To see the other types of publications on this topic, follow the link: Chinese landscape painting.
Journal articles on the topic 'Chinese landscape painting'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Chinese landscape painting.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.
Full textAbstract:
The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.
12
Jing, Tang. "INTERPRETATION OF CHINESE PAINTING IN THE XIEYI STYLE." Arts education and science 2, no. 31 (2022): 116–21. http://dx.doi.org/10.36871/hon.202202015.
Full textAbstract:
The core of Chinese painting in the Xieyi style is to convey an idea in a free form, Xieyi paintings have the beauty of poetry, calligraphy and prints. It uses a colour method based on black and white imagery and the concept of linear modelling with brush and ink. It differs from Western painting in its methods of perspective, which transcend the limitations of time and space. The spirit of Xieyi is a reflection of real life, but refined and sublimated through imagination, ultimately completing the process of creating artistic images. Having great innovative and creative force and inheriting the tradition of Chinese culture and art, Xieyi condenses the inner ideological characters of Chinese nation. Moreover, Xieyi is a unique form of free emotional expression stimulating the continuous development and advancement of the art of Chinese landscape painting. The artistic characteristics of Chinese Xieyi landscape painting are unique and embody the oriental aesthetic thought and Chinese philosophy. Confucianism, Taoism and Buddhism are the spiritual basis that shape and nurture the artistic features of Chinese painting, at the same time, the XXth century European painting also influenced them.
13
Chen, LuYang, and Ziao Chen. "Wilderness in Ancient Chinese Landscape Painting." Environmental Ethics 42, no. 3 (2020): 253–66. http://dx.doi.org/10.5840/enviroethics202042324.
Full textAbstract:
Chinese painting is dominated by landscape painting, which is a unique form of artistic expression for Chinese people, while landscape generally refers to nature. Wild natural landscape can be called “wilderness,” which embodies the vitality and upward vitality of nature, and also contains unique cultural characteristics. “Wilderness” is the most important “original ecological” environment in the natural environment. Its existence has natural, ecological, and aesthetic significance. It is nature in its primitiveness and ecology in its wildness; the aesthetic lives on in it. Compared with Western landscape painting, it pays particular attention to realism, good at depicting beautiful natural scenery and recording the reality of scenery. On the other hand, Chinese landscape painting pays more attention to the expression of connotation. Chinese landscape painting focuses on nature, takes meaning as its purpose and pursues culture. Chinese landscape painting is the outstanding expression of wilderness spirit, which is mainly manifested in three aspects: (1) Chinese landscape painting is of the same origin as “Tao” (道); (2) the “wilderness” in landscape painting has a strong vitality; (3) “wilderness” has a special cultural connotation. China’s wilderness is not ecological, but is vibrant; not in the dust, but out of the dust; not in nature, but in culture.
14
Liao, Ziting. "Spiritual Travel in Chinese Landscapes ---- Travelers Among Mountains and Streams and Murals from Yulin Caves." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 391–99. http://dx.doi.org/10.54097/ehss.v23i.12924.
Full textAbstract:
Chinese landscape painting is a non-negligible category in Chinese art history. Unfortunately, the intrinsic fragility of silk results in an obscure provenance of numerous existing silk landscape paintings from ancient Chinese art. Murals in Yulin Caves, located in the northwestern province of Gansu, China, emerge as an invaluable repository that complements these delicate silk paintings. This paper selects The Illustration of Samantabhadra from Caves 29 and 3 of Yulin Caves, both illustrations in caves were created after the Song Dynasty (960-1279 CE), to compare Travelers Among Mountains and Streams (Travelers) painted in the 10th to early 11th century by Fan Kuan (c. 950-1032). The visual comparison involves the panoramic view and the travel theme. The comparison based on the different mediums will discuss the elimination of physical constraints through painted landscapes with the contextualization of murals in situ. Natural light will also be considered as one external factor that influences the artwork viewing experiences of audiences. Comparisons involved in this paper aim to examine the underlying relationships between Song landscape paintings and the subsequent landscape murals, extend the conventional concept of travelers in Song landscape paintings by identifying mountains in murals, and explore how landscapes in silk paintings and murals encourage audiences to experience spiritual travel.
