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Journal articles on the topic 'East Asian Watercolor painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Palamar, Ioana, and Smaranda-Sabina Moldovan. "Cyclicity in creation: from drawing to memory, from memory to drawing." Klironomy 2, no. 5 (2022): 44–51. https://doi.org/10.47451/art2022-05-05.

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This study provides a wider view over Romanian contemporary painting from the two national poles of art: Iasi, located in the north-east part of the country and Timisoara, representing the west side of Romania. It is focused on fusing painting and drawing, with an array of works on paper such as drawings, watercolor, altered photographs and mixed media by Smaranda Moldovan and mixed media portraits on canvas by Ioana Palamar. Both study cases present a microcosmos of the intangible cultural heritage with roots in memory, not a collective one, but an individual one

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2

Shen, Xinyan. "Reinterpreting Asiatic Representation in the Pictorial Space of Whistler’s Purple and Rose: The Lange Leizen of the Six Marks." Art and Society 2, no. 1 (2023): 45–49. http://dx.doi.org/10.56397/as.2023.02.07.

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The presence of East Asian decorative art and objects were prevalent during the 19th and 20th century, and these exquisitely refined objects inspired many artists to include them in their paintings. Among the artists who sought them for aesthetic innovation and perfection through East Asian art during the Aesthetic Movement, James Abbot McNeill Whistler was one who felt the most influence of East Asian art, and most successfully demonstrated and incorporated them into his own paintings. The oil painting Purple and Rose: The Lange Leizen of the Six Marks is a representational piece that display

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3

Hong, Mi-Lim. "A Study on the Modern East Asian Fan Painting." Journal of Art and Culture Studies 19 (April 30, 2021): 99–135. http://dx.doi.org/10.18707/jacs.2021.04.19.99.

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4

Seokdo Jung. "Laozi’s Dao and Establishment of East Asian Painting Aesthetics." Humanities and Art ll, no. 2 (2015): 33–48. http://dx.doi.org/10.35442/hna.2015..2.33.

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5

Chang, Chinsung. "Some Thoughts on Joseon Painting: An East Asian Perspective." Dongak Art History 21 (June 30, 2017): 119–47. http://dx.doi.org/10.17300/dah.2017.21.5.

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6

Lee, Boyoung, and Hyo Seon Ryu. "Studies on Sized Silks for East Asian Painting Background." Journal of Conservation Science 35, no. 1 (2019): 1–10. http://dx.doi.org/10.12654/jcs.2019.35.1.01.

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7

K. Shin, Hannah. "Analyzing Relationships Between Adolescents’ Cultural Identity and Narrativization in East Asian Music." Journal of Human Psychology 2, no. 2 (2025): 20–29. https://doi.org/10.14302/issn.2644-1101.jhp-24-5387.

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The formation of narratives while listening to music is seen across cultures, but narrative perception in Asian Americans who have bicultural identities is not well understood. This study analyzed the potential effect of cultural identity on adolescents’ ability to form narratives with East Asian music. Two groups of adolescents (n=42), Asian American (n=28) and Non-Asian American (n=14), listened to three music excerpts with varying degrees of Asian and Western influences. The most Asian-influenced excerpt was a Gugak Korean traditional piece titled T’ungae sanjo, performed on traditional Kor

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8

Chan, Pedith Pui. "The Discourse of Guohua in Wartime Shanghai." European Journal of East Asian Studies 19, no. 2 (2020): 263–96. http://dx.doi.org/10.1163/15700615-01902010.

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Abstract This article looks at artists’ engagement with artistic activities carried out in wartime Shanghai, with a particular focus on guohua (lit., ‘national painting’). Drawing on primary sources such as archival materials, diaries, paintings, magazines and newspapers, it explores the layered meanings attached to and social functions of guohua and the institutional structure of the Shanghai art world from the gudao (solitary island) period to the advent of full occupation from December 1941 onwards. As a symbol of Chinese elite culture, guohua continued to dominate the Shanghai art world wi

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9

Morley, Simon. "‘The living hand gives birth to the painter’: Selected writings on painting by Lee Ufan." Journal of Contemporary Painting 6, no. 1-2 (2020): 93–118. http://dx.doi.org/10.1386/jcp_00016_1.

