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Relevant bibliographies by topics / Figure painting, Chinese

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Academic literature on the topic 'Figure painting, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Figure painting, Chinese"

1

Yang, Suyi. "Modelling and Brushwork: A Discussion on the Creation of Chinese Ink Figure Painting." International Journal of Education and Social Development 1, no. 2 (2024): 48–51. https://doi.org/10.54097/cbj6j572.

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Since the 20th century, Chinese ink figure painting has pioneered diverse expressive forms along the path of "East-West integration." With the development of the times and changing aesthetic demands, questions about the development and creation of figure paintings, which emphasize moulding, inevitably relate to the interplay between brushwork and form. This article, starting from the essence of Chinese ink figure painting and combining the creative practices of Chinese ink painters, proposes strengthening sketch training to enhance the understanding of form. It also advocates for life studies

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Liu, Peipei, and Yakup bin Mohd Rafee. "Integrating Miao Traditional Elements into Chinese Figure Painting: Exploring Significance and Cross-Cultural Exchange." Art and Society 3, no. 1 (2024): 1–12. http://dx.doi.org/10.56397/as.2024.02.01.

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This paper endeavors to investigate the utilization of Miao traditional elements in Chinese figure painting, assessing its significance and potential value in the realm of Chinese painting creation. The study examines the contemporary landscape of Chinese figure painting, identifying its prevailing issues, while also delving into the fundamental characteristics and application techniques of traditional Miao elements. By analyzing the works of prominent artists Pang Xunqin, Liu Quanyi, and Feng Yuanming, who have adeptly incorporated Miao traditional elements into their paintings, this research

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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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Ma, Feifei. "My Opinion on Urban Figure Ink Painting." International Journal of Education and Humanities 11, no. 2 (2023): 110–11. http://dx.doi.org/10.54097/ijeh.v11i2.13547.

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There are skillful and clumsy works, and ancient and modern paintings. Since the development of ink and wash figure painting, there have been many themes of ancient costumes, ethnic minorities, and drama, but there are few themes of urban characters. It seems that there are special reasons for this. Traditional Chinese ink and wash character themes generally focus on ancient costumes, with long and complex clothing patterns. Many Chinese character painters nowadays depict a large number of Tibetan people, dance figures, or new ladies. The characters have long clothing patterns and lines, and t

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Shi, Xueyan, and Zainuddin Abindinhazir. "THE RELATIONSHIP BETWEEN TIME FACTOR AND FIGURATIVE FACTOR IN CHINESE AND ITALIAN FIGURE PAINTING IN THE 15TH CENTURY." International Journal of Heritage, Art and Multimedia 6, no. 20 (2023): 01–14. http://dx.doi.org/10.35631/ijham.620001.

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The Time factor used or emerged in painting is an issue that has been discussed for almost 1 century. However, there has never been any specific study related to time and figure painting. In addition, the author finds the time factor used in Italian and Chinese painting in the 15th century, which always depends on the figurative factor of the painting. So, this study is to explore the presentation of time factors in figure paintings in Italy and China from the 15th century to the 16th century and find out the rules between figurative factors and time factors in figure painting during this peri

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Kang, Tinghu, and Ping Wang. "Semantic Representation and Emotional Awareness in Chinese Painting Viewing: Is There a Difference Between Landscape Painting and Figure Painting?" Behavioral Sciences 15, no. 6 (2025): 790. https://doi.org/10.3390/bs15060790.

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The artistic expression inherent in Chinese paintings serves as a conduit for the artists’ emotional and cognitive expression. However, current research lacks consensus regarding the distinct psychological mechanisms underlying the appreciation of Chinese painting genres (landscape vs. figure paintings). This study—employing a vocabulary generation task and the Implicit Association Test (IAT) to compare semantic representation and emotional awareness during participants’ viewing these two types of paintings—aims to elucidate potential disparities in aesthetic processing. In Experiment 1, altho

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Zeng, Weiping, and Jianlan Zeng. "Integration of Internal Structure in Ink Figure Painting." Journal of Education and Educational Research 13, no. 2 (2025): 7–9. https://doi.org/10.54097/4saej096.

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This paper explores the internal structural integration of ink figure painting, with a particular focus on freehand depictions of ethnic minority figures. It analyzes the organic fusion of compositional language, modeling language, brush-ink language, and personal language. By comparing compositional concepts from both Chinese and Western traditions—where traditional Chinese painting emphasizes artistic conception and scattered perspective, while Western painting prioritizes linear perspective—the study examines how modeling training and innovations in brush and ink facilitate mutual influence

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Chen, Feifei. "Opera Figures in Ink and Wash Scene — Analysis of Guan Liang and Han Yu’s Ink and Wash Opera Figures." Studies in Art and Architecture 2, no. 4 (2023): 50–57. http://dx.doi.org/10.56397/saa.2023.12.08.

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In the long history of records, China is a big country, has a complete set of its own cultural system, and these systems will always reveal a subtle connection. The combination of Chinese painting and Chinese opera is enough to reflect the extensive and profound Chinese culture. In the folk tradition, there are a lot of folk art to stage opera characters for the performance of the theme, while opera art has become more and more popular. In the form of painting to describe the opera, in the Ming and Qing Dynasties, some artists began to use this way to express the opera, but the number is very

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Bian, Xiangyang, and Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes." Asian Social Science 14, no. 1 (2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.

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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emph

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Xing, Lu, Haslinda Abd Razak, and Liza Marziana Mohammad Noh. "The Theme of Laborers in Contemporary Chinese Painting: A Study of Historical Mission and Artistic Expression." Advances in Humanities and Contemporary Studies 4, no. 2 (2023): 198–204. http://dx.doi.org/10.30880/ahcs.2023.04.02.020.

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Since the founding of New China, the image of laborers has always been one of the important themes in Chinese painting creation. It is an artistic expression of Chinese political thought and the life of the Chinese people. Shaping and praising laborers has become an important historical mission of contemporary Chinese artists.This study aims to examine the differences between laborer images in modern and contemporary Chinese paintings by analyzing works from the 7th National Youth Art Exhibition and the 13th National Art Exhibition.The study draws three conclusions: In terms of subject matter,

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Dissertations / Theses on the topic "Figure painting, Chinese"

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Ng, Man-Yee Sandy. "Lin Fengmian (1900-1991) : figure painting and hybrid modernity in twentieth century Chinese art." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430075.

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Siu, Fun-kee. "The case of Wang Yiting (1867-1938) : a unique figure in early twentieth century Chinese art history /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21415274.

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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.

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碩士<br>國立交通大學<br>資訊科學系<br>89<br>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 au

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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.

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碩士<br>中國文化大學<br>藝術研究所美術組碩士在職專班<br>94<br>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

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"人物話本: 工筆人物畫再探". 2001. http://library.cuhk.edu.hk/record=b5890887.

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石家豪.<br>"2001年6月"<br>論文 (藝術碩士)--香港中文大學, 2001.<br>參考文獻 (leaves 16-17)<br>附中英文摘要.<br>"2001 nian 6 yue"<br>Shi Jiahao.<br>Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2001.<br>Can kao wen xian (leaves 16-17)<br>Fu Zhong Ying wen zhai yao.<br>圖片 --- p.i -vi<br>序言 --- p.1<br>Chapter 上部 --- 古典與復古 --- p.2<br>Chapter 中部 --- 藝術性與職業性 --- p.6<br>Chapter 下部 --- 現代化與後現代 --- p.10<br>結語 --- p.14<br>註釋 --- p.15<br>參考書目 --- p.16<br>附錄：藝術碩士畢業展（研究生：石家豪）作品

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Huang, Hsin-Chien, and 黃信騫. "The Simulation of Traditional Clothes in Chinese Ink Figure Painting." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/79029784228852334467.

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碩士<br>國立交通大學<br>資訊科學系<br>91<br>In Chinese ink painting, the figure painting has a long developed history. Ink figure paintings even more rely on various linear strokes to convey the meaning of paintings. Clothes plays an essential role, every dynasty has its own clothes characteristics which represent the process of history and different cultural background. Different figure poses generate various creases. This makes figure painting full variation. In this thesis, we try to achieve the goal mentioned above. We propose a method to synthesize clothes texture in Chinese figure paintings. The styl

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Kobayashi, Hiromitsu. "Figure compositions in seventeenth century Chinese prints and their influences on Edo period Japanese painting manuals." 1987. http://catalog.hathitrust.org/api/volumes/oclc/23164691.html.

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CHEN, YUEH-HSIAO, and 陳岳孝. "God Painting and Mythology – A Creative Discourse of Chen, Yueh-Hsiao’s Chinese Brush Figure Painting." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9qm8r3.

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碩士<br>國立屏東大學<br>視覺藝術學系碩士班<br>106<br>Nowadays, with the rapid development of technology, the growth of the media has surpassed our imagination than before. The resources of visual images are rich and easy to get. It is very common to see examples for images that are being "re-used". This technique is called "appropriation", which means taking ready-made objects or other’s art works and adapting their texts to make their own works. By appropriating the painting of “The Genesis” which was painted by Michelangelo di Lodovico Buonarroti Simoni (1475-1564) in the Sistine Chapel, the author makes the

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Liou, Yuh Chiou, and 劉玉秋. "Creative Study of Spacial Structure in Chinese Freehand Brushwork Figure Painting." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/70202939509978971042.

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碩士<br>長榮大學<br>視覺藝術研究所<br>94<br>Creative Study of Spacial Structure in Chinese Freehand Brushwork Figure Painting Abstract Traditional Chinese freehand brushwork figure is developed from stick figure initially, focusing on the spirit contained in the pen and ink form. To understand its evolution in spacial structure, in addition to the nature of freehand brushwork, we also have to know the technique, the form, the meaning and the aesthetics. From the long-term creation and the repeated refinement, we discover that linear structure is a standard norm with strong national characteristics. This

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YU, KUAN-MING, and 余冠鳴. "The Simulation of Chinese Ink Style Figure Painting Techniques in 3D Game Engine." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/87602063237762575249.

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碩士<br>國立交通大學<br>電機資訊學院碩士在職專班<br>93<br>No matter China and other countries, the early painting relies mainly on people drawing in the history of development of drawing. In Chinese ancient people drawing, it can be roughly divided into three kinds on technique displayed: a technique of drawing in brush style, color painting of the Chinese realistic drawing, and the comfortable technique of drawing. However, the drawing technique in brush style is that the people is the earliest and use the most succinct form to express. It is called ‘pure-draw’, also called ‘line-draw’. The De-Zhong Zhou et al.

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Books on the topic "Figure painting, Chinese"

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Zhuang, Yujun. Zou jin ming jia gong zuo shi nian ji: Jia wu nian : Zhuang Yujun. Tianjin ren min mei shu chu ban she, 2015.

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Yang, Haiping, and Ming Shui. Ming hua zai xian: Li dai zui jing dian ren wu hua = Masterpieces : the best figure paintings of ancient Chinese dynasties. Zhejiang ren min mei shu chu ban she, 2012.

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Shen, Wei. "Li dai di wang tu" yan jiu. Zhejiang da xue chu ban she, 2019.

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Weng, Wei. Zhongguo xie shi hua pai: Weng Wei : China realism : Weng Wei. Jilin mei shu chu ban she, 2009.

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Jieying, Zhu, ed. Qing ya de ming shi feng du: Zhang Daqian gao shi ce. Beijing shi fan da xue chu ban she, 2009.

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editor, Xu Xiaosheng, ed. Da jia jiang tang: Xie Zhigao guo hua ren wu juan. Anhui mei shu chu ban she, 2012.

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editor, Hu Xilin, ed. Ming dai Poyang Hu fo si jiu cang: Ming Wu Bin hui wu bai a luo han tu liang zhong. Xi ling yin she, 2018.

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Hongqian, Dai, ed. Dai Dunbang hua pu, Zhongguo gao shi tu. Shanghai ci shu chu ban she, 2009.

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Xiaochu, Lin, ed. Jin Shangyi. Ren min mei shu chu ban she, 2014.

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Chen, Lin. "Ba shi qi shen xian juan" lin mo fan ben. Ren min mei shu chu ban she, 2007.

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Book chapters on the topic "Figure painting, Chinese"

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McCausland, Shane. "Figure Painting: Fragments of the Precious Mirror." In A Companion to Chinese Art. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch5.

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"CHAPTER XII NEW DEVELOPMENTS IN BIRD-AND-FLOWER PAINTING AND FIGURE PAINTING." In A General History of Chinese Art. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110790948-013.

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Fraser, Sarah E. "Buddhist Archaeology in Republican China: a New Relationship to the Past." In Proceedings of the British Academy Volume 167, 2009 Lectures. British Academy, 2011. http://dx.doi.org/10.5871/bacad/9780197264775.003.0006.

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This chapter presents the text of a lecture on Buddhist archaeology in Republican China given at the British Academy's 2008 Elsley Zeitlyn Lecture on Chinese Archaeology and Culture. This texxt explains that Chinese archaeologists have transformed the notion of the nation and its artistic history with a series of dramatic discoveries during the Republican Period. It evaluates the impact of archaeological copies painted by Zhang Daqian and Wang Ziyun and explores how they rediscovered and popularised the history of early figure painting and pottery for a Republican audience.

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Ho, Angela. "Market Stall in Batavia: Money, Value, and Uncertainty in the Age of Global Trade." In Money Matters in European Artworks and Literature, c.1400-1750. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463726078_ch03.

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This chapter explores how A Market Stall in Batavia, recently attributed to Andries Beeckman, constructs an image of the Dutch East India Company’s colony for an audience of Dutch burghers. The painting draws on the market setting, familiar from Netherlandish artistic traditions, to convey associations of profitable exchange in its depiction of the town in Indonesia. Focusing on the figure of the Chinese man and the coins in his hands, the chapter argues that these motifs carried multiple connotations, disrupting attempts at a single, positive reading. The use of these multivalent elements res

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"Japanese Paintings of Chinese Historical Figures." In Ink and Gold: Art of the Kano. Philadelphia Museum of Art, 2015. http://dx.doi.org/10.37862/aaeportal.00263.004.

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Golas, Peter J. "Qing Developments." In Picturing Technology in China. Hong Kong University Press, 2015. http://dx.doi.org/10.5790/hongkong/9789888208159.003.0006.

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The final chapter takes up developments in the Qing period, above all the fascinating story of the Jesuit efforts to introduce into China the most up-to-date painting and drawing techniques from Europe (along with much else from Renaissance culture), and Chinese responses to those efforts. Two outstanding figures will help flesh out this story: Wang Zheng, the first Chinese to attempt to engage seriously with Renaissance mechanics, and the painter Jiao Bingzhen who produced under imperial sponsorship a remarkable new series of illustrations for the Pictures of Tilling and Weaving that were ver

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Hinton, Carmelita. "Evil Dragon, Golden Rodent, Sleek Hound: The Evolution of Soushan Tu Paintings in the Northern Song Period." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0006.

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In soushan tu paintings, a seated deity commands ferocious soldiers who search wooded mountains to expel demons in animal forms. It is commonly believed that soushan tu originated from legends of Erlang, a river deity from Guankou, Sichuan who appears as the seated commander in some post Northern Song examples. Earlier textual and pictorial evidence, however, contradicts this assumption. This essay traces the changing identities of the commander during the tenth and eleventh centuries and how certain animals associated with them became part of the pictorial repertoire. Rather than illustrating

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Liao, Hsin-Tien. "Ju Ming (1938–)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2046-1.

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Ju Ming, also known as Ju Chuantai, is one the most prominent Taiwanese sculptors to have emerged in the latter half of the twentieth century. Born in Miaoli County in northern Taiwan, he originally trained in wood sculpture, carving traditional figures such as those of the Buddha and Mazu, the sea goddess. In 1968, he decided to shift his focus to the depiction of modern themes. He studied with the famous sculptor Yang Yuyu, who suggested he change his name from Ju Chuantai to Ju Ming to signify this change in artistic direction. Ju’s early works explored aspects of Taiwanese folk life, often

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Conference papers on the topic "Figure painting, Chinese"

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Li, Rui, Yifan Wei, Haopeng Lu, et al. "Chinese Ancient Painting Figure Face Restoration and its Application in a Q&A Interaction System." In 2024 IEEE International Conference on Multimedia and Expo Workshops (ICMEW). IEEE, 2024. http://dx.doi.org/10.1109/icmew63481.2024.10645456.

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Wei, Yifan, Wenkang Shan, Qi Zhang, Liuxin Zhang, Jian Zhang, and Siwei Ma. "Real-Time Interaction with Animated Human Figures in Chinese Ancient Paintings." In 2024 IEEE International Conference on Multimedia and Expo Workshops (ICMEW). IEEE, 2024. http://dx.doi.org/10.1109/icmew63481.2024.10645366.

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Ju, Rong, and Zhaoyang Shao. "Study on Chinese Freehand Figure Painting Development Context and Aesthetic Qualities." In 2015 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Atlantis Press, 2015. http://dx.doi.org/10.2991/essaeme-15.2015.36.

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Du, Yihang, Zhang Yao, and Niu Ke. "Movement Description Method and Application for Dance of Chinese Traditional Drama." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003352.

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The purpose of this research is to propose a description model of human motion for Chinese traditional drama, which contained body structure, spatial orientation and movement force effect three dimensions. A multi rigid model is established based on the relative relationship between nodes and edges, record the movements of each part with geometric figures to establish the skeleton hierarchy of multiple joint points. In addition, we applied the description method on the virtual body in digital CTD performance system, which is designed base on augment reality technique. Also, we extracted the co

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