15
Ning, Xiaomeng. "Landscape Painting in the Tang Dynasty: On “Changes” and the Historical Constitution of the Concept." Culture and Dialogue 10, no. 2 (November 29, 2022): 158–79. http://dx.doi.org/10.1163/24683949-12340123.
Full textAbstract:
Abstract Focusing on the “bian” (changes) of Chinese landscape painting in the Tang Dynasty, this essay seeks to expound a breakthrough in the study of painting in the dynasty. Such a study was once difficult to carry out in the form of pictorial and stylistic analyses due to the lack of physical works. By showing that the prevailing landscape paintings of two representative painters Wu Daozi and Li Sixun were at the time most likely to be dominated by the sutra paintings and pictures of the immortal land, the essay attempts to demonstrate that the meaning of “changes” in landscape painting lies more in the change of style in representing landscape and the attitude of critics towards landscape paintings than in the change of subject matter. Meanwhile, it is worth noting that historical narratives also played a key role in constituting the concept of “landscape painting.” The focus on and analysis of the historical constitution itself provide people with another possible and feasible research approach in addition to the one based on the analysis of works and images.
16
Law, Sophia Suk-mun. "Beingin Traditional Chinese Landscape Painting." Journal of Intercultural Studies 32, no. 4 (August 2011): 369–82. http://dx.doi.org/10.1080/07256868.2011.584615.
Full text
17
Jiaqing, You. "Aesthetic Appreciation of Landscape Oil Painting and Traditional Chinese Landscape Painting." Fine Art Version 2, no. 3 (2020): 61–65. http://dx.doi.org/10.35534/fav.0203011c.
Full text
18
Sun, Jia. "A comparative study on the form and style of landscape painting in the Northern Song Dynasty and Dutch Landscape Painting in the 17th Century." Highlights in Art and Design 1, no. 2 (October 25, 2022): 55–57. http://dx.doi.org/10.54097/hiaad.v1i2.2074.
Full textAbstract:
In the history of Chinese and European painting, landscape painting in the Northern Song Dynasty and Dutch landscape painting in the 17th century have achieved important artistic achievements. Generally speaking, the meaning of comparison is to compare the commonality, difference and mutual influence of paintings produced in different contexts. The purpose of studying and comparing the differences between the two is to take the painting forms of different countries and nations as reference, so as to have a thorough understanding of the forms and styles of the two arts in different times, different regions and different cultural backgrounds.
19
林靜秀, 林靜秀. "中國山水畫提示的大地經驗." 國立彰化師範大學文學院學報 26, no. 26 (November 2022): 073–84. http://dx.doi.org/10.53106/230597612022110026004.
Full textAbstract:
<p>面對科技進步與社會發展造成自然被工業歷程汙染和破壞，究其根源在於人對自然的利用、開發走向宰制關係，東西哲人皆肯定中國山水畫在我們重建人與自然的關係有幫助。中國山水畫畫家提及繪畫是在自然中追尋道，但是沈清松以宇宙論和心靈哲學確立山水畫的理論架構，在自然與道的本體架構下，才能讓我們的心靈從山水畫把握到超越的精神境界。儘管朱利安看似不離這個架構，但是似乎重點落在繪畫的中介角色，以中國山水畫畫面的對立要素經營出之間的活力場域，但是又在開啟之外的秩序聯繫我們與世界回到共同的根源。於是兩位哲學家可以互相參照又互相補充，為我們確立山水畫作為畫面上的部分風景，卻指向超越的整體大地。</p> <p> </p><p>Whether philosophers come from East and West, they all agree the Chinese Landscape painting offers us the hint to rebuild the human-nature relationship. In the Chinese Landscape painting, the painters confess they pursue the Tao in Nature. Vincent Shen constructs the cosmology and the philosophy of mind to explain the experience of the painters. Tao got the priority and transcendental role in the ontological structure. We can appreciate it in the Chinese Landscape painting with our minds and find pleasure in the spiritual realm. Also, François Jullien agrees with the same ontological structure, but he seems to put his focus on the role of the painting. He points out that the opposite elements in the picture can wave and live out the vital field. And, the landscape realizes the reciprocity between the pole of the self and the world, between interiority and exteriority. Among things, the outside plunges us back to the common ground between the world and us. We can combine the thoughts of these two philosophers, and make them refer to and complete each other. According, what we saw in Chinese Landscape painting is just parts of the landscape, but the whole which goes beyond the landscape, that’s the life on Earth.</p> <p> </p>
20
Sun, Zengguo, Haoyue Li, and Xiaojun Wu. "Paint-CUT: A Generative Model for Chinese Landscape Painting Based on Shuffle Attentional Residual Block and Edge Enhancement." Applied Sciences 14, no. 4 (February 9, 2024): 1430. http://dx.doi.org/10.3390/app14041430.