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Alongside his studio practice, the Korean artist Lee Ufan (b.1936) has consistently published writings that are intended to both elucidate his own practice and to address much broader issues relating to art and culture. Through his writing and art, Lee has sought the grounds from which to both assimilate and challenge Westernizing hegemony, based on a deep understanding of both East Asian and Western art and philosophy. Lees work maps the conventions of modernist Western abstraction onto traditional East Asian concepts of painting, most especially in relation to the role of the body, circulati

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10

Motoyoshi, I. "Ecological-optics origin of the style of European and East-Asian classical painting." Journal of Vision 11, no. 11 (2011): 1188. http://dx.doi.org/10.1167/11.11.1188.

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11

Wang, Ching-Ling. "True Identity." Rijksmuseum Bulletin 66, no. 2 (2018): 100–119. http://dx.doi.org/10.52476/trb.9750.

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In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconogra

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12

Shin, Hyun-Kyoung. "Arting on the Old Drawing: A Quest on the East Asian Painting and Revitalizing." Journal of Research in Art Education 21, no. 3 (2020): 117–42. http://dx.doi.org/10.20977/kkosea.2020.21.3.117.

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13

Hyunkyoung Shin. "The East Asian Literati Painting Theories of Sisŏhwa as a Contemplative Practice." Journal of Aesthetic Education 52, no. 3 (2018): 56. http://dx.doi.org/10.5406/jaesteduc.52.3.0056.

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14

Seol, Kyeong-hee. "Aesthetic Consideration of Hyangpa Lee Juhong’s Calligraphy and Painting." Korean Society of Calligraphy 43 (September 28, 2023): 159–96. http://dx.doi.org/10.19077/tsoc.2023.43.7.

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Lee Juhong(1906-1987) was a writer, educator, and artist, born in Hapcheon, Gyeongsangnam-do, and worked in Busan. This paper is a study of his calligraphy, poetry, and painting. He experienced various hardships during his life of 80 years, including Japanese rule and the Korean War. Therefore, he expressed human agony and the fundamental essence of his difficult life through various genres of art, including literature. He led students to culture and art during his entire life as a professor of the Department of Korean Language and Literature at the National Fisheries University of Busan, inte

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15

Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

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16

Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.

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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypt

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17

Song, Hyosup. "Three Korean literati paintings of an orchid in the deconstructive process." Semiotica 2016, no. 208 (2016): 223–36. http://dx.doi.org/10.1515/sem-2015-0116.

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AbstractLiterati paintings were drawn by Korean Confucian scholars from the end of the Koryeo period to the end of the Joseon period. As painting these works was considered a method for a scholar’s self-cultivation, literati paintings express plenty of in-depth metaphysical points of significance. Meanwhile, these paintings revealed changes that correspond with changes in cultural circumstances. The present study considers such transformation as a deconstructive process. This research analyzes three Korean orchid paintings to address the following three questions: (1) How are the literati’s th

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Yun, Kusuk. "Study on Changes and Characteristics of the SeMA’s Non-Korean Artists’ Acquisition from 1991 to 2020." Korean Arts Association of Arts Management 66 (May 31, 2023): 65–104. http://dx.doi.org/10.52564/jamp.2023.66.65.

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The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to th

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19

Walravens, Hartmut. "Otto Fischer (22 Mai 1886 — 9 April 1948) Veröffentlichungen zur asiatischen Kunst." Письменные памятники Востока 20, no. 1 (2023): 95–114. http://dx.doi.org/10.55512/wmo202797.

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Otto Fischer was born into a merchant family in Reutlingen on May 22, 1886. From 1904 he studied law, then art history in Tbingen, Munich, Vienna and Berlin and received his doctorate in 1907 with the dissertation Altdeutsche Malerei in Salzburg under Heinrich Wlfflin in Berlin. After study trips to Italy and France, he lived in Munich from 1909 to 1913 as a private scholar and was in close contact with the young artists of the Neue Knstler-Vereinigung Mnchen, which developed into the Blaue Reiter. In 1913, he habilitated in Gttingen with the thesis Die chinesische Malerei, which was published

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20

Greenberger, Jason Paul, and Lee Gyungwon. "Of God and Neighbors." Nova Religio 25, no. 1 (2021): 87–107. http://dx.doi.org/10.1525/nr.2021.25.1.87.

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Historically, Korea and Vietnam have been in the unenviable position of being surrounded by powerful neighbors who at times descend upon them as colonizers or occupying forces. East Asian new religious movements such as Daesoon Jinrihoe and Caodaism offer unique insights into each country’s national sentiments regarding such historicities. In particular, the painting in Daesoon Jinrihoe titled Five Immortals Playing Baduk (五仙圍碁 Oseon Wigi), and the painting in Caodaism titled The Three Saints (三聖 Tam Thánh) are strikingly similar in the manner in which both countries depict a national represen

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21

Silbergeld, Jerome. "Chinese Painting Studies in the West: A State-of-the-Field Article." Journal of Asian Studies 46, no. 4 (1987): 849–97. http://dx.doi.org/10.2307/2057105.

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The contemporary study of Chinese painting history varies considerably according to cultural locus, be it mainland China, Taiwan, Hong Kong, Japan, or the West, making broad generalization about the state of the field quite difficult. Where the intellectual and social context of traditional East Asian culture remains most intact, the study of painting has perpetuated the concerns and modes of the thousandplus years of traditional historiography, yet this has become increasingly rare. In the People's Republic, innovation has come largely through Marxist influence, bringing a focus on social asp

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22

Russell-Smith, Lilla. "Stars and Planets in Chinese and Central Asian Buddhist Art in the Ninth to Fifteenth Centuries." Culture and Cosmos 10, no. 1 and 2 (2006): 99–124. http://dx.doi.org/10.46472/cc.01210.0213.

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This essay introduces the earliest known representations of planets and other stellar deities in East and Central Asian Buddhist art, especially in China. The five biggest planets, Venus, Mars, Jupiter, Saturn and Mercury, were observed and named at an early stage in China. However, their anthropomorphic representations became popular only after the arrival of Buddhism. It is likely that Western traditions regarding their appearance were transmitted through India. In Buddhist sutras the planets are often described as paying homage to the Buddha and listening to his teachings, and this is how m

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23

Tanieva, Guldona M., and Anvar G. Tadzhiev. "ART OF MINIATURE IN CENTRAL ASIA AND ITS HISTORICAL DEVELOPMENT." JOURNAL OF LOOK TO THE PAST 4, no. 8 (2021): 66–73. http://dx.doi.org/10.26739/2181-9599-2021-8-9.

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In present research is said about the steps of development of one of the kind of arts such as miniature in Central Asia, its specific aspects Forming of the Central Asian schools of miniature, about the role of the masters of Amir Timur's times and times of his descendantsand their influence on the school of miniatures of such countries as Turkey, Iran, Azerbaydjan in the 16-19 centuries.The article also provides information on students from the famous artists of their time and their works created in their art schools and their own paintings (miniature).Index Terms:Central Asia, fine arts, eas

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24

Handa, Masaki. "Methods of controlled deterioration for preparation of silks used to conserve East Asian silk painting and writing." Studies in Conservation 59, sup1 (2014): S225—S226. http://dx.doi.org/10.1179/204705814x13975704319956.

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25

Shaffer, Holly, and Yuthika Sharma. "To Fill “a Gap in Indian History”." Archives of Asian Art 74, no. 1 (2024): 79–128. http://dx.doi.org/10.1215/00666637-11169093.

