetic about themselve image, that is about their ethical life, later to see themselve through the concept of rhyme of vitality(氣韻) . In such standpoint chinese tried to be free from the concept of pragmatic and devolped a spicial standpoint in order to make aesthetic of human. The reason why painting in China was devolped from image of human to landscape bases on the thought of Zhuangzi which effected the living in Weijin – the factors of human became less important and instead of human landscape played a role which became more important, that is landscape became a object of aesthetic. The object of aesthetic came from freedom which was stressed by Zhuangzi, and the concept of freedom became possible by means of the happyness itself which human gained by the playing in landscape. The freedom can clear up the artificials and and reveals itself through the harmony between human and nature. In my paper the related ideas are the “心齋”、“坐忘” and “遊” which can play a important role in the landscape of china and have a great affect on the spirit of the authors of paintings. I try to research the theme by the method of philosophy and arts, and to analyse the thought of aesthetics of Zhuangzi in order to make understanding of structures in the painting of landscape and discuss the literature in order to let my paper become more concrete.
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Wu, Xingming. "Wrinkles in time : folding Song dynasty into contemporary art." Thesis, 2018. https://eprints.utas.edu.au/30220/1/Wu_whole_thesis.pdf.
Full textAbstract:
This research project builds on insights from a study of the ancient Chinese methods of ink and wash landscape painting in particular through a focus of Song Dynasty landscape painting. My research seeks to produce artworks that explore the potential in, and re-contextualise, the ancient tradition of the Wrinkle method (texture method) within Song Dynasty ink and wash work in order to innovate the tradition.
The following questions inform the research:
What can Song Dynasty ink and brush (wash) paintings offer contemporary art practice?
How does ink and wash landscape paintings reveal Chinese philosophical thought, especially the philosophy of Yin and Yang, within environments outside of that tradition?
How can the practice of calligraphy be re-contextualised within a contemporary art practice to communicate Yin and Yang philosophy in relationship to the landscape?
How might the process of using ink and wash wrinkle methodology develop a new visual language that enters into a dialogue with contemporary art practice?
My research starts from a rethinking of the relationship between calligraphy and the traditional landscape painting techniques of the Song Dynasty, in order to understand the aesthetic properties of Chinese brush and ink work (Bi Mo- [2 Chinese characters] - Wrinkle methods). In order to define my research project, I explore the
relationship between Song Dynasty paintings and Taoist philosophy (three key features of Yin-Yang and three key elements of Qi). I draw out four key qualities from the relationship: unity or harmony, transformation derived from continual change, complementary opposites, and spatial duration.
In order to innovate these relationships I draw from the theme of the four seasons, as it pertains to the environments around Hobart. I focus on the mountain and rock forms that populate the view of the Mount Wellington range. This cross-cultural approach maintains a distinctively Chinese character through its philosophical inputs but moves beyond the boundaries and visual modes of traditional Chinese landscape painting to draw connections between two different environments with the aim of developing a new visual language for facilitating cross-cultural communication.
In order to provide more insight into how the individual character of Song Dynasty landscape art has located the visual language used in this project, and to construct a cultural common ground for the studio inquiry, I have drawn from ancient Chinese painting texts: ‘An Appraisal of Painting’ (Xu Hua), ‘An Introduction to Landscape Painting’ (Hua Shanshui Xu) ‘Portraying Seclusion’ (linquan Gao Zhi), and ‘universal theory of pure landscape painting’ (Shanshui Chun Quanji) as a theoretical framework.
In this study, I visited contemporary artists working with traditional painting in China, and I have analysed representative works of ink and wash from the Song period to the present day, in order to trace the relationship between them. Notable examples include Ting Qiu, Huayi Li, Brice Marden and Dongling Wang. The purpose is to tease out the cultural uniqueness from which an international visual language can occur.
Through this research, Song Dynasty landscape painting has informed my approach in thinking about the landscape and expressing the way of natural law, which maintains the balance and harmony of Yin and Yang in painting through mutual transformation of Qi and energy, in order to express the strong movement within nature through a smoothly flowing line. This movement reveals the energy that transforms Qi in my work. The different movements that I make in this environment are exactly suited to reflecting the rhythm of life in Tasmania – this is also predicted by Qi’s theory of energy transformation, so that a change in location is also a change in the relationship between water and ink – all of which emerges naturally and which also has a different quality to the works of the Song Dynasty.
