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Relevant bibliographies by topics / Chinese Painting

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Academic literature on the topic 'Chinese Painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Chinese Painting"

1

Zhou, Zhensheng. "Image Thinking and Modeling of Chinese Painting." Scientific and Social Research 6, no. 3 (March 30, 2024): 242–47. http://dx.doi.org/10.26689/ssr.v6i3.6435.

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As the essence of Chinese traditional culture, Chinese painting is distinguished from other paintings by its unique art form and expression technique. Among them, image thinking and image modeling are the soul of Chinese painting, which is an important way to express the artist’s unique feelings and thoughts, and also the source of the unique charm of Chinese paintings. Therefore, this paper mainly explores the image thinking and modeling of Chinese painting, and its importance, and analyzes the application of image thinking and modeling in Chinese painting.

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Feng, Jiarui. "The Spirit of Freehand Brushwork in Chinese Oil Painting." Pacific International Journal 6, no. 1 (March 31, 2023): 56–60. http://dx.doi.org/10.55014/pij.v6i1.306.

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Freehand Brushwork is a unique artistic language in Chinese painting and calligraphy, celebrated for its ability to express emotion and spirit in the process of artistic creation. This paper aims to explore the spiritual connotation and artistic aesthetics of Freehand Brushwork oil paintings, and to examine the use of traditional Chinese Freehand Brushwork techniques in the expression of Western painting. By reconstructing the language of oil painting expression with traditional Chinese techniques, the paper seeks to investigate the Freehand Brushwork spirit of Chinese oil painting, which is deeply rooted in the Chinese idea of the 'unity of heaven and man' and 'respect for individuals'. The paper presents a critical analysis of the aesthetic and expressive features of Freehand Brushwork oil paintings, shedding light on the unique artistic characteristics of Chinese oil painting that distinguishes it from other painting styles. This paper contributes to the understanding and appreciation of Freehand Brushwork oil paintings and serves as a guide for artists seeking to master the Freehand Brushwork techniques in their artistic creations.

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Fan, Wenwei. "Analysis of the Artistic Characteristics of Literati Paintings." International Journal of Education and Humanities 11, no. 1 (October 19, 2023): 170–74. http://dx.doi.org/10.54097/ijeh.v11i1.13092.

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As a unique form of Chinese traditional painting, literati painting has its own distinctive features and far-reaching influence compared with other schools. Through the combination of literati painting with nature, personal feelings and social environment, it expresses the unique artistic style and unique aesthetic concept. At the same time, the literati paintings also reflect the extensive knowledge and noble sentiment of the Chinese literati and officialdom, and carry a wealth of historical and cultural connotations. It is believed that the active study and inheritance of literati paintings will promote the development and innovation of Chinese painting and contribute more wonderful works and ideas to the art world. This article through to the literati painting origin, the main style characteristic and the creation theme thorough analysis, demonstrated the literati painting in the Chinese traditional painting unique status and the importance.

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Yang, Zeyin. "Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management." Mathematical Problems in Engineering 2022 (August 8, 2022): 1–9. http://dx.doi.org/10.1155/2022/3237282.

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Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture and painting. For the interoperability between sculpture and painting artworks, artists only rely on professional knowledge and aesthetic ability to discover some interoperability in patterns, colors, and lines, which is insufficient for understanding Chinese sculpture and painting. This study designs a novel hybrid CNN-LSTM method to study the interoperability of Chinese sculptures and paintings in terms of patterns, colors, lines, and cultural information. CNN can extract patterns, colors, and line features of Chinese paintings and sculptures. The cultural characteristics of Chinese sculptures have obvious temporal characteristics, which can be mined by LSTM technology. The research results show that the hybrid CNN-LSTM method has good feasibility and accuracy in studying the interoperability of traditional Chinese sculpture and painting. In terms of average error, the largest error is only 3.03% and this part of the error comes from the prediction of Chinese sculpture and painting cultural information. All other features of traditional sculpture and painting are predicted to be within 3%. For the prediction of color features, the error is only 1.13%. Prediction errors for patterns, colors, and lines are within acceptable limits.