Full textAbstract:
As one of the precious cultural heritages, Chinese landscape painting has developed unique styles and techniques. Researching the intelligent generation of Chinese landscape paintings from photos can benefit the inheritance of traditional Chinese culture. To address detail loss, blurred outlines, and poor style transfer in present generated results, a model for generating Chinese landscape paintings from photos named Paint-CUT is proposed. In order to solve the problem of detail loss, the SA-ResBlock module is proposed by combining shuffle attention with the resblocks in the generator, which is used to enhance the generator’s ability to extract the main scene information and texture features. In order to solve the problem of poor style transfer, perceptual loss is introduced to constrain the model in terms of content and style. The pre-trained VGG is used to extract the content and style features to calculate the perceptual loss and, then, the loss can guide the model to generate landscape paintings with similar content to landscape photos and a similar style to target landscape paintings. In order to solve the problem of blurred outlines in generated landscape paintings, edge loss is proposed to the model. The Canny edge detection is used to generate edge maps and, then, the edge loss between edge maps of landscape photos and generated landscape paintings is calculated. The generated landscape paintings have clear outlines and details by adding edge loss. Comparison experiments and ablation experiments are performed on the proposed model. Experiments show that the proposed model can generate Chinese landscape paintings with clear outlines, rich details, and realistic style. Generated paintings not only retain the details of landscape photos, such as texture and outlines of mountains, but also have similar styles to the target paintings, such as colors and brush strokes. So, the generation quality of Chinese landscape paintings has improved.
21
Lu, Sa. "The Ideological Foundations of Chinese Traditional Landscape Painting Art." Философия и культура, no. 10 (October 2022): 144–57. http://dx.doi.org/10.7256/2454-0757.2022.10.38818.
Full textAbstract:
The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.
22
Hung, Wu. "Ji: Traces in Chinese Landscape and Landscape Painting." Cahiers d'Extrême-Asie 17, no. 1 (2008): 167–92. http://dx.doi.org/10.3406/asie.2008.1275.
Full text
23
Zhu, Beitang, and Jin Zhu. "Application of Intelligent Image Color Technology in Teaching Chinese Painting Color." Security and Communication Networks 2022 (May 10, 2022): 1–12. http://dx.doi.org/10.1155/2022/1942046.
Full textAbstract:
This paper presents an in-depth analysis and research on the application of intelligent image color technology in teaching Chinese painting color. A feature reorganization-based approach to Chinese painting image style migration is proposed. Using the connection between depth features in neural networks and image semantics, the artistic style expression method of traditional Chinese painting is combined with existing methods to match the feature matrix in the generative network by feature reorganization, and finally, the migrated image is generated using a decoder. The texture of the target image is input to the generator as an additional condition, and the discriminator is changed to a relativistic discriminator to build a new generative adversarial network. To demonstrate the effectiveness of the method, a large number of Chinese ink and wash style landscape paintings and natural landscape photos are used as experimental data. The experimental results show that the obtained generated images after style migration are 8% better in realism and quality. An image color intelligent analysis system was designed, which integrates a color classification module, a pigment analysis module, an output saving module, and a pigment sample library to achieve the automatic classification of different color areas in Chinese painting, and ultimately allows a judgment to be made on the most likely pigment to be used for each type of color. In the teaching of Chinese painting, the system can transform the traditional “ear-listening” color transmission through vision into eye perception, which makes the teaching of Chinese painting vivid, arouses the enthusiasm of the classroom, and greatly promotes the color teaching of Chinese painting.
24
Yingchun, Zang. "A view from China: Reflecting back on James Elkins’ Chinese Landscape Painting." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 49–54. http://dx.doi.org/10.1386/jcp_00013_1.
Full textAbstract:
In this article, the author, a scholar based in China, reflects on James Elkins’ book Chinese Landscape Painting. She notes that the development of Chinese art has a complete history. As a cultural system that has grown and developed in a long and relatively isolated state, it has formed a unique philosophical aesthetic thought and a unique form of artistic expression. Chinese landscape painting is a part of this complex and rich cultural system, and it would be meaningless to discuss Chinese landscape painting in isolation from this ever-changing cultural ecology.
25
Tianxiang, Liu, and Sergei M. Budkeev. "Formation Of Artistic Styles In Landscape Painting Of Northern China At The End Of The 20’Th – Beginning Of The 21’St Century." Scientific and analytical journal Burganov House. The space of culture 20, no. 3 (June 30, 2024): 20–29. http://dx.doi.org/10.36340/2071-6818-2024-20-3-20-29.
Full textAbstract:
In 2024, contemporary artists continue to use techniques, forms, and methods of depiction passed down by their predecessors over the centuries. Chinese landscape painting, a separate branch of traditional Guo Hua painting, has always played a significant role in the fine arts of the north of the country. The study of artistic style formation in landscape painting of Northern China towards the end of the 20’th century is complemented by considering two different movements in Chinese traditional painting: salon painting and painting by artists-intellectuals. In addition, the analysis in this article covers examples demonstrating the influence of Soviet landscape painting on the traditional art of Northern China.
26
Xiao, Jie. "Literati Ingredients in the 17th-Century Chinese Christian Paintings." Religions 15, no. 4 (March 22, 2024): 383. http://dx.doi.org/10.3390/rel15040383.
Full textAbstract:
In this paper, the modification methods of the Chinese Christian painting created by the missionaries in the late Ming Dynasty (1573–1644) were analyzed with the Chinese Catholic studies of the “Song nianzhu guicheng” and the “Tianzhu Jiangsheng Chuxiang Jingjie”. After carefully studying the differences between the Chinese Christian painting and the original European version, the study shows that these Chinese Christian paintings were integrated with the Chinese literati paintings’ elements and literati symbols, which include the “Yudiancun” (raindrop texture stroke), “Pimacun” (hemp-fiber texture stroke), “landscape screen” (painted screens with natural landscapes), and the mark of Chinese famous literati such as Dong Qichang. These adjustments conducted by missionaries aimed to make religious paintings more in line with literati aesthetics, which could build connections between the missionaries and the literati community for proselytization. However, the missionaries neglected that the literati community certainly would not sacrifice the existing social order and the vested interest brought by the current Confucian culture to support new ideas of “liberty” and “equality” in the Catholic doctrine, which caused a huge setback in the missionary work since the Nanjing Teaching Case in 1616. This research makes significant contributions to the understanding of cultural exchanges in the 17th century through a detailed exploration of the adjustments made by missionaries in the visual representations within Chinese Catholic literature.
27
Chang, Rui. "Interpretation of the symbols of "snow painting" in Chinese art as a reflection of the process of changes in national religious, philosophical and aesthetic concepts." Культура и искусство, no. 12 (December 2023): 166–76. http://dx.doi.org/10.7256/2454-0625.2023.12.69274.
Full textAbstract:
The article examines the symbolism of "snow painting" in the context of the development of a range of motifs and means of artistic expression, techniques of execution, which artists have chosen since the inception of this type of landscape genre to the modern situation. This analysis is implemented in the context of changes in the reception and reflection of elements of winter species caused by transformations in the worldview of people of a particular era occurring in the socio-cultural sphere. The object of research is the winter landscape in Chinese painting of the III – late XX century. The subject of the study is the symbolic system in the construction of artistic space in the winter landscape in Chinese painting of the specified period. The purpose of the study is to determine the features of spatial worldview in the "snow painting" of China in the context of national aesthetic and philosophical ideas. The research methodology is interdisciplinary and includes the study of the organization of space and the interpretation of its symbolic content in the paintings of Chinese landscape painters who turned to the image of winter and the motif of snow at different historical stages. When considering and analyzing works of Chinese painting, the iconographic method and stylistic analysis are used. The novelty of the study lies in the fact that it clarifies the concept of "snow painting" in the context of the development of Chinese fine art, identifies the circle of authors who addressed it, establishes a certain continuity in the artistic, stylistic and compositional techniques used by them, as well as the philosophical and aesthetic concepts behind them. The latter are directly related to the specifics of creating such works, as well as the means of modeling space by artists, which is revealed in the conclusions of the study. Within the framework of the analysis, the range of frequently used motifs and images is determined, their interpretation of the symbolic meanings associated with them are proposed. Snow in such painting is considered as a symbol of beauty, loyalty, nobility, as well as part of the "emptiness" in the artistic space of the painting.