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Wang, Gow-Chang, and 王國昌. "“Clear the mind and heart to realize the Dao” : A Narrative Analysis on Wang, Gow - Chang's Chinese Ink Painting Landscape Creation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/62w43r.
Full textAbstract:
碩士中國文化大學
美術學系
102
Chinese ink painting plays a leading role in the development of our culture, which the aesthetics of ink paintings lies in the center like a diamond . It is an essential part of our culture. Ink paintings are the manefistation of the idea of "vacuousness and concreteness are born of one another, unpainted areas constitute wondrous scenes." The performance of ink paintings is valued by the painters’ self-cultivation demonstrated in the atmosphere they create as opposed to style. Their self-cultivation refers to their mental and intellectual maturity, which includes religious experiences, ideas, life, philosophy, moral character, learning experiences, personality, intelligence, aesthetic insights, etc. are concerned with the painting style. Painters are what they paint. Creative artists who portray themselves with their true selves, know the art of painting. Only with great wisdom, can one know how to create.,As the saying goes, “artists and their works are mutually beautifying; no trace can be seen in great paintings.” Today’s ink paintings, however, seek to express thoughts and feelings of our time, rather than personal feelings. Therefore, we should give new life to ink paintings based on tradition. We should be daring to find new forms of expressions in order to adapt to the new era, depict and express properly. The creative works under discussion indicate that the author started painting from the traditional landscape style, and combined techniques of the new generation, showcasing the spirit of "new literati paintings." It is hoped that these works can bring passionate and rich vocabulary to contemporary arts. The author expects that he learns from the tradition and the nature and reaches out to a new level. In terms oftechniques, he adds new media to traditional ways of painting to present vivid landscape imagery. In addition to exploring the theoretical basis for discussion and analysis of the the motives behind the works, the thesis looks into the changes found on along the artist’s way of painting and discusses the influences. Meanwhile, the thesis analyzes the composition and style, with work material aided analysis as evidence.
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HO, YI-HSIEN, and 何羿嫺. "The Application of Reusing Mounting Materials for Conservation of Chinese Style Hanging Scrolls－A Conservation Treatment of 〝Jin Yang〞Landscape painting." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/87740318276724181700.
Full textAbstract:
碩士國立臺南藝術大學
博物館學與古物維護研究所
100
This article is about “remounting the Chinese paintings with original mounting materials.” It means that painting and decorative accessories will be separated to several parts to progress conservation treatments and assemble them again. Through this way, it can retain the history of the Chinese painting, and provide more information for further study or identification. This research will be found out the threads of using original material to remount the objects by collecting data and doing a survey with oriental conservators. According to the earlier cases, they are chiefly concerned with mounting skills of conservators. However, most conservators will have been thinking about the value and the condition of those decorative parts of hanging scrolls in recent years. That is a question for conservators, how to keep the protective function and historical value by saving or abandoning the original accessories. Finally, the author will treat an old hanging scroll as a sample to show the thoughts and decisions of every step.
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"幻想與現實之間: 青綠山水與理想世界 = Between imagination and reality : the blue and green landscape painting and an ideal world." 2015. http://library.cuhk.edu.hk/record=b6116511.
Full textAbstract:
青綠山水在中國繪畫史上歷史悠久，可追溯到魏晉時期（220-420），甚至更早，可謂中國山水畫科之始。然而，在經歷隋唐（581-907）的成熟和兩宋（960-1279）的高峰後，隨著水墨繪畫的興起，文人趣味的改變，加上材料技術的失傳，青綠山水在元代開始衰落。儘管這樣，還是有人致力於青綠創作，理想世界成為作品中時常表達的憧憬。本文包含四個部分：「緒論」闡述青綠山水的定義，並回顧傳統青綠山水的沿革。第一章梳理傳統青綠山水對理想世界的描繪，把它分成「隱逸」、「桃源」和「仙境」三類，從技法和主題來分析作品背後的意涵。第二章先以近代畫壇大師為例，指出他們對青綠山水創作的重視既在於表達理想世界，更在於對傳統技法的保存和延續。而現當代的青綠創作雖形式繁雜，但至少有五種面貌。第三章則闡述個人如何參考傳統技法和風格為創作元素，展現對傳統和當下的思考。文章期能對青綠山水這一古老畫科與理想世界的關係作一探討，並為當代青綠山水的創作再添註釋。
Regarded as the origin of the genre of landscape painting, blue-and-green landscape painting has a long history in China, dating from the Wei and Jin periods (220-420) and even earlier. It was developed in the Sui and Tang dynasties (581-907) and was at its glorious status in the Song dynasty (960-1279). However, a change in the taste of the literati class and the loss of the related techniques and materials gave rise to monochrome ink painting, and as a result, the blue-and-green tradition declined in the Yuan dynasty (1271-1368). Despite the prevailing trend of Chinese landscape painting, there are still people who devote themselves to the blue-and-green style and use it to depict an ideal world.