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Chen, Bingquan. "Classification of Artistic Styles of Chinese Art Paintings Based on the CNN Model." Computational Intelligence and Neuroscience 2022 (August 30, 2022): 1–7. http://dx.doi.org/10.1155/2022/4520913.

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People’s appreciation needs of Chinese paintings have gradually increased. The research on automatic classification and recognition of Chinese painting artistic style and its authors have great practical value. This study presents a Chinese painting classification algorithm with higher classification accuracy and better robustness. Using a convolutional neural network (CNN) to extract the features of Chinese painting, the image features of Chinese painting are extracted by fine-tuning the pretrained VGG-F model. The mutual information theory is introduced into embedded machine learning, so that the embedded principle is affected by feature selection and feature importance. An embedded classification algorithm based on mutual information is proposed, and Chinese painting is classified.

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

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With unique aesthetic value, snowy landscapes are one of the most important subjects in Chinese painting. Due to their purity, elegance, serenity, simplicity and cold charm, snow scenes have been the focus of artists and scholars from long ago. The artistic features and cultural connotations of Chinese snow paintings have attracted the attention of many Chinese and Russian scholars. However, there is no typological study of snow landscape in their works. In this regard, the authors consider it necessary to actualize this topic. The article provides historical information about the study of snowy landscape, the history of Chinese painting masters’ appeal to this theme. The classification of snow painting depending on seasons, geographical regions of China, atmospheric phenomena, and themes is offered. The authors suggest their definition of the concept of “Chinese snow landscape” and the author’s classification of the content of snow paintings. The paper applies a typological approach to the analysis of “snow” scenes, and examines the development of traditional Chinese aesthetic contexts from ancient artistic codes to contemporary theories. Outstanding examples of snow landscape painting are presented. Snow painting is an important medium of Chinese cultural heritage that demonstrates the diversity and richness of Chinese culture. The given overview of China’s snow scene painting as a phenomenon in the work of Chinese artists can serve as a basis for further in–depth studies.

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Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.

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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.

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Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.

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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.

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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.

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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

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Zhang, Hao. "A Comparative Study on the Painting Forms of Western Oil Painting and Chinese Ink Painting." American Journal of Arts and Human Science 3, no. 2 (May 15, 2024): 39–45. http://dx.doi.org/10.54536/ajahs.v3i2.2778.

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Since modern international students introduced oil painting on a large scale to China, oil painting has been developing in China for over a hundred years. In citing the process of progress, learning, integration, and improvement, the change in titles from “Western painting” and “Western painting” to “oil painting” and then to “Chinese oil painting” indicates that oil painting, as an art form, has deeply embodied the characteristics and connotations of traditional Chinese culture. During this period, its development is closely related to the historical background of the entire China, reflecting the continuation and evolution of traditional Chinese freehand brushwork spirit in the complex and changing context of the times. This article compares oil paintings imported from abroad with domestic ink painting, taking the artistic realm of painting in both the East and the West as the starting point. The main axis that runs through them is Chinese ink painting and Western oil painting landscapes. Showcasing the similarities and differences between Chinese ink wash landscape painting and Western oil painting landscapes, Chinese landscape painting emphasizes the expression of emotions and a sense of awe and emotion towards nature, with the main idea of “learning from nature”; The Western oil painting landscape emphasizes the realism of the scenery, which is a re-creation of nature, allowing people to have a realistic feeling of being there when watching the painting. The main reason there are these differences between Chinese ink painting and Western oil painting landscapes is due to different social and cultural backgrounds and fields of consciousness.

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Dissertations / Theses on the topic "Chinese Painting"

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Ng, Yuk-lan, and 吳玉蘭. "Sesshu and Chinese academic painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hdl.handle.net/10722/210304.

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Ng, Yuk-lan. "Sesshu and Chinese academic painting." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20565653.

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Deng, Weixiong. "The influences of the Sung academy of painting on Chinese painting Song dai han lin tu hua yuan dui Zhongguo hui hua de ying xiang /." Click to view the E-thesis via HKUTO, 1985. http://sunzi.lib.hku.hk/hkuto/record/B31948868.

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Lu, Yang. "Tour Into Painting : System Design for Virtual Exhibition of Chinese Hand-Scroll Painting." Thesis, Ecole centrale de Nantes, 2022. https://tel.archives-ouvertes.fr/tel-03921024.

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La peinture chinoise à rouleau (CHSP) est une forme de peinture chinoise typique. La manière correcte de regarder une CHSP est de la faire défiler à la main. Regarder une CHSP est considéré comme une expérience fantastique de visite dans son monde diégétique. Dans les expositions actuelles de CHSP, ces points ne sont pas bien représentées. Premièrement, la plupart des CHSP sont présentés dans des boîtes en verre. Les spectateurs ne peuvent pas les manipuler en les faisant défiler. Deuxièmement, l'expérience de la visite d'une peinture n'est interprétée que par de simples annotations. Les spectateurs ne peuvent pas acquérir une expérience complète à partir de ces annotations. Cette recherche a exploré l'utilisation de la réalité virtuelle (RV) pour combler ces lacunes. L'objectif de cette recherche est de développer un système d'exposition basé sur la RV, qui peut simuler de manière synchrone l'expérience de visualisation de l'ancien spectateur dans le monde réel et l'expérience de visite dans le monde diégétique. Le système est présenté comme une application de RV qui comprend une CHSP interactive qui peut être manipulé selon les principes originaux. De manière synchrone, l'utilisateur de la RV sera déplacé en fonction de son point de focalisation sur la CHSP virtuelle, puis un monde diégétique englobant et aléatoire sera construit
The Chinese Hand-Scroll Painting (CHSP) is a typical Chinese painting form. The proper way to view a CHSP is scrolling it by hands. Watching a CHSP is considered as a fantasy experience of touring in its diegetic world. In current exhibitions of CHSPs, these points are not well represented. First, most of CHSPs are presented in glass boxes. Viewers can not manipulate it in scrolling manner. Second, the experience of touring into painting is only interpreted by simple annotations. Viewers can not gain a full experience based on them. This research aims to implementing these shortcoings by developing a VR-based exhibition system, which can synchronously simulate the ancient viewer's viewing experience in the real world and the touring experience in the diegetic world. The system is presented as a VR application that includes an interactive CHSP that can be manipulated according to the original principles. In a synchronous way, the VR user will be moved according to his focus point on the virtual CHSP, and then, an encompassing, random diegetic world will be built

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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.

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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century. In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou. These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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Shao, Yiyang, of Western Sydney Nepean University, Faculty of Visual and Performing Arts, and Department of Art History and Criticism. "Major trends in contemporary Chinese painting." THESIS_FVPA_SD_Shao_Y.xml, 1996. http://handle.uws.edu.au:8081/1959.7/531.

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Three major trends are evident in Chinese ink painting: academic reformism, modernism and neo-traditionalism. While reformists are calling for stylistic freedom and a return to humanism, modernists seek the adoption of Western modes of thought and practice to develop and reform Chinese tradition. The new literati painting which has seen a resurgence of innovative theory and technique of an indigenous Chinese painting tradition distinguishes neo-traditionalism. Many scholars believe that developments in Chinese painting represent a decline in the history of Chinese art but, in this authors’ opinion, this has been a period of transformation in aesthetic conception and expression. Chinese ink painting, which is still the dominant stream in twentieth century Chinese art and a continuation of its development, can be seen in the work of many contemporary artists. It is more than likely that the pluralism in contemporary Chinese art discussed in this thesis will continue although the forms it takes will to some extent be determined by political and economic factors. It is unlikely that contemporary Chinese art will totally reject the established cultural and aesthetic systems and establish a new one, based on the Western system. The traditions of Chinese culture remain strong, and it appears much more probable that an internal ‘re-shaping’ of both indigenous and imported elements will result in an artistic tradition that remains distinctively ‘Chinese’ as well as contemporary
Master of Arts (Hons)

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Yiyang, Shao. "Major trends in contemporary Chinese painting /." View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125119/index.html.

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Shu, Jo-Lan. "Calligraphy as a developmental tool for Chinese painting /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1329.pdf.

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Shen, Cheen. "The transformation of line, shape and intention in Chinese painting since Xu Beihong and Lin Fengmian." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/272.

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The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. The dissertation proposes that Chinese painting has undergone two stages of critical transformation that are worthy of notice: the first occurring in the chaotic situation during Wei Jin North and South Dynasty in the third century, and the second stage lasting from the beginning of the 20th century till now.

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Erickson, Britta Lee. "Patronage and production in the nineteenth-century Shanghai region Ren Xiong (1823-1857) and his sponsors /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9714107.

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Books on the topic "Chinese Painting"

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Cahill, James. Chinese painting. [Geneva?]: Booking International, 1995.

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Liu, Lucy. Chinese painting. [United States?]: Xlibris Corp., 2009.

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Ting, Francisca. Chinese painting. New York: Dover Publications, 1991.

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Deng, Ming. Chinese painting. Pleasantville, N.Y: Reader's Digest Association, 2009.

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Cahill, James. Chinese painting. New York: Rizzoli, 1985.

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Lai, T. C. Chinese painting. Hong Kong: Oxford University Press, 1992.

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Edmund, Capon, ed. Chinese Painting. Richmond): Tiger Bks.Internat., 1989.

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Lai, T. C. Understanding Chinese painting. New York: Schocken Books, 1985.

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Self, Caroline. Chinese brush painting. Rutland, Vt: Tuttle, 2007.

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Wang, Lucy. Chinese brush painting. Laguna Hills, Calif: Walter Foster Pub., 2002.

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Book chapters on the topic "Chinese Painting"

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Lianhai, Wang. "Carving and Painting." In Chinese Handicrafts, 1007–51. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5379-8_13.

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Ebrey, Patricia. "Court Painting." In A Companion to Chinese Art, 27–46. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch1.

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Murck, Alfreda. "Words in Chinese Painting." In A Companion to Chinese Art, 455–73. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch22.

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Wang, Li. "Onomatopoeia and scene-painting." In Modern Chinese Grammar IV, 37–53. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003313588-5.

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Jiang, Shuqiang, and Tiejun Huang. "Categorizing Traditional Chinese Painting Images." In Advances in Multimedia Information Processing - PCM 2004, 1–8. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-30541-5_1.

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Lee, De-Nin Deanna. "Chinese Painting: Image-Text-Object." In A Companion to Asian Art and Architecture, 561–79. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch23.

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Hoi-chiu, Tang. "The Art of Chinese Painting." In The Routledge Encyclopedia of Traditional Chinese Culture, 210–20. Abingdon, Oxon ; New York : Routledge, [2019]: Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-12.

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Man, Eva Kit Wah. "Experimental Painting and Painting Theories in Colonial Hong Kong (1940–1980): Reflections on Cultural Identity." In Chinese Contemporary Art Series, 47–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_7.

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Sun, Meijun, Zheng Wang, Liangeng Zhao, and Gaojun Ren. "GPU Based 3D Chinese Painting Animation." In Advances in Intelligent and Soft Computing, 763–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-29455-6_103.

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Yun-Jie, Pang, and Zhong Hui-Xiang. "Drawing Chinese Traditional Painting by Computer." In Modeling in Computer Graphics, 321–28. Tokyo: Springer Japan, 1991. http://dx.doi.org/10.1007/978-4-431-68147-2_20.

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Conference papers on the topic "Chinese Painting"

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Li, Wenxiu. "Chinese Literati Painting." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.136.

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Liang, Hao, Shuai Yang, Wenjing Wang, and Jiaying Liu. "Instance-Aware Coherent Video Style Transfer for Chinese Ink Wash Painting." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/114.

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Recent researches have made remarkable achievements in fast video style transfer based on western paintings. However, due to the inherent different drawing techniques and aesthetic expressions of Chinese ink wash painting, existing methods either achieve poor temporal consistency or fail to transfer the key freehand brushstroke characteristics of Chinese ink wash painting. In this paper, we present a novel video style transfer framework for Chinese ink wash paintings. The two key ideas are a multi-frame fusion for temporal coherence and an instance-aware style transfer. The frame reordering and stylization based on reference frame fusion are proposed to improve temporal consistency. Meanwhile, the proposed method is able to adaptively leave the white spaces in the background and to select proper scales to extract features and depict the foreground subject by leveraging instance segmentation. Experimental results demonstrate the superiority of the proposed method over state-of-the-art style transfer methods in terms of both temporal coherence and visual quality. Our project website is available at https://oblivioussy.github.io/InkVideo/.

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Girshick, Ross B. "Simulating Chinese brush painting." In ACM SIGGRAPH 2004 Posters. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1186415.1186442.

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Luo, Peixiang, Jinchao Zhang, and Jie Zhou. "High-Resolution and Arbitrary-Sized Chinese Landscape Painting Creation Based on Generative Adversarial Networks." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/695.

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This paper outlines an automated creation system for Chinese landscape paintings based on generative adversarial networks. The system consists of three cascaded modules: generation, resizing, and super-resolution. The generation module first generates a square-shaped painting, then the resizing module predicts an appropriate aspect ratio for it and performs resizing, and finally the super-resolution module is used to increase the resolution and improve the quality. After training each module with the images we collected from the web, our system can create high-resolution landscape paintings in arbitrary sizes.

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

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As we all know, material civilization and spiritual civilization depend on three factors: race, environment, and times. [1] As a kind of culture, modern Chinese landscape painting has undergone new changes, mainly because the "soil" and "climate" on which it depends for survival have changed. In order to clarify how the changes of modern Chinese landscape painting in recent years are affected by three factors, this article will take the modern Chinese landscape painting as the research object, and study its influence on modern Chinese landscape painting from three aspects: race, environment, and times. The author hopes that this article can provide a reference for the future development of Chinese landscape painting.

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Jia, Ruo. "Cloud as an Alternative Architecture." In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.45.

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In A Theory of /Cloud/ (1972), the cloud, or rather, the graph of cloud, served as the entry point of the French art historian and theorist Hubert Damisch (1928-2017) in his understanding of the limits of Western art and art history as framed since the Renaissance. Here he initiated another possibility of painting—a “theory” of painting, which he simultaneously termed “a history of painting”—by concluding the book with an examination of Chinese landscape painting. Participating in the sinophelia of French intellectuals that accompanied the Chinese Cultural Revolution launched by Mao, Damisch’s turn represented his philosophical initiative to reflect on and shift away from Western metaphysics, especially from the negative dialectics of Hegel, and towards a different architecture based on a harmonious and positive materialist dialectic inspired by Chinese Taoist and Chan Buddhist philosophy. Here, in Damisch’s “reinvention” of Chinese painting, the cloud not only literally entered paintings to negotiate the intertextuality of mountain and water, ink and brush, and even that of the painter and painting, but also to fill the role of the materialist body in a different perspective of world formation—as the breath, the one movement that sustains or constitutes all life. In Damisch’s vision, such a cloud even leads to a different kind of architecture, one that counters the philosophical metaphor of architecture as the stability of the arche, the subject, the essence, or any anchored center. The cloud and its philosophical architectural alternative also contribute to a reflection on the very physicality of architecture, leading to the formation of an architecture in absentia, to which Damisch was to return in 2003 when discussing Diller+Scofidio’s Blur Building (2002), as well as the Chinese architecture of the Ming Dynasty.

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"The Influence of Soviet Oil Painting on Chinese Oil Painting." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29103.

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Lin, Weiran. "The Difference of the Symbolism between Chinese Painting and Western Painting." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.128.

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"Artistic Expression of Traditional Chinese Painting." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.52.

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Chang, Rong, and Jingran Wang. "Painting Style Alignment: Restoration of Ancient Chinese Landscape Paintings Driven by Aesthetic Cognition and Aesthetic Computation." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003264.

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Abstract:

Painting style alignment is critical for ancient painting restoration. To reduce the aesthetic cognition conflicts between human and artificial intelligence in Chinese landscape painting restoration, we propose a new research paradigm, joint aesthetic cognition, which aligns painting style in three stages: descriptive painting style based on human aesthetic cognition, predictive painting style with AI aesthetic computation, and prescriptive restoration test via human-AI collaboration. To keep interaction of these stages continuous, a hybrid research method based on both data design and self-supervised learning is further proposed to adaptively construct the joint cognition of specific painting style. Preliminary tests on two restorative scenarios, analogized generation and cognitive recompositing, indicate that our joint aesthetic cognition is effective and feasible for painting style alignment, and can thus facilitate human-AI collaboration in ancient painting restoration.

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Reports on the topic "Chinese Painting"

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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