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Relevant bibliographies by topics / Figure painting, Chinese / Dissertations / Theses

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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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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5

"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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6

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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7

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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8

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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9

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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10

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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11

Hsieh, Fu-Lung, and 謝福龍. "The Body Image─A Study of the Creation on Chinese Ink Figure Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/39522696685835174166.

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碩士<br>長榮大學<br>視覺藝術學系碩士班<br>96<br>The discussion of this study project is from author’s creative search concerning “body image” during 2005-2007. In the idea and practice of art production, we must respect the bodies of self and the others’ in order to explore the content of ink painting and the nature of life so that ideas of art creation may be promoted and continued. In this creative project, it is expected to achieve the following four objectives: 1) Investigate works and content of Chinese traditional figure painting concerning “body image”; 2) Explore nature of “body image” throu

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12

Hsieh, Chia-Wen, and 謝佳文. "Research on the Art of Female Figure Painting in Chinese Color-ink Art Creation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/81147266650929327109.

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碩士<br>長榮大學<br>視覺藝術研究所<br>95<br>The development of female figures in Chinese color-ink painting and its Chinese features and influence on Chinese painting history are the focus of this research. It is hoped that through this research, an understanding toward the then contemporary concept of aesthetics and the influences of cultural, social, and economic factors on Chinese painting can be gained. Based on relevant theories and creation experiences of the previous generations and the comparison of different painting perspectives in Chinese and the Western countries, an individual creation conce

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13

WANG，YUE and 王躍. "Real Scene ·Virtual Reality——Study on Composition and Space Relate of Chinese Figure Painting." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rtc3cn.

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博士<br>國立臺灣藝術大學<br>書畫藝術學系<br>107<br>This paper begins with the logical starting point of traditional figure painting space concept, and analyses its interpretation of space concept from the three theories of Confucianism, Taoism and Buddhism. The first part is about the composition of traditional figure painting, which is what the ancients called "management position". Confucius said that "governing by virtue, such as Beichen, where all the stars live", which is not only the way of governing, but also the principle of painting layout. This is the embodiment of "ritual", which shows a kind of or

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14

Chen, Yi-Hua, and 陳儀樺. "“An Interplay of Spirits and Forms”－A Study of the Brushlines in Chinese Figure Painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/32528084352060590800.

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碩士<br>國立臺灣藝術大學<br>書畫藝術學系<br>99<br>The characteristics of Chinese painting are inseparable from its distinct expression of lines, which have played an important role in figure painting. The importance that artists throughout history attached to the use of lines provides us a further understanding of the quality of the paintings and the underlying emotions of their painters. Hence, to study the lines in figure paintings and thus apply them to our works, we have to gain a full understanding of its development in history. This thesis is about historical sources of the lines in figure painting an

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15

Shih, Yuh-En, and 石育恩. "The Research of Point Symbol as Image Expression— Figure in Chinese Ink Painting Works and Discussions." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/ddwx2y.

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碩士<br>國立臺南大學<br>美術學系碩士班<br>102<br>Based on the image presentation of tittles, the thesis studies figure painting as the subject of Chinese ink painting creation. It attempts to integrate the Chinese ink painting extension of pointillism and the viewpoints or theories behind the techniques. It manages to combine the surface image features and the internal character implication, which searches for new possibilities of presenting figure in painting and builds up an individual style of ink and wash art creation. The method of tracing to the source is applied to sort out the art pedigree of p

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16

Cheng, Cheng-Ching, and 鄭正慶. "A Research on the Figure Painting and its Brush and Ink Techniques in the Chinese Humanities Art Development." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/04239617044766640366.

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碩士<br>華梵大學<br>東方人文思想研究所<br>91<br>Abstract In the development history of Chinese Humanities art, the brush and ink of the figure painting* has not only its own artistic value, but also its responsibility for the social education. It also expresses the core spiritual meanings of the contemporary. Therefore, it occupies a vital position in the development history of Chinese humanities art. The figure painting has been offering rich and abundant art forms and styles from the primitive age to the ancient empires, as well as through all the historical generations until today. If we can a

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17

Mei-Ju, Fan, and 范美如. "A study of creating Chinese elaborate-style(gongbi) female figures painting." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/17210773697763293816.

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18

YINSHAN, JIN, and 金殷善. "A Study of Chen Hong-Shou` s figure painting : The Creative Chines Ink and Color Painting Artwork from Jin Yin-Shan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/45716998274579296384.

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碩士<br>國立臺灣師範大學<br>美術學系<br>99<br>For this article study, first at chapter 1 – introduction interpret (put across) authors` motivation and purpose, point out the scope of the research and the method of the study. Chapter2, introduction Chen hong-shou (陳洪綬)` painting style, analyzed his artistic style, to understand his achievement artistic talent, accomplishment, social experience, time and environment and personality characteristics. Chapter3, to explore Chen hong-shou (陳洪綬)` painting style as early stage, middle stage, terminal what inspect the processing of the drawing development. Track down

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19

SHUEN-CHANG, CHEN, and 陳順昌. "Reflection of Modern Taiwan― A Study of Creative Works of Shuen-Chang Chen's Chinese Figure Paintings." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/43804009447791674142.

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碩士<br>國立臺灣師範大學<br>美術學系在職進修碩士班<br>95<br>This paper is mainly the exploration about the figure paintings on ordinary people engaged in certain aspects of everyday life. The painting of the emotional world of human beings, including the depiction of outside world or the interior world of the mind of ordinary people has been manifested. These figure paintings directly reflect the real life in modern Taiwan. This paper investigates the unnoticed phenomena of society associated with the social problem in Taiwan. The observation and speculation of these social problems have been discussed as well

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