This thesis consists of four sections. In the Introduction, I formulate a definition for blue-and-green landscape painting and trace its development in the narratives of Chinese art. Chapter One straightens out the depictions of an ideal world in the blue-and-green tradition, dividing them into ‘recluse’, ‘peach blossom spring’ and ‘immortal land’, and deciphers the meaning of the works regarding their techniques and subjects. Chapter Two studies the masters of the modern and contemporary art world and their landscape views. The value of blue-and-green landscape painting is still highly regarded not only because it is used to depict an ideal world, but also seen as a means to preserve and continue the traditional painting techniques. The contemporary blue-and-green landscape paintings come in a variety of styles and yet there are at least five categories from my observation. The final chapter is my reflection on the Chinese tradition and on the presence as I express these by making reference to the traditional techniques and styles. In studying the close relationship between the primitive genre of blue-and-green landscape painting and an ideal world, this thesis intends to offer a new perspective in painting blue-and-green landscape in a modern context.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
蔡德怡.
Parallel title from English abstract.
Thesis (M.Phil.) Chinese University of Hong Kong, 2015.
Includes bibliographical references (leaves 84-90).
Abstracts in English and Chinese.
Cai Deyi.
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"臥遊山水與程正揆江山臥遊圖." 香港中文大學, 1995. http://library.cuhk.edu.hk/record=b5888389.
Full textAbstract:
黃佩賢.書名原題: 「臥遊」山水與程正揆《江山臥遊圖》
論文(碩士) -- 香港中文大學硏究院藝術學部,1995.
參考文獻: leaves 135-142.
Huang Peixian.
前言 --- p.1
前言 --- p.4
Chapter 第一章 --- 「臥遊」山水 --- p.10
Chapter 一. --- 「臥遊」的來源和定義 --- p.11
Chapter 二. --- 「臥遊」的哲學內涵 --- p.14
Chapter 三. --- 「臥遊」山水的理論發展 --- p.20
Chapter 第二章 --- 程正揆的「臥遊」山水 --- p.50
Chapter 一. --- 程正揆的生平 --- p.51
Chapter 二. --- 程正揆的「臥遊」思想 --- p.62
Chapter 第三章 --- 程正揆的《江山臥遊圖卷》 --- p.71
Chapter 一. --- 「欲作《臥遊圖》五百卷」的願望 --- p.72
Chapter 二. --- 《江山臥遊圖》的創作動機 --- p.79
Chapter 三. --- 《江山臥遊圖》的次第問題 --- p.85
Chapter 四. --- 《江山臥遊圖》的風格面貌 --- p.91
餘論 --- p.113
附錄一 程正揆生平年表 --- p.120
附錄二 程正揆《江山臥遊圖》傳世簡表 --- p.128
參考書目 --- p.134
圖版目錄 --- p.143
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Wang, Pang-Ning, and 王邦寧. "The Thoughts on Gardening in the Theories of Chinese Landscape Painting : A study of the Sung Gardening on the basis of Guo Xi'' Lin Quan Gao Zhi." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/65691432238453870393.
Full textAbstract:
碩士東海大學
建築研究所
86
Due to the fact that the existent gardens are mostly the remains of the Ming and Ching Dynasties and the fact that the ancient theories of gardening are rare, it is meaningful to study the ancient thoughts on gardening and the esthetic of nature through the theories of Chinese landscape painting. By this methodm I also attempt to interpret and systematize the writing resource of the Sung gardens, so as to bring the ancient thoughts on gardening and the techniques of gardening to light. Chinese culture isclosely related to nature. This intimate relationship can be proved by Chinese art, especially by Chinese landscape poetry, Chinese landscpe painting, and gardens. This thesis firstly discourses upon the attached relationship between Chinese landscape poetry, Chinese landscape painting, and gardens, examining their techniques and theoretucal backgrounds (Taoism, Buddhism, Confucianism, Book of Changes, etc.) The unique political and economic situation, social milieu, and cultural climate of the Sung Dynasty inpels Chinese landscape painting and the theories of Chinese landscape painting to its consummation. Among various theoretical works of Chinese landscape painting, Lin Quan Gao Zhi (written by a renowned landscape painter of the North Sung Dynasty, Guo Xi) is the one that carries forward the course and forges ahead into the future. Thus, to study the techniques of ancient gardens and the thoughts on ancient gardening, especially those of the Sung Dynasty, in the light of Lin Quan Gao Zhi on four different aspects. I study the relationship between the author''s spiritual culture and the artistic conception of the work of art, the author''s peregrination, realization, and conceptualization before his act of artistic creation, the author''s mental state at the moment of the artistic creation, as well as the aesthetic ideal. Furthermore, these aspects shown in Lin Quan Gao Zhi analogized with those shown in gardening and architectural creation. The perspectives on universe, environment, esthetic, design, and nature presented in Lin Quan Gao Zhi are analogized with those in the historical records of the Sung gardens, the royal garden-Genyue-and noted private gardens located in Luoyang and Wuxing. The functions, techniques, and esthetics of ancient gardens applied in these ancient gardens are also clarified and systematized. Finally, I elucidate that most of Jicheng''s Uanye, a theoretical work of gardening, is the sequel of the ancient thoughts of gardening.-1 -aThe Thoughts on Gardening in the Theories of Chinese Landscape Painting : A study of the Sung Gardening on the basis of Guo Xi'' Lin Quan Gao Zhi
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Lee, Yen-Lin, and 李彥霖. "An Interactive Navigation System of 3D Chinese Landscape Paintings." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/89346791149402072524.
Full textAbstract:
碩士國立交通大學
資訊科學系所
92
Landscape is essential in Chinese painting. Painters use various kinds of brush styles to depict natural scenery. Terrain is the major object in Chinese landscape painting. Some mountains rise high and erect, and some are gradual and continuous. So the simulation of wrinkles on the rocks becomes very important. The major contribution of this thesis is to generate the Chinese ink painting style results automatically from 3D terrain model. Then, we can navigate around the scene and show images viewed from different positions at interactive rates. In this thesis, we use streamlines to express wrinkles on surfaces. Besides, we use silhouettes to describe the outward appearance of a terrain. Furthermore, we integrate the Chinese brush stroke model into our system and have some modifications to achieve Chinese painting styles. In addition, we resolve the frame coherence problem to have a smoothly view while navigating. This research can apply to computer games or virtual environment systems.
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Hsieh, Eeteen, and 謝宜庭. "The Composition of Water Features in the Classical Chinese Gardens and Landscape Paintings." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/58649296381803773386.
Full textAbstract:
碩士東海大學
景觀學系
88
It is the Chinese literati’s philosophy that causes the Classical Chinese Gardens and landscape paintings represent the atmosphere of the natural landscape in a unified way. Thus the relationship between Chinese gardens and landscape paintings can be conclude as “the same concepts presented by different media”. Under the controlled mechanism of generating concepts which directing the creation of Chinese gardens and landscape paintings, this thesis selects six Su-Zhou gardens and the seventeenth century Mustard Seed Garden manual of painting as study subjects; relevant garden and painting theories are also included to support the research. Then this study approach and refine the composition of water bodies beyond media representation and limitation by the elements of a water container. The first layer of the prototype of composition is a container with “points” and “intermediary”. “Points” defined as where water comes and goes, and “intermediary” connects points; there are 10 basic “intermediary” forms. In the second layer, “encroaching”, “embedding” and “dividing” are applied to trim the container. And finally the edge of a container and the water texture as reflections and ripples are added to achieve the classical Chinese water features. The prototype can be a tool for analysis and design. This study also gives representative historical symbolic examples, which correspond to Gestalt Psychology, to illustrate that: when the garden or environmental design is limited by physical conditions, according to the prototype, water features of the Classical Chinese Gardens and landscape paints can be re-presented with homogenous or heterogeneous materials by symbols.