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Journal articles on the topic 'Figure painting, Chinese'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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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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Li, Haolin. "Exploration of the Relationship between Form and Spirit in Chinese Freehand Figure Painting." Arts Studies and Criticism 5, no. 5 (2024): 374. https://doi.org/10.32629/asc.v5i5.3090.

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This article explores the relationship between “form” and “spirit” in Chinese freehand figure painting, and analyzes their importance and interaction in artistic expression. By sorting out the traditional cultural background, the ideological connotation and artistic value carried by freehand figure painting are revealed in this paper, aiming to provide a new perspective for further research in this field.

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Hung, Chia-Ching. "A study on a content-based image retrieval technique for Chinese paintings." Electronic Library 36, no. 1 (2018): 172–88. http://dx.doi.org/10.1108/el-10-2016-0219.

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Purpose The purpose of this study is to build a database of digital Chinese painting images and use the proposed technique to extract image and texture information, and search images similar to the query image based on colour histogram and texture features in the database. Thus, retrieving images by this image technique is expected to make the retrieval of Chinese painting images more precise and convenient for users. Design/methodology/approach In this study, a technique is proposed that considers spatial information of colours in addition to texture feature in image retrieval. This technique

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Jin, Zichun. "Exploring the “Image and Temperament” of Contemporary Figure Paintings." International Journal of Education and Social Development 1, no. 2 (2024): 44–47. https://doi.org/10.54097/jqh1hk23.

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As one of the core propositions in the creation of Chinese paintings, the expression of “Image and temperament” not only runs through the development of traditional paintings, but also takes on a new significance in the creation of contemporary art. This paper will take “Image and temperament” as an entry point for an in-depth analysis of contemporary Figure Painting, exploring how Figure painters reinterpret this traditional proposition in terms of brush and ink language, form construction and spiritual expression in the context of contemporary culture and society. At the same time, this pape

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汪一舟, 汪一舟. "美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫". 中正漢學研究 37, № 37 (2021): 075–114. http://dx.doi.org/10.53106/2306036020210600370003.

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<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p>&nbsp;</p><p>&quot;During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan&rsquo;yū (1602-1674), a leading artist of the early Edo

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Liu, Kaixuan, Sha Lu, Jiayu Zhao, et al. "Research on Archaeology and Digital Restoration of Costumes in Spring Outing Painting of Madam Guo." Sustainability 14, no. 19 (2022): 12243. http://dx.doi.org/10.3390/su141912243.

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Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in thi

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Zou, Xiangping. "The value and historical meaning of freehand brushwork in figure painting of the Song Dynasty." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-1 (2023): 154–63. http://dx.doi.org/10.31166/voprosyistorii202303statyi25.

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As the pinnacle of the development and evolution of Chinese classical painting art, the painting art of the two Song dynasties is famous for its high technical skills, detailed subjects. This paper analyzes the artistic value and historical meaning of Yi Yi figurepaintingfrom the background study and style analysis of Yi Yipaintings in the two Song dynasties, combining two works, “Painting of Immortals with Ink” and “Tai Bai Xing Yin”.

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Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.

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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or

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18

Deng, Xiaoying, and Xingmei Xu. "Analysis of the Formal Language in Contemporary Minority Nationality-Themed Fine Brushwork Figure Painting." Economic Society and Humanities 1, no. 1 (2024): 61–65. http://dx.doi.org/10.62381/e244111.

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Minority nationality-themed fine brushwork figure paintings, focusing on the portrayal of ethnic minority people, represent a unique genre dedicated to depicting the spirit of ethnic minority people. It occupies a distinctive niche within the broader continuum of Chinese art, carrying forward the creative passion and artistic pursuit of each generation of fine brushwork artists towards minority culture. With the progress and development of the times, classic works have always been the treasure of artistic creation in this genre. These thematic paintings manifest profound artistic expression an

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Zeng, Weiping. "Study on the Composition of Yi Subjects in Ink Painting." International Journal of Education and Humanities 19, no. 2 (2025): 71–74. https://doi.org/10.54097/vkpxq505.

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In the 1980s, after years of creative accumulation and reference to Western aesthetic theories, Lu Chen proposed the "ink composition" theory at the Central Academy of Fine Arts in 1987, opening up a new path for Chinese painting creation. Under this concept, how can Yi painting themes apply the composition factors of ink to the creation of freehand figure painting, and run through the entire process of creation. How the use of ink, shape, and color in ink composition form the expression of painting language is another new topic in ink composition.

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WANG, Chong, and Zoya ALFYOROVA. "WOMEN’S COSTUME OF INNER MONGOLIA IN MODERN CHINESE EASEL PAINTING." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (2023): 78–86. http://dx.doi.org/10.33625/hudprom2023.02.078.

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The article is devoted to the peculiarities of the representation of the female costume of Inner Mongolia in modern Chinese easel painting. The purpose of the article is to understand the stylistic, compositional, and coloristic solutions of the mirroring of women’s costumes by Chinese easel makers at the end of the 20th – beginning of the 21st century. The administrative autonomy chosen for analysis is a fairly self-sufficient region of China, in which a peculiar complex of women’s costume was formed. Its representation in easel painting makes it possible to capture a certain picture of the w

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Gao, Yue. "Research on the Pattern of "Mother Tutoring Her Child" in Falangcai Painted Enamels During Qianlong Period of Qing Dynasty." Lecture Notes in Education Psychology and Public Media 72, no. 1 (2025): 43–49. https://doi.org/10.54254/2753-7048/2025.nd19029.

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This study focuses on the basis of contemporary scholars' research on the artistic style of Chinese and Western combination of different patterns of falangcai painted enamels in the Qianlong period of Qing Dynasty and the study of mother and child images in the Qianlong period. This study is of great significance to the study of the pattern of falangcai painted enamels. This study mainly focuses on the design of ribbons, picture composition, character image and space expression in enamel porcelain pattern. In this study, literature analysis, iconography research methods and comparative analysi

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Li, Jinkun. "The Combination of Zen Thought in Chinese Philosophy and Shi Tao's Artistic Style." Bulletin of KNUKiM. Series in Arts, no. 50 (June 27, 2024): 15–21. https://doi.org/10.31866/2410-1176.50.2024.306745.

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<strong>The aim of the article</strong> is to investigate the direction of art of the early Qing Dynasty in China and the influence of Shi Tao’s artistic thoughts on subsequent painting schools through the study of Shi Tao. In particular, to reveal the contradictions between social reality and the artists of that time, which is important in the further study of the history of modern Chinese art. <strong>Results.</strong> Shi Tao (1642–1708) is a significant figure in the history of Chinese painting. He is an explorer and revolutionary in the practice of painting, as well

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Guo, Quan. "Discussion on the Value of Applying Traditional Chinese Elements to the Teaching of Meticulous Figure Painting." Educational Review, USA 8, no. 4 (2024): 516–20. http://dx.doi.org/10.26855/er.2024.04.003.

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Zhang, Jing. "Oil Painting Art Appreciation Platform Based on Mobile Information System." Wireless Communications and Mobile Computing 2022 (February 25, 2022): 1–11. http://dx.doi.org/10.1155/2022/6019327.

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Art is the product of culture, and the collision of cross-cultural communication and Chinese and Western culture has promoted the development and innovation of art. Today, oil painting is well known as a kind of art. At first, oil painting did not exist as art. It came from the most primitive activities of mankind and gradually became one of the categories of art with the development of civilization. In the context of the rapid development of material civilization today, the huge benefits brought by science and technology have promoted people’s pursuit of practicability. Oil painting has been

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Yang, sujeang. "The Adoption and Development of the Gu’s Embroidery in Late-Joseon embroidery." Korean Journal of Art History 311 (September 30, 2021): 45–86. http://dx.doi.org/10.31065/kjah.311.202109.002.

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This article uses the idioms of embroidery appreciation as depicted in narrative figure paintings in the collection of the National Museum of Korea, to examine the effects of Gu-style embroidery, which reached Korea during the late Joseon period, on the development of late Joseon embroidered pictures enