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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 construitThe 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 contemporaryMaster 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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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.
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Maetani, Masumi. "Transformation in the aesthetics of tea culture in Japan." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39634280.
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Shu, Jo Lan. "Calligraphy As A Developmental Tool For Chinese Painting." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/465.
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This report discusses the design, development, and evaluation of a Chinese painting instructional project. The project discussed in this report introduces the novel idea of developing specific calligraphy skills in order to improve Chinese painting skills within a restricted time period (1-3 hours). The results show differences that are statistically significant between the pre and post test paintings created by 23 subjects from both the high school and the university level. The results of the evaluations can be found in the results section of this report. This report consists of a literature review, a project description, a description of the methodology used in the design project, evaluation results, and the full Chinese bamboo painting instructional material named Founding Chinese Bamboo Painting in Calligraphy: The Fourfold Approach (provided in Appendix A).
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Jing, Anning. "Anige (1245-1306) : a Nepali artist at the Yuan court." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260459201.
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Deng, Weixiong, and 鄧偉雄. "The influences of the Sung acadamy of painting on Chinesepainting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948868.
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Lai, Mei Lin. "Lui Shou Kwan & modern ink painting." Phd thesis, Department of Art History and Theory, 2011. http://hdl.handle.net/2123/9258.
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Maetani, Masumi, and 前谷真寿美. "Transformation in the aesthetics of tea culture in Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39634280.
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Wong, Shan Elaine, and 黃山. "Flaring brush and ink: Chinese calligraphy and painting centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986870.
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Wong, Shan Elaine. "Flaring brush and ink : Chinese calligraphy and painting centre /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949834.
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Fang, Hui. "Sesshu Toyo's Selective Assimilation of Ming Chinese Painting Elements." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12984.
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Sesshu Toyo (1420-1506) was a preeminent Japanese monk painter who journeyed to China in the mid-fifteenth century. This thesis focuses on a diptych of landscape paintings by Sesshu Toyo, Autumn and Winter Landscapes (Shutou sansui zu), to analyze how Sesshu; selectively synthesized traditions of Chinese painting tradition that had already been established in Japan and the art conventions he discovered in fifteenth-century China. To contextualize this topic, this thesis explores the revival of the Southern Song (1127-1279) painting tradition which had impacts on both contemporary Chinese painters and landscape painters in Japan during the fifteenth century. I also analyze the culture of Japanese Zen monastics and their art-related activities and the transformation of Southern Song painting traditions within China in the early Ming period (later half of the fourteenth century-first half of the fifteenth century).
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Schachter, Bony Braga. "O osso e o sopro: uma introdução à teoria da pintura chinesa do período das Seis Dinastias." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3308.
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A presente pesquisa trata da formação da teoria da pintura durante o período das Seis Dinastias, que ocupa o período que vai do ano 229 ao ano 589 da era presente. São discutidos quatro teóricos principais: Gu Kaizhi, Zong Bing, Wang Wei e Xie He. Além disto, apresentamos uma tradução diretamente do chinês para os textos de cada um dos autores analisados. No decorrer de nossa análise tentaremos demonstrar os elos de continuidade existentes entre os diversos teóricos, baseando-nos nas evidências textuais. Além disto, enfatizaremos o fato de ser este o período em que se forma a teoria da pintura chinesa. O período inicial da história dessa teoria é o tema desta pesquisaThis research describes the development of the theory of painting during the Six Dynasties, which occupies the period from the 229 to 589 of the present era. We discuss four main theories: Gu Kaizhi, Zong Bing, Wang Wei and Xie He. Moreover, we present a direct translation from Chinese into the texts of each author studied. Throughout our analysis we will try to demonstrate the links of continuity between the various theorists, basing ourselves on the textual evidence. Moreover, we emphasize the fact that this is the period that forms a theory of Chinese painting. The initial period of the history of this theory is the subject of this research
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Wang, Shu-Chin. "Realist agency in the art field of twentieth-century China : realism in the art and writing of Xu Beihong (1895-1953)." Thesis, SOAS, University of London, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547458.
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Lin, Tung Pei, and 林東北. "Chinese Landscape Painting." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/86014443837296402543.
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Lai, Jun-Jie, and 賴俊傑. "Creative Animation of Chinese Painting - Applying Zen's Esthetics Shown in Chinese Literati Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/89680013464968015559.
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碩士亞洲大學
資訊與設計學系碩士班
96
The Chinese culture is broad and profound and the Chinese literati painting is one of the most representative one. The Zen thought is not only the religion but also the philosophy and esthetics. The influence of Zen’s esthetics on the Chinese literati painting is huge and profound. Computer animation has become one of the most important visual media that is ascribed to entertainment technology. The objective of this research is to apply the insight, found in the relationship between Zen and Chinese Literati, to computer-aided animation. Research has been done in the areas including juxtaposing historical articles, studying the characteristics revealed in Chinese Literati Painting, and analyzing the mentality of applying Zen to literal painting. To implement such animation, a series of creative experiments must be done based on working cohesively with the results arisen from the theoretical analysis. This research creates a 3D short animation short film----“唯畫通禪”, taking Zen’s esthetics as the performance style and the connotation. This animation uses landscape and flower-and-bird as the main composition elements, the Chinese literati painting as the main composition, and black and white as the tone.
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Claypool, Lisa R. "Figuring the body painting manuals in late Imperial China /." 2001. http://catalog.hathitrust.org/api/volumes/oclc/51717656.html.
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Thesis (Ph. D.)--Stanford University, 2001.Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 479-492).
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Bing, Chen Jin, and 陳紀冰. "study of Chinese Bamboo Painting." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/49081061761776437536.
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碩士華梵大學
東方人文思想研究所
87
Summary Bamboo painting is one of the most important topics that Chinese artists concern about. For a very long time, many of those have studied it. But owing to have few documents researched on the item, so there were few studies of its original. This summary is concerned about the research on the background of Tunhuang frescoes of Buddhism. Trying to find the tracks the way that bamboo paintings were drawn and compared with the bamboo paintings which were beside the two gold-copper Buddha Statues of the Wei Dynasty. And to refer to the time and the background of the interaction that the communication and the arts between China and other countries. Then to compare with the separation of bamboo in China, the art development and their mutual affections with the two sorts as well. These led to a conclusion and determined the beginning of bamboo paintings and the style of it. Bamboo paintings were risen from the South and North Dynasties, and to inherit from the famous artists of Sui Dynasty , Tang Dynasty and the Five Dynasties. Till to the Sung Dynasty and theYuan Dynasty the skills of bamboo paintings were become perfect. Because of affections of the ideology of literati and social environments, painters chose bamboo in lyric and metaphor, the bamboo paintings were blended into Confucianism, Buddhism and Taoism, every bamboo painter revealed his own genre. So far the paragon of bamboo paintings was established well. The prevalence of sticking to the old ways in the time of the Ming Dynasty and the Manchu Dynasty was often seen, though there were lots of bamboo paintings, some of them were master pieces, but most of them became a matter of formality. Nevertheless time changed, and many other things like ideology, economic factors and transportation played a role on the affections. Very few thinking artists tried hard to make a change of the stereotype of bamboo paintings, they wanted to innovate the skills -- drew freely and blended with the water and the black ink most beautifully. Or having a highlight of thought and expressed in writing greatly. Styles were ingenious. Generally speaking the work was only partial progress, basically they followed the ancient practices. From the Sung Dynasty to the Manchu Dynasty, artists blended their bamboo paintings into Buddhism art. Maybe it was because Buddhism was involving in usual life deeply and felt it was natural. People did not speculate the meanings of the Buddha paintings particularly. But bamboo paintings, looked as usual, they had deep meanings indeed. There was no regret only if we studied the bamboo paintings profoundly. Nowadays the developments of bamboo paintings last the traditional ways. Only the Ling nan school had sought the knowledge of other skills, they led the reformation; their bamboo paintings were special in forms and skills. Although they blended with the Japanese painting styles and its conception (including the transplantation of the western thought), they still remained the Chinese tradition spirits. They blended with the new and old skills deftly, poured the bamboo paintings into sense of the times and the vitality. This is worthy of the followers to imitate and to hold on.
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Li-Chih, Wang, and 王立志. "Painting Research of Chinese Artist." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/44201524854346517624.
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碩士中國文化大學
藝術研究所
93
Dr. Ma Bai-Sui has ever praised for “Taiwan normal university” of Taiwan’s Fine Arts Educational History. He educated lots of artists in painting, including powerful force. He drawn pictures simply and with powerful style; including Western water color and Chinese ink for his painting. It’s beautiful, wonderful and incredible. Dr. Lui Chi-Wei War World II was American Army advisior……he wasn’t Fine Arts studied. But he painting Human spancies Eter-mant Encycology animals and wide, bird….with his “only one eyes”. He translation Modern painting theory and watercolor. Even for “the great books” in painting hand book. When he was ninety years old, he steel gone to deep forest in Papua New Guinea…to find and visirter discover Palaeolithic Cultures. I was very pleasure meeting the two great teachers when them alive, third and more face to face with them. And then, both of they became to my educated to my student and research creative model. In this day, how lucky of mine can tital with themselves. Is most sincerbility…..I was study fine art twenty-two years, teaching education ten years…….Includding the most trubulent, changeable and dangerours in which man …. Unpredictabel 20th century has ever lived. This two Great painting Eduicaters, absoulturely to when we go both standard traditional arts and hold on the world arts (through pass the world art twice light tower forever.)
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Fu, Hsing-yu, and 傅星諭. "Fluid Animation in Chinese Painting." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/09374200129625367569.
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碩士國立臺灣科技大學
資訊工程系
101
Rivers and falls are important elements in Chinese ink painting. Rivers and falls are painted by strokes to sketch the lines of the water flow and ink dispersion to express the spray of the flow surface in order to present the sense of smooth waterlines and the characteristics of coherent diffusion. This thesis uses the Navier-Stoke equation to simulate the water flow in a river and fall to create physically correct flow fields. At the same time, it also applies a tensor field smoothing method to the constructed flow fields in order to reduce the possible rendering artifacts when multiple flow patterns are specified. In the last, the constructed field would be animated as Chinese ink painting with smooth and time coherence. Our system provides an intuitive user interface to let the painter construct their virtual world with mountains, plains, rocks, rivers and falls. Then, the painter can specify the flow pattern in the rivers and falls, and the system can compute the physically correct flow field in the rivers and falls according to the boundaries, obstacles and user-specified fields. The physically correct flow field is used to construct the ink strokes with our smooth field stroke algorithm. Our system can easily generate view consistent and temporally coherent 3D animated rivers and falls in a Chinese ink painting style. The main contributions of our system lies in the integration of the Navier-Stoke equation and tensor field smoothing to generate a Chinese-ink-painting river and fall animation. Furthermore, we propose an interactive system that can quickly create a Chinese ink painting world containing the animated rivers and falls with the water flow drawn with spatial and temporal coherence. The overall animation is pleasant without the flickering artifacts commonly existing in a stroke-based non-photorealistic rendering (NPR) animation.
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Sensabaugh, David Ake. "Chao Y"uan and late Y"uan-early Ming painting." 1990. http://catalog.hathitrust.org/api/volumes/oclc/35260817.html.
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Thesis (Ph. D.)--Princeton University, 1990.Photocopy does not include plates. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 349-376).
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Liu, Shu-Ching, and 劉淑菁. "「Variety of Chinese Ink Painting」 —The Painting Works of Shu-Ching Liu「Variety of Chinese Ink Painting」 —The Painting Works of Shu-Ching Liu." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/19888664361744569837.
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碩士大葉大學
設計暨藝術學院碩士在職專班
98
ABSTRACT The essence of the art is to demonstrate the value of the existence of truth . "－Martin Heidegger, 1889－1976.Contemporary art creators continue to express the idea and the truth by using new art forms, and pursue the unreachable ideal. Chinese ink painting is a matter of the spirituality with its unique oriental aesthetics, Zen and vision. Using Chinese ink painting as a media, I create my own painting language and the concept of creation to achieve the truth of life and Art. The idea of the "Variety of Chinese Ink Painting" is based on the theory of the "aesthetics" in Chinese painting. It used the relationship between the ink, the color, and the artistic conception to probe the inside meaning of painting creations. By the naturally flowing ink and glamorous color, the "Variety of Chinese ink Painting" emphasizes the idea and the connotation of the creations and tries to establish a link between the works and the creators to complete the art experiencing and the meaning of life.
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Pan, Tsung-Hao, and 潘琮皓. "Non-photorealistic Rendering : Interactive Chinese Painting of Yangzhou School Painting." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8s973d.
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碩士國立臺灣科技大學
資訊工程系
106
We proposes a system that automatically generates Chinese painting style animation based on three-dimensional scenes. The system focuses on the rapid conversion of Chinese painting styles for 3D models, as a way to improve the consumption of human resources in Chinese painting animation production. In the system, the style conversion of the three-dimensional koi model is first carried out. We focus on the koi painting style of the new Yangzhou school representative painter Zheng ming Wang. First, we preprocessed the Chinese painting style brush strokes by the Navier Stokes Equation. Then uses the method of Suggestive Contour and Field Design Using Harmonic Functions to automatically find the contours and fin stripes from the 3D model. Next, we automatically generates watercolorized model texture using Level-of-Detail Abstraction. Finally we uses Repeat Texture Pattern to automatically generate scale maps, and completes the conversion of 3D model to 2D Chinese painting style. In the part of the interactive Chinese painting style scene design, the system automatically renders other 3D models into the Chinese painting style through the method of Modified Toon Shader and Texture Watercolorization. In addition, the dynamic effects simulated by the Navier Stokes equation are used for ink stroke simulation. It can be automatically generated by the user inputs. Finally, our system integrates the Mass-Spring Model Ripple Simulation and the Navier Stokes equation for dynamic water flow simulation and creates interactive ripples in Chinese painting animation.
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"清末民初博古畫研究." 2009. http://library.cuhk.edu.hk/record=b5896558.
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方鳳婷."2009年8月".
"2009 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 64-69).
Abstracts in Chinese and English.
Fang Fengting.
鳴謝
論文提要 --- p.i
圖版目錄 --- p.iv
引言 --- p.1
Chapter 第一章 --- 博古畫緣起 --- p.5
Chapter 一. --- 歷史中的「博古」 --- p.5
Chapter 二. --- 全形拓技術與拓片入畫的傳統 --- p.8
Chapter 三. --- 混合槪念´ؤ´ؤ「博古」與「清供」 --- p.11
Chapter 第二章 --- 鄦叀鼎´ؤ´ؤ個案硏究 --- p.17
Chapter 一. --- 焦山寺與古鼎 --- p.18
Chapter 二. --- 全形拓片的其他來源 --- p.23
Chapter 三. --- 鄦叀鼎的意涵及畫家筆下的鄦叀鼎 --- p.26
Chapter 第三章 --- 磚甓博古畫 --- p.31
Chapter 一. --- 以古磚作「清供」 --- p.32
Chapter 二. --- 磚甓文字的角色 --- p.35
Chapter 三. --- 改製古物以爲今用 --- p.40
Chapter 第四章 --- 博古畫的變奏 --- p.44
Chapter ´ؤ. --- 黃士陵的博古畫 --- p.44
Chapter 二. --- 以筆墨仿拓片效果 --- p.50
結語 --- p.55
附錄一鄦叀鼎全形拓片 --- p.60
附錄二陶陵鼎全形拓片 --- p.62
參考書目 --- p.64
圖版 第一章圖版 --- p.70
第二章圖版 --- p.82
第三章圖版 --- p.99
第四章圖版 --- p.112
結語圖版 --- p.134
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Chiu, Hsin-Yi, and 邱心怡. "The Synthesis of Chinese Ink Painting." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/76311218897488899145.
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碩士國立交通大學
資訊科學系
88
In contrast with the Western paintings, Chinese ink paintings lay stress on the “implicit meanings”. In other words, painters try to use as few strokes as possible to express their deepest feelings. However, ink figure paintings even more rely on various linear strokes to convey the meaning of paintings. In this thesis, we try to express ink figure paintings of different styles by modularized synthesis. We analyze conventionalized strokes of traditional ink figure paintings and set up a database of various components with different styles. Then, according to a reference image or figure, we can synthesis an ink figure painting. By allowing users to reuse all kinds of conventionalized strokes, we can save the tedium and time consumed by real ink painting, and also make the creation with more and more possibility.
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Liu, ChenHan, and 劉振漢. "Chinese Color Ink Painting Diffusion Research." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27609616024023150636.
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碩士東海大學
資訊工程與科學系
94
The Simulation in Chinese Ink Painting becomes more intact now, but The Chinese Color Ink Painting is short of the research in this respect, in addition Chinese Color ink painting is colorful, it can express more abundant artistic style, so the researches about this issue will be more and more important. For Chinese Color Ink Painting simulation, other researches construct the Xuan-paper and black-ink diffusion model well but they can’t solve the problems of coloring effects, and some investigations use texture mapping or mathematically approach, in fact, those method lacks of physical property, in this paper we will propose the method to solve it. We use the method of Alpha Color Composition to simulate mix of different color, and at the same time we also propose Full Color Diffusion method transferring the real photo to Chinese Color Ink Painting’s drawing, In addition our method also express the Effect of Ink-refusal and the Effect of Stroke-trace-reservation in Chinese Color ink painting. in this paper we propose a full Chinese Color ink painting system, and through experiment simulation, our method gets good effects of mix of different color and the Full Color Diffusion. In our research, we reconstruct a good physical model apply in Chinese Color Ink Painting simulation, other researches just can simulate black ink effects in Chinese Painting, Chinese painters often use the following skills “Effect of Ink-refusal, Effect of Stroke-trace-reservation, and Color Composition in Chinese Color Ink Painting. Our method simulate that effects well, and propose the Full Color Diffusion method to get the Chinese Color Ink Painting style paints quickly. Finally our model really simulate successful in Chinese Color Ink Painting.
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Wang, Thomas, and 王庭捷. "The New Meaning of Chinese Painting." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/87870706373318202997.
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Weng, Shan-Zan, and 翁山然. "The Synthesis of Chinese Ink Painting." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/89113624264680622034.
Full textAbstract:
碩士國立交通大學
資訊科學系
87
Chinese Ink Painting is an art with long history in China. However, it requires so much time and painting techniques during the painting process. Besides, we will not know what the final results looked like before the paintings are finished. If a painter want to see the painting in different styles, he must repeat the entire painting process and still can not sure that the result is the one he wants. In this thesis, we propose a method to synthesize Chinese Ink Painting automatically. The algorithm extracts strokes from an existing Chinese Ink Painting image and re-paints it in other styles whatever we want. Using this method we can see resulting images without really performing the painting process. Moreover, the user even requires no painting technique to finish the job.
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Shao, Yiyang. "Major trends in contemporary Chinese painting." Thesis, 1996. http://handle.uws.edu.au:8081/1959.7/531.
Full textAbstract:
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
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Wu, Bing-Lin, and 吳秉霖. "The improvement of Chinese painting paper." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/30142873507533306581.
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謝啟民. "Procedural Shading-Based Chinese Painting Simulation." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/64277629425256385317.
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Chen, Hong-Yi, and 陳弘逸. "Image-based Chinese ink painting simulation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/8u3g78.
Full textAbstract:
碩士國立交通大學
資訊學院資訊學程
106
This thesis constructs an image-based Chinese ink painting simulation system. Via six steps, the system will output an image that has Chinese ink painting style. The six steps include: (1) Nine spatial scales are created by dyadic Gaussian pyramids, then compute forty-two feature maps and combine it to a salience map. (2) Using Guided Image Filtering for blurring image. (3) Using diffusion algorithm to simulate ink diffusion. (4) Transfer color image to gray image and black-white enhance. (5) The edge-detection algorithm will figure out the edge of image that is used to draw the outline of calligraphy. (6) Combine the decolorizing image and edge-detection image. And it is the result. The image which is processed by this system becomes the ink painting style image that seems like drawing by a real painter.
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Le, Chia Mei, and 李佳玫. "Beyond the Mist of Chinese Ink Painting - The Affection of Chinese Ink Painting Aesthetics in Fashion Design." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/18352223562203692167.
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"國畫的承傳與創新: 以香港山水寫生為例." 2006. http://library.cuhk.edu.hk/record=b5892886.
Full textAbstract:
劉秀菁."2006年8月"
論文(碩士)--香港中文大學, 2006.
參考文獻(leaves 37-39).
附光碟規格: CD-ROM.
"2006 nian 8 yue"
Abstracts in Chinese and English.
Liu Xiujing.
Lun wen (shuo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (leaves 37-39).
Fu guang die gui ge: CD-ROM.
引旨 --- p.5
Chapter 第一節 --- 國畫寫生
Chapter 一 --- 傳統國畫的寫生觀念 --- p.7
Chapter 二 --- 寫生在二十世紀的時代意義 --- p.11
Chapter 第二節 --- 香港山水寫生
Chapter 一 --- 傳統蛻變 --- p.14
Chapter 二 --- 中西融合 --- p.24
結語 --- p.32
附錄一參考資料 --- p.37
附錄二 圖版 --- p.40
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"現代中國畫的色彩和創新." 2004. http://library.cuhk.edu.hk/record=b5891807.
Full textAbstract:
楊晶."2004年6月".
論文(藝術碩士)--香港中文大學, 2004.
參考文獻 (leaves 32-34).
附中英文摘要.
"2004 nian 6 yue".
Yang Jing.
Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 32-34).
Fu Zhong Ying wen zhai yao.
前言 --- p.1-2
Chapter 第一章 --- 歷史中的色彩回顧 --- p.3-11
Chapter (一) --- 開創時期 --- p.3-6
Chapter (二) --- 發展時期 --- p.6-9
Chapter (三) --- 衰落時期 --- p.10-11
Chapter 第二章 --- 二十世紀中的「創新」課題 --- p.12-18
Chapter (一) --- 以古開今 --- p.13-14
Chapter (二) --- 中外融合 --- p.15-18
Chapter 第三章 --- 色彩創新與自我探索 --- p.19-31
Chapter (一) --- 用色觀念 --- p.20-25
Chapter (二) --- 著色技巧 --- p.25-27
Chapter (三) --- 顏料運用 --- p.27-31
後記 --- p.32
附錄一參考書目
附錄二圖版
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"疑問水墨: 香港當代水墨創作初探." 2013. http://library.cuhk.edu.hk/record=b5884259.
Full textAbstract:
黃綺琪."2013年9月".
"2013 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Huang Qiqi.
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Kuo, Yi-Chun, and 郭怡君. "City impression－Chinese ink painting and collage." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/ya3mjv.
Full textAbstract:
碩士國立臺北藝術大學
美術學系碩士在職專班
96
"City impression” has been is my creative theme in my graduate school. Most wok is related to city life., I describe the surrounding space and people who lives in the city, things, and materials. In this way, I hope to express the feeling of isolation arising from being city people. I attempt to collage approach, outlined in the living environment around, the movement of the tracks and urban life image, to the point of life and between the starting point and destination, collage and enunciation of deliberately creating a space in the building of the pictures, these patchwork of fragments of memory, expression of the city and being fragment of the situation of overcrowding in the city, and they have a greater sense of isolation. Along with paste layers of the way, the reorganization will be dismantled screen time to express complex mobile environment staggered relations. On the direction of the Oriental painting is the performance of the main ways to "Image" as the main form of direction and performance, individual creativity of the work to be motivated and creative content captions, in the form of narrative collage paintings of the contemporary history of the East and development. And "material ontology" in the works is the meaning of creation, I want to part of the discussion. As in every age have their culture intertwined with the times from a special syntax, creators choose to express their sense of self-expression wish to express the main media.
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CHEN, HSIANG-CHUAN, and 陳香全. "Continuity and Transition of Chinese Handscroll Painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rynyxg.
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碩士國立臺灣藝術大學
書畫藝術學系
105
Handscroll painting is a unique form of Chinese painting, and its length allows artists to extend the length of their works without limit. However, when appreciating a painting, people need to unfold a scroll with two hands from right to left simultaneously because of the limit of space and the width of a table. And this causes people to appreciate only one or two scenes of a scroll painting each time. Likewise, artists are influenced by this method of appreciating handscroll paintings so that each time they are only able to compose a scene of their work and then continue to compose another scene. Owing to this phenomenon, the purpose of this study aimed to explore how to make connections of all the scenes and form of a continuous whole scene. The research method was to apply the concepts of continuity and transition in movies to analyze the shifts of space-to-space and scene-to-scene in Chinese figure paintings. The year range of research was confined to from Wei and Jin Dynasties to Ming Dynasty. Based on the time of scenes, the paintings are categorized by encompassing events from same times in the same composition and by encompassing events from different times in the same composition. The research findings were as follows. Firstly, the paintings composed by encompassing events from same times was further classified into two categories based on whether the space of scenes were shifted. One was when the space of all scenes were the same, the relationship between figures which could be founded were depended on eye contact, directions of their moves, connections of crafts, and the interaction between main characters and other characters. This created an invisible path for viewers to guide them appreciate a painting. However, when the space of all scenes were different, the space and the scenes would be shifted by different shifting elements. Secondly, the paintings composed by encompassing events from different times was further classified into three categories based on whether the main character repeatedly appeared. One category was the same main character in all the scenes. These paintings mainly recorded an experience or a story of the main character based on different shifting elements such as screens, beds, stones and mountains, and words. Another was different characters in all the scenes. These themes of these paintings were mainly classic stories with words as shifting elements. In terms of composition of words and images, the paintings could be further classified into two kinds, one was images on the left side and words on the right side, and the other one was images on the top and words on the bottom. The other shifting elements was categorized into the third main category. Finally, the researcher connected transitions of paintings and of movies, provided available filming techniques, and the methods of transition and continuity when artists need to change two-dimension paintings into three-dimension images. This would help artists to get close to the expression of the spirit and thought of Chinese painting when they try to transform old paintings into images in the future.
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Chen, Wen-Chao, and 陳文昭. "Computer Generated Three-Dimensional Chinese Figure Painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/74204912871067076808.
Full textAbstract:
碩士國立交通大學
資訊科學系
89
In traditional Chinese Ink figure paintings, in order to represent the soft or heavy materials of clothes, or sometimes we want to show that the clothes are full of creases, various Miao skills were developed. If we want to paint the same figure in another view, we should start over and draw again. Besides, we do not know what the final results looked like before the painting is finished. Once a mistake was made, we have to paint again until it is desired that wastes so much time. In this thesis, we propose a method to generate the Chinese Ink Figure Paintings automatically according to three-dimensional models. We can produce figures of the same three-dimensional model in different Miao skill from different views. In this way, painters can create good-looking figure paintings easily without understanding any Chinese painting skills. Moreover, painters may try different styles in short time to get various effects of the Chinese Ink figure paintings.
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Chang, Bai, and 白璋. "Analyzing Xu Beihong's Reform of Chinese Painting." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/03226687300558503028.
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碩士東海大學
美術學系
97
Abstract The Chinese May 4th Movement In 1919 caused a massive revolution of Chinese culture. The movement not only made the impact on fast development of science and democracy, but also help forward the revolutionary change in literature and art. In the filed of fine arts, Xu Beihong was recognized as the most influential artist during that period. In his lecture at Beijing University in 1918, he mentioned “ Methods of Chinese Painting Reform” for the first time (later in 1920, he changed the title to “Thoery of Chinese Painting Reform”). For the following 50 years, his theory led the Chinese painting toward Westernization. Xu Beihong believed that the ancient Chinese painting could have a new future by implanting some western art concepts and skills. Taking French realism as the goal, He employed natural sketching skill to construct the method of reforming Chinese painting. He emphasized on realistic painting and sketching, and considered that the amelioration should be started with the portrait. In order to set an example, Xu Beihong, as an oil painting artist, also engaged in the Chinese painting creation. He used variety of subjects for his Chinese painting. Anything, such as sceneries, characters, animals, flowers and birds, could be his painting theme. However, most of his Chinese paintings are about warhorses, that might be influenced by his early horse sketching experience in Europe and endless internal revolt and foreign invasion at the times. Xu Beihong applied a lot of sketching skills for his portrait painting. As the result, his portraits are so realistic that are as vivid as life, just as he expected in his reforming theory. His other Chinese paintings, however, can be classified between realism and conceptualism. It seems that his painting style changed back to traditional conceptual way as the paintings of Ming Dynasty and Ching Dynasty. This study compared Xu Beihong’s Chinese paintings with his viewpoints of “Method of Reforming Chinese painting” and tried to answer the questions of “Did Xu Beihong really implemented his own theory in his Chinese painting?”, “Have the goal of Chinese painting reforming been reached?” and “Whether the reforming made Chinese paintings more interesting and aesthetic?” In addition, the influences of Xu Beihong’s “Method of Reforming Chinese painting” on Chinese paintings of later generations were also discussed.
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Chung, Wei-Chen, and 鐘唯禎. "Tour Into the 3D Chinese Landscape Painting." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/22385695040598458108.
Full textAbstract:
碩士國立交通大學
資訊科學系
90
Chinese artists capture the spirit and true beauty of the landscape to paint a Chinese landscape painting. But while a single Chinese landscape painting gives us an amazing amount of information about the scene’s structure and appearance, it is a static frozen picture. What we have lost is the ability to look in different directions and to move about in the scene. In this thesis, we propose a method to view a Chinese landscape painting from an arbitrary viewpoint. We analyze the composition of Chinese landscape painting and define 3D basic primitives of mountain and water. First, the user inputs a reference picture. Then according to the feature parameters of 3D basic primitives specified by the user, our system automatically generates a 3D scene model which is the same as the scene of reference picture. The user can move to anywhere in the scene. After the user determines the viewing position, our system outputs a picture whose viewpoint is different from the original picture.
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Liu, Po-Wen, and 劉博文. "The Evolution Of Chinese Figure – Portrait Painting." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/41887390241708565416.
Full textAbstract:
碩士中國文化大學
藝術研究所美術組碩士在職專班
94
Abstract of Thesis In historical torrent, Chinese painting used to have an eminent and illustrious achievement, but within recent centuries, it has shown a declining tendency lonely and aloof--- this is a lament of national fate in such a competing environment for survival. Beyond all doubt, people feel the consanguine emotion as if the blood is thicker than the water, so are the cultural reliance and recognition deeply rooted. People start to seek life identification and culture root after awakening from the mundane world and having a break of gasp in the daily survival-oppressed life. Therefore, the emotional form in respect of national culture art seems having found a new life and a new stage again. Nation’s cultural art represents its spiritual asset, so are the track of its historical activities and the performance of its civilized life. In the time immemorial, purpose of action is barely for survivals or living requirement; there is no demarcation between spirits and materials because of the developing process consistent with the evolving process of human civilization. Although the evolvement of painting and art has no longer stuck by such principle today, it has its own proliferated reliance and rule, providing delicacies for fancier’s taste, and allowing the future generation able to live in the fantasy with sages and lean on the rail in reminiscence. Paintings in art are an important core of artistic forms, undoubtedly, the form of which is pursuing a rule of beautiful model and sculptured beauty. Almost all kinds of the materials can be performed as a topic in Chinese painting, such as mountains, waters, animals, dragons, fishes, vegetables, fruits, palaces, temples, vessels, or vehicles, etc. As to the figure painting, it has been conspicuous in painting profession for a long time, not to mention the close relationship with social pulse. In the early stage, it was used as a political and educational instrument, either the iconic complexion of sages or that of saints; the historical story has been particularizing its tight connection with society. The artistic development may increase the aestheticism and the sentiment to express heart feelings by verse or song. In addition to depict the early-stage society, the figure painting is a cosmological view centered on human life, a life view to perform the soul of all beings in human society, and a noble living view of evolution among all living creatures, with which it has added a sort of humane care in the emotionless and monotonous social environment. The paintings, piece by piece, become the appealing and resplendent poetry and graceful note through artist’s elaborate thought and mental composition either in its modeling variation, stroke, ink halo, thickness, color, and rhythmic vitality. Keywords: Art Form; Modeling Variation; Flavor of Painting; Mental Composition; Rhythmic Vitality.