28
Wang, Yiqun. "Bodily Contemplation: On the Question of the Truth of the Perception of Physical Objects in Chinese Landscape Painting." RUDN Journal of Philosophy 25, no. 2 (December 15, 2021): 298–310. http://dx.doi.org/10.22363/2313-2302-2021-25-2-298-310.
Full textAbstract:
This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.
29
Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.
Full textAbstract:
AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.
30
Wang, Feng, and Mengyang Cheng. "The Status and Changes of the Relationship between Ink and Color in Traditional Landscape Painting." Highlights in Art and Design 5, no. 3 (April 27, 2024): 20–26. http://dx.doi.org/10.54097/64jnn757.
Full textAbstract:
Color has always played a key role in the evolution of Chinese painting history. With the rise of ink painting and the development of literati painting, the expression of landscape painting gradually transformed, green and heavy colors gradually lost their dominant position, and ink painting gradually became the dominant style in the Chinese painting world, with the use of color gradually weakening. Especially in the Song and Yuan Dynasties. The change and application of color in landscape painting is in line with the changes in society and aesthetic concepts, reflecting the aesthetic interests and cultural backgrounds of different times.
31
Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.
Full textAbstract:
In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.
32
Ma, Xinquan, Xiaofang Yao, and Kwon Hwan. "Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3344–51. http://dx.doi.org/10.18001/trs.7.5.1.109.
Full textAbstract:
Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.
33
Törmä, Minna. "Chinese Landscape Painting as Western Art History." Konsthistorisk Tidskrift/Journal of Art History 80, no. 3 (September 2011): 184–86. http://dx.doi.org/10.1080/00233609.2011.583679.
Full text
34
Yu, JinHui, GuoMing Luo, and QunSheng Peng. "Image-based synthesis of Chinese landscape painting." Journal of Computer Science and Technology 18, no. 1 (January 2003): 22–28. http://dx.doi.org/10.1007/bf02946647.
Full text
35
Fan, Qi. "Viewing the Characteristics of Chinese Landscape Painting from Guo Xi’s “San Yuan Method”." International Journal of Arts and Humanities Studies 4, no. 1 (January 29, 2024): 19–22. http://dx.doi.org/10.32996/ijahs.2024.4.1.4.
Full textAbstract:
The Song and Yuan Dynasties are considered a period when art theory and practice reached a very high level. Among them, painting, as an important category, has great potential. Guo Xi, a painter and theorist of the Song Dynasty, proposed “The San Yuan Method” (means three artistic principles: high, far-reaching and flat), which was compiled into a collection by his son and included in Lin Quan Gao Zhi (the elegance of the bamboo and spring), becoming an important theoretical work in the history of Chinese painting. This article will start from the theoretical foundations of "high", "far-reaching", and "flat" and use specific text analysis and theoretical exposition methods to analyze the painting characteristics of Chinese landscape painting influenced by the " San Yuan Method". The aim is to analyze the creative purpose of landscape painting and appreciate Lin Quan’s heart (Lin Quan's heart is the view put forward by Guoxi, a landscape painter in the Song Dynasty; that is, landscape painters should have an aesthetic mind when observing and painting).
36
Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
Full textAbstract:
The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
37
Lu, Sa. "The role of the "plum blossom" in the development of traditional landscape painting in China." Философия и культура, no. 7 (July 2022): 139–47. http://dx.doi.org/10.7256/2454-0757.2022.7.38534.
Full textAbstract:
The article analyzes the works of Chinese artists of various historical eras who used a stylistic and thematic direction with the image of a plum blossom. The artists' appeal to images of nature to convey feelings and experiences contributed to the emergence of this image and its formation as a symbol of steadfastness and inflexibility of character. Thus, the subject of the proposed study is Chinese painting, the object is the formation of such a common motif as a plum blossom. The purpose of this publication is to determine the main types of images of this image in Chinese traditional painting in the time interval from the VI century to the end of the XIV century — the most fruitful period of its formation and development. Plum blossom is of greater importance in the development of traditional landscape painting in China. For almost a millennium, the interpretation, compositional solution, as well as the technique of depicting this image have changed. The author's contribution to the development of the problem is a comprehensive analysis of images of plum blossoms in landscape paintings by Chinese artists of various historical eras, as well as the characteristics of the process of evolution and the features of the embodiment of this image. The paper traces the origins of this plot in the art works of Chinese artists, analyzes the processes of change and development of images, and characterizes the specifics of its external expression and internal content.
38
Hung, Chia-Ching. "A study on a content-based image retrieval technique for Chinese paintings." Electronic Library 36, no. 1 (February 5, 2018): 172–88. http://dx.doi.org/10.1108/el-10-2016-0219.
Full textAbstract:
Purpose The purpose of this study is to build a database of digital Chinese painting images and use the proposed technique to extract image and texture information, and search images similar to the query image based on colour histogram and texture features in the database. Thus, retrieving images by this image technique is expected to make the retrieval of Chinese painting images more precise and convenient for users. Design/methodology/approach In this study, a technique is proposed that considers spatial information of colours in addition to texture feature in image retrieval. This technique can be applied to retrieval of Chinese painting images. A database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. The authors develop an image-retrieval technique that considers colour distribution, spatial information of colours and texture. Findings In this study, a database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. An image-retrieval technique was developed that considers colour distribution, spatial information of colours and texture. Through adjustment of feature values, this technique is able to process both landscape and portrait images. This technique also addresses liubai (i.e. blank) and text problems in the images. The experimental results confirm high precision rate of the proposed retrieval technique. Originality/value In this paper, a novel Chinese painting image-retrieval technique is proposed. Existing image-retrieval techniques and the features of Chinese painting are used to retrieve Chinese painting images. The proposed technique can exclude less important image information in Chinese painting images for instance liubai and calligraphy while calculating the feature values in them. The experimental results confirm that the proposed technique delivers a retrieval precision rate as high as 92 per cent and does not require a considerable computing power for feature extraction. This technique can be applied to Web page image retrieval or to other mobile applications.
39
Leung, Wai-yu. "Two Sides of Landscape in Ink-wash Painting: Chinese Landscape Painting in Expressive Arts Practice." Creative Arts in Education and Therapy 6, no. 2 (February 1, 2021): 209–20. http://dx.doi.org/10.15212/caet/2020/6/23.
Full text
40
Chai, David. "Shitao and the Enlightening Experience of Painting." Dialogue and Universalism 31, no. 3 (2021): 93–112. http://dx.doi.org/10.5840/du202131347.
Full textAbstract:
Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.
41
Ma, Caixia. "Morphological Structural Element Optimization for Automatic Line Characterization of Ink Drawings." Security and Communication Networks 2022 (May 11, 2022): 1–7. http://dx.doi.org/10.1155/2022/8595203.
Full textAbstract:
As a traditional Chinese art, the tools of Chinese ink painting are mainly brushes, ink, and rice paper and ink stone. As an important form of ink painting, ink landscape painting consists of ink lines that first outline the overall trend of the mountain and then complete the basic process of painting with rich chapping techniques. The article proposes a process to draw water animation based on Chinese painting style; this method first perceives the position of water form in Chinese painting and enhances it by morphological structural elements used to automatically draw the line feature analysis of ink painting; next, the image rendering technique is used to render the water form, firstly using BF for noise removal processing and then gradienting by Canny edge detection operator to get the gradient amplitude. Next, morphological optimization is applied, and finally the image is visualized. In the process of morphological optimization, the optimal parameters of the structural elements are found through the threshold segmentation number, and the rendering algorithm for ink-based landscape painting is explored in depth, starting from the ink lines. The results reveal that the method is more accurate than typical marker-watershed algorithm segmentation, and that changing different structural elements and their parameters has a bigger impact on the ink painting drawing effect.
42
Liu, Mingxuan. "The Image of a City in Chinese Landscape Painting a Scientific Discourse in Chinese Historiography." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 117–29. http://dx.doi.org/10.33625/visnik2022.01.117.
Full textAbstract:
The article analyzes the phenomenon of the urban landscape, which is a notable phenomenon in modern Chinese art history. In this direction, the researchers consider not only the genre originality of the urban landscape, but also artistic models of the representation of the city image in painting. The urban landscape acquires independent forms within the framework of Chinese art through comparative practices of matching and comparison with Western artistic genesis. Already in the early 2000s, Chinese art historians were actively looking for new models for presentation of traditional art. At the same time, their desire to preserve traditional artistic achievements necessitated the identification of innovative and modern forms of Chinese art, which became notable artistic phenomena during the second half of the twentieth century. In Chinese “urban” painting, one of the central themes is the issue of modernization, which develops from two perspectives: a) urbanistic, which is aimed at the artistic generalization of various forms of urban life and landscape; b) in the direction of retro, which expresses a steady interest in the images of “old” China — urban landscapes and pictures of urban life, representing the aesthetics of the disappearance of traditional “small” China towns. For the current stage of development of fine arts in China, the image of the city in the context of regionalism and ethnic specificity is of great importance. The images of the city are directly related to the characteristic models of visual representation of the regions of China. Regions differ both in ways and norms of life (for example, small towns and conglomerate metropolitan areas) and in the variety of landscapes (for example, sea-side, mountain and plain). This factor is the cause of additional difficulties in defining the urban landscape as a genre of art. Certain features are analyzed on the example of the works of such outstanding masters of Chinese fine arts Yan Wanliang and Dai Shihe.
43
WANG, Shiru, and Ion SANDU. "THE INFLUENCE OF POLITICAL EVENTS AND IDEOLOGY ON THE FORMATION OF THE PICTURE CONCEPT OF DUNHUANG CAVES FRESCOS." International Journal of Conservation Science 14, no. 4 (December 15, 2023): 1443–62. http://dx.doi.org/10.36868/ijcs.2023.04.13.
Full textAbstract:
The article is devoted to an analysis of the figurative concepts of the Dunhuang cave wall paintings. It was determined that, despite the fact that the Dunhuang wall painting is an example of Buddhist art, it represents a syncretism of Buddhism and local beliefs—Taoism and Confucianism—which manifested itself in the depiction of characters from Buddhism and Taoism in one plot. Dunhuang cave murals are not uniform in style and execution techniques. Its genesis testifies that in the early stages it was a literal borrowing of the ancient Indian traditions of Buddhist mural painting; instead, there was a gradual layering of local painting techniques from the Central Plains of China. This led to the diversification of cave wall paintings of later periods and eventually led to the formation of a specific stylistic direction of "Chinese secular Buddhism," in which realistic painting plays an important role—the portrait genre of benefactors and the landscape genre of "mountains and waters."
44
Wang, Chao, and Xuqian Ni. "THE RELATIONSHIP BETWEEN THE HISTORICAL DEVELOPMENT OF MUSTARD GARDEN SHAN SHUI AND CHINESE TRADITIONAL CULTURE." Herança 6, no. 1 (August 25, 2023): 169–83. http://dx.doi.org/10.52152/heranca.v6i1.769.
Full textAbstract:
Landscape holds an important position in the entire history of Chinese painting. Since the Wei and Jin Dynasties, there have been many unique Shan shui. Although the characteristics of landscape styles vary in different periods and genres are diverse, the freehand brushwork spirit and artistic conception of traditional Chinese landscapes have always permeated through them. Chinese traditional landscape is a kind of art form with national characteristics and Zeitgeist connotation gradually formed through historical evolution in the process of social development and progress. This paper will start with the development process of mustard landscape and the inheritance of traditional culture, study the impact of mustard landscape on traditional culture, Zeitgeist, industry and self personality, and explore the innovative development path and significance of Chinese contemporary landscape. Relevant studies not only analyzed the reasons why landscape was widely spread in China, but also profoundly revealed the relationship between mustard garden landscape and Chinese traditional culture, and concluded that mustard garden Shan shui not only inherits Chinese culture, but also has a profound impact on Chinese culture and Chinese people's spirit, with solid theoretical research value and historical research value.
45
GUO JIN YU. "About the Chinese «School of Southern Landscape Painting»." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 2-1 (2022): 376–83. http://dx.doi.org/10.37485/1997-4663_2022_2_1_376_383.
Full text
46
Yang, Fei. "Individual Approaches of Chinese Artists to Landscape Painting." Университетский научный журнал, no. 61 (2021): 265–79. http://dx.doi.org/10.25807/22225064_2021_61_265.
Full text
47
Shaw, Miranda. "Buddhist and Taoist Influences on Chinese Landscape Painting." Journal of the History of Ideas 49, no. 2 (April 1988): 183. http://dx.doi.org/10.2307/2709496.
Full text
48
Xu, Tingting. "The Landscaped Folds." Archives of Asian Art 73, no. 2 (October 1, 2023): 201–32. http://dx.doi.org/10.1215/00666637-10927914.
Full textAbstract:
Abstract Most of Gong Xian's (1618–1689) long landscape handscrolls were originally structured as accordion albums. This article discusses the morphology and metamorphosis of the accordion folds as a painting format, and rethinks the issues of surface, depth, and depths of Chinese landscape from the perspective of the painter's conception of his work. In the process of landscaping the folds—as opposed to folding the landscapes, Gong Xian subordinated painting to discernable methodologies and sensitives that are inherently related to the folds. The accordion folds were not merely an environmental reference to the representation, but a painter's choice, an authorial impetus and method that effectuated the representation, and an act that realized a work in space. I argue that for Gong Xian, it was not the landscape per se but the painting format that was being represented. Meanwhile, I correlate the issue of format metamorphosis with the increasing ekphrasis in the painting treatises and catalogs compiled in early-modern and modern China to understand image, format, and discourse in a trilateral framework.
49
Li, Jianbo, and Yihan Jia. "The Artistic Form and Language Characteristics of Bai Yuping’s Painting Texture." Art and Society 2, no. 4 (August 2023): 1–5. http://dx.doi.org/10.56397/as.2023.08.01.
Full textAbstract:
As a representative of the ‘Northern School’ of Chinese landscape painting, Bai Yuping is adept at using extremely thick and thin texture to record the great rivers and mountains of his country, ultimately creating a strong contrast in the picture, creating a special visual sensation for the viewer and creating an emotional resonance between himself and the viewer. Due to Bai Yuping’s special organisation and use of the language of texture gives his landscapes a special charm. On the one hand, this charm is due to the episodic effect of the writing brushstrokes, which to a certain extent breaks down some of the compositional elements of the original picture and expresses his personal emotions; on the other hand, Bai Yuping uses a combination of paint and brushstrokes to express the texture. These two aspects are important features of his language of texture, and the use of texture in his paintings gives his work a certain aesthetic expression of imagery, which has an important influence on his unique artistic language and individual expression. Through the analysis and study of the use of texture language by Mr. Bai Yuping, one can give new blood to one’s landscape oil paintings, inject new ideas into one’s works, and gain certain insights from them, so that one can better apply them to one’s own landscape oil paintings.
50
Hillier, Jean, and Kang Cao. "Deleuzian Dragons: Thinking Chinese Strategic Spatial Planning with Gilles Deleuze." Deleuze Studies 7, no. 3 (August 2013): 390–405. http://dx.doi.org/10.3366/dls.2013.0119.
Full textAbstract:
As symbols of adaptability and transformation, together with qualities of vigilance and intelligence, we argue the relevance of dragons for spatial planning in China. We develop a metaphorical concept – the green dragon – for grasping the condition of contemporary Chinese societies and for facilitating the development of theories and practices of spatial planning which are able to face the challenges of rapid change. We ask Chinese scholars and spatial planners to liberate Deleuzian potential for strategic spatial planning in a ‘becoming-between, coming-together’ of concepts which can effectively make a difference in the world. Having outlined what we regard as key transversals or diagonals between our reading of Gilles Deleuze and aspects of Chinese philosophy, we then offer the metaphor of strategic spatial planning as Chinese literati landscape painting. This is a form of painting which rejects the idea of the world being supremely organised from a particular point of view, preferring to paint immanence and transformation. Chinese literati landscape paintings, like philosophy and strategic spatial planning, ‘look only at the movements’. We conclude that connections between what concepts of Chinese philosophy and those of Gilles Deleuze can do, suggest that in China, a conception of strategic spatial planning as metaphorical green dragon may offer academics and planning practitioners a transverse way to relate the legacies of past philosophies and current thinking.