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Abstract This essay examines the category of “Company” painting, shorthand for painting associated with the East India Company, which dominates the art historiography of eighteenth- and nineteenth-century South Asia. Using the archive of Mildred Archer (1911–2005), the British Library curator who formalized this approach in Western scholarship in tandem with scholarly commentaries by art enthusiasts P. C. Manuk (1873–1946) and Rai Krishnadas (1892–1980), we highlight the complexities of Company painting as both modality and practice. Providing insight into the little-recognized role of Ishwari

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26

Marmé, Michael. "Locating Linkages or Painting Bull's-Eyes around Bullet Holes? An East Asian Perspective on the Seventeenth-Century Crisis." American Historical Review 113, no. 4 (2008): 1080–89. http://dx.doi.org/10.1086/ahr.113.4.1080.

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27

Lin, Pei-Ying. "Narratives on a portrait of Japanese Prince Shōtoku (c.573–622): East Asian Buddhist networks in the royal painting." Studies in Chinese Religions 6, no. 2 (2020): 141–61. http://dx.doi.org/10.1080/23729988.2020.1763681.

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28

Kang, Ok Hee. "Introduction and Development of Western Painting Methods in the Three East Asian Countries in the 18th and 19th centuries." Korean Society for Science of Eastern Art 48 (August 30, 2020): 227–62. http://dx.doi.org/10.19078/ea.2020.48.10.

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29

Im, Mi-Hyun. "Study on <Haedo(蟹圖)> of the Late Joseon Dynasty : Crab Paintings of the Joseon Dynasty". Korea Association of World History and Culture 72 (30 вересня 2024): 79–110. http://dx.doi.org/10.32961/jwhc.2024.09.72.79.

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Crab paintings referred to as Haedo(蟹圖) were mainly drawn with auspicious meanings such as congratulations on passing the state examination. Its origins date back to the Five Dynasties and Northern Song periods in China, and Haedo became popular during the Ming Dynasty when Wu or Wumen School, including Shen Zhou and Xu Wei, started drawing them in the style of literary painting. Literary style Haedo refers to a crab painting with poetic sentiment produced by an ink-and- wash/boneless brush technique for the light-and-shade effect; it greatly influenced East Asian Haedo from the Qing Dynasty o

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Dunaeva, Ekaterina. "The History of One Personal Copy: Esper E. Ukhtomsky (1861–1821) — His life, His Buddhist Collection, and the Study of Buddhism in Russia." Oriental Courier, no. 4 (2022): 91. http://dx.doi.org/10.18254/s268684310023804-2.

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The article focuses on the contribution of Esper E. Ukhtomsky, an outstanding collector of Buddhist sculpture and painting in pre-revolutionary Russia, to the study of Buddhist art. In addition to the main episodes of the biography, little covered earlier in research, the author examines how Ukhtomsky, who had the largest private Buddhist collection in the Russian Empire, contributed to the study of Buddhist art and collaborated with Albert Grunwedel, to whom he provided part of his collection, resulting in the famous Grunwedel’s work “The Mythology of Buddhism in Tibet and Mongolia”. Ukhtomsk

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31

Yun, Yonggu. "A Window into Six Centuries of World History : Liang Chih-Kung-T’u(“梁職貢圖”)". Paek-San Society 130 (31 грудня 2024): 105–26. https://doi.org/10.52557/tpsh.2024.130.105.

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Liang Chih-kung-t’u(“梁職貢圖”) is a scroll painting depicting a portrait of a foreign envoy who visited Liang, China, and records the geography and customs of the country. The original has disappeared, and there are currently four types of copies made between Tang and Song. The North Song copy(北宋模本) was discovered in 1960. There is a map of the envoys of the 12 countries and a title of the 13 countries. There are East Asian countries such as Baekje, but most of them are western countries on the Silk Road. It is regarded as a valuable source of research on Western history. Only the envoy's map rem

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32

고연희. "A Study on Reproduction and Derivation of East Asian Paintings ― Focused on Prevalence of Huizong's Hawk Painting in the Sixteenth and Seventeenth Century." DAEDONG MUNHWA YEON'GU ll, no. 83 (2013): 131–62. http://dx.doi.org/10.18219/ddmh..83.201309.131.

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33

Park, Kyoung Ah, and Ju-Yeon Do. "Fantasy Makeup Styling, Using Sashindo (Painting of Four Ancient East Asian Gods) and Obangsaek (Five Traditional Colors of Korea) in Korean Folk Paintings." Journal of Health and Beauty 17, no. 3 (2023): 54–64. http://dx.doi.org/10.35131/ishb.2023.17.3.54.

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34

Korniev, A., and Zhe Zhang. "The world of things in traditional Chinese painting." Culture of Ukraine, no. 78 (December 23, 2022): 119–25. http://dx.doi.org/10.31516/2410-5325.078.15.

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The relevance of the article. The formation of genre and the principles of genre classification in the art of East Asian countries is one of the least researched problems in the theory and history of art. It is generally accepted that still life appeared in the art of China as a result of the influence of the Euro-pean artistic system. Meanwhile, motifs related to the depiction of elements of the subject environment can be traced in other genres of Chinese painting. In modern artistic practice, still life is considered mainly as an element of academic education, but its creative potential rema

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35

Usmonova, Laylo Rahmatullaevna. "THE EMOTIONAL IMPACT OF ORIENTAL MINIATURES AND ITS ROLE IN THE STUDY OF HUMAN AESTHETIC NEEDS." Philosophy and life 1, Special issue 1 (2022): 106–13. https://doi.org/10.5281/zenodo.6589756.

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This article highlights the role of the arts in influencing the emotional sphere of people, as well as their importance in the study of aesthetic needs. One of the main aesthetic features of the Central Asian miniature art is a high level of generalization, symbolization in the artistic image of colors, shapes and structure of images. As a result of their rational use in miniature compositions, amazing images arise. The person who sees this receives aesthetic pleasure from the displayed form. The article analyzes the significance of miniature paintings of the East in the development of a perso

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36

Poškaitė, Loreta. "Rytų Azijos menai Lietuvoje XX–XX a. sandūroje: jų adaptavimas ir santykis su lietuviškąja pasaulėžiūra bei tapatybe." Lietuvos kultūros tyrimai 4 (2014): 98–124. https://doi.org/10.53630/lkt.2014_1.4.

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The activity of the globalization and interaction processes of cultures in the second half of the 20th century led to the revival (or new wave) of Western fascination with the Oriental arts. This wave has been also observed in Lithuania in the recent decade despite the fact that among the bureaucratic layers of government as well as in our academic community a completely unfounded prejudices against dissemination of alien, especially Eastern, cultures and studies is felt as the risk of losing narrowly, provincially perceived Lithuanian national identity and culture. One of the main goals of th

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37

Karetzky, Patricia Eichenbaum. "Anne de Coursey Clapp: Commemorative Landscape Painting in China. (Tang Center Lecture Series.) 176 pp. Princeton: P.Y. and Kinmay W. Tang Center for East Asian Art, Princeton University, 2012. £19.95. ISBN 978 0 691 15476 3." Bulletin of the School of Oriental and African Studies 76, no. 2 (2013): 345–47. http://dx.doi.org/10.1017/s0041977x13000359.

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Chen, Yunru. "The Efficacious Landscape: On the Authorities of Painting at the Northern Song Court. By Ping Foong . Harvard East Asian Monographs 372. Cambridge, MA: Harvard University Asia Center, 2015. Pp. 318. ISBN 10: 0674417151; ISBN 13: 9780674417151." International Journal of Asian Studies 14, no. 2 (2017): 222–24. http://dx.doi.org/10.1017/s1479591417000067.

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Mabi, KATAYAMA. "Tea Bowl with Decoration of Standing Cranes (Tachizuru): Made-to-order Ceramics Produced in the Japan House Kilns." Korean Journal of Art History 311 (September 30, 2021): 151–82. http://dx.doi.org/10.31065/kjah.311.202109.005.

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The Japan House (Korean: waegwan; Japanese: wakan) in the port city of Pusan, was a Japanese outpost during the Chosŏn dynasty. In the period 1639 to 1718, the Sō clan of Tsushima, commissioned made-to-order ceramics here, reflecting Japanese requirements, and a long-standing Japanese enthusiasm for kōrai chawan (“Korean tea bowls”), as demanded by the tea authorities in Japan. The focus of this paper is a group of tea bowls with decoration of standing cranes, the most representative type of made-to-order tea bowls produced at the Japan House kilns. Historical records and recent excavations of

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Yu, Sukyung. "Production and Consumption of Coromandel Lacquer Screens in the 17th and 18th Centuries." Korean Journal of Art History 312 (December 31, 2021): 75–108. http://dx.doi.org/10.31065/kjah.312.202112.003.

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Coromandel lacquer screen is a Chinese folding screen made from the 17th century to 19th century in China. The screen is usually about 250cm high, 600cm width and consisting of twelve panels. Although these screens were made in China during the Qing dynasty, they received their name from India’s Coromandel coast, where they were transshipped to Europe in the late 17th and early 18th centuries by merchants of the English and Dutch East India companies. The Dutch traders carried these screens from Bantam in Java, and in early accounts they were frequently called Bantam screens as well as Coroman

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Fukunaga, K., I. Hosako, Y. Kohdzuma, et al. "Terahertz analysis of an East Asian historical mural painting." Journal of the European Optical Society: Rapid Publications 5 (May 4, 2010). http://dx.doi.org/10.2971/jeos.2010.10024.

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Sarkar, Asmita. "The Phenomenal and the Cultural in Contemporary Paintings from Indian Diaspora." Chitrolekha Journal on Art and Design 4, no. 2 (2020). http://dx.doi.org/10.21659/cjad.42.v4n207.

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Contemporary painting is a complex practice that incorporates elements of different media and bear diverse historical and cultural influences. Contemporary painting from South-East Asian diaspora is no less different. In this paper an attempt has been made to analyze a few contemporary painters’ work in light of phenomenological theory. Merleau-Ponty’s (1993, 2004, 2008) theory of embodiment and phenomenology of perception has been used to show how the fusion of material exploration, embodied engagement with the lived environment, and knowledge of art-historical and contemporary trend results

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Duc, Tran Minh. "THE IMPACT OF INDIAN CULTURE ON VIETNAM FROM THE ASPECT OF DIPLOMATIC EXCHANGE AND COOPERATION." European Journal of Political Science Studies 5, no. 2 (2023). http://dx.doi.org/10.46827/ejpss.v5i2.1511.

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India is a South Asian country with a land area of 3,287,590 km2, the world's second-largest population, and the world's seventh-largest economy in nominal GDP (2016). More than 2000 years ago, the Southeast Asian native culture class of Vietnam, alongside the Chinese cultural mainstream, is the bold mark of Indian culture. Since the Cold War, India has continued to advance its policy toward the East through diplomatic relations, and Vietnam is one of the countries with which India has established early diplomatic relations. The continuous exchange and cooperation from the past to the present

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R., Jalilova. "HISTORY OF LANDSCAPE IN MIDDLE ASIAN WORKS OF ART, PHILOSOPHICAL AND AESTHETIC METHODOLOGY OF EDUCATIONAL PROBLEMS AND SOLUTIONS." July 31, 2023. https://doi.org/10.5281/zenodo.8200617.

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<em>This article</em><em> deals with </em><em> art, painting, pencil drawing, composition, the history of the landscape of Europe, Uzbekistan and the work of the famous creative artists were analyzed. The landscape of the painting was interpreted in the philosophical ideas of aesthetic education. The fundamentals of the metaphysics of the reflection of the creative technologies of the new work are discussed.</em>

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Zhou, Aven Le, and Kang Zhang. "Shanshui Journey: AI Reproducing the Experience of Chinese “Literati” Ink Paintings." Leonardo, October 4, 2023, 1–22. http://dx.doi.org/10.1162/leon_a_02474.

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Abstract The authors investigate Chinese “Shanshui” (literally meaning mountain and water), a China-origin and East Asian ink paintings of the natural landscape, through an interactive art installation, entitled “Shanshui Journey.” By examining Shanshui’s philosophy, multiple-moving perspectives, and creation and appreciation practices, the work emphasizes motion in nature, memories, and interactive appreciation. These concepts are realized in a digitized room, where each participant’s motion is captured as a line “sketch” and transformed into an ink painting (i.e., Shanshui) via a custom neur

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Beye, Abdoulaye, Claire Billot, Joëlle Ronfort, Kenneth L. McNally, Diaga Diouf, and Jean Christophe Glaszmann. "Traces of Introgression from cAus into Tropical Japonica Observed in African Upland Rice Varieties." Rice 16, no. 1 (2023). http://dx.doi.org/10.1186/s12284-023-00625-4.

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Abstract Background Asian rice Oryza sativa, first domesticated in East Asia, has considerable success in African fields. When and where this introduction occurred is unclear. Rice varieties of Asian origin may have evolved locally during and after migration to Africa, resulting in unique adaptations, particularly in relation to upland cultivation as frequently practiced in Africa. Methods We investigated the genetic differentiation between Asian and African varieties using the 3000 Rice Genomes SNP dataset. African upland cultivars were first characterized using principal component analysis a

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YI, Yuxi. "The Role Played by Zen “Kong” in Japanese Aesthetics." Global Journal of Human-Social Science, June 19, 2023, 15–24. http://dx.doi.org/10.34257/gjhsshvol23is4pg15.

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Japanese Zen Buddhism has led the way for Japanese aesthetics and has continued to bring this aesthetic to the public, most notably in the form of ukiyo-e. Zen Buddhism is a branch of Buddhism with the core principle of "no thought, no appearance, no dwelling," and "Katsu" as its practice from Linji School. As Zen became integrated into Japanese life, meditation was likewise manifested in social life, most notably in the Edo period. As a declining, last feudal period in Japanese history, the Edo Shogunate was flawed in terms of notification. The samurai class, which was attached to the Shoguna

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Weinshenker, Anne. "Anne Betty Weinshenker. Review of "East Asian Aesthetics and the Space of Painting in Eighteenth-Century Europe" by Chris Miller and Isabelle Tillerot." caa.reviews, March 5, 2025. https://doi.org/10.3202/caa.reviews.2025.13.

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Ло, С. "Principles of Reflecting Chinese National Culture in the Works of Tan Dun." Музыковедение, no. 3 (March 23, 2022). http://dx.doi.org/10.25791/musicology.3.2022.1242.

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Нематериальное культурное наследие – это древняя память жизни и культурное богатство китайской нации, а также запечатленная удивительная история эволюции китайской культуры. Тань Дунь – один из музыкантов, получивших высокую репутацию в Китае после китайской культурной революции. Его работы охватывали принципы китайской и западной музыки, сокращая разрыв между классическим западным творчеством и азиатской традиционной культурой. Он ставил и ставит в своем творчестве глобальную задачу: соединить воедино достижения музыкальной культуры Запада и Востока. При этом он сделал такое обширное вхождени

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Daniel, Ryan. "Artists and the Rite of Passage North to the Temperate Zone." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1357.

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IntroductionThree broad stages of Australia’s arts and culture sectors may be discerned with reference to the Northern Hemisphere. The first is in Australia’s early years where artists travelled to the metropoles of Europe to learn from acknowledged masters, to view the great works and to become part of a broader cultural scene. The second is where Australian art was promoted internationally, which to some extent began in the 1960s with exhibitions such as the 1961 ‘Survey of recent Australian painting’ at the Whitechapel gallery. The third relates to the strong promotion and push to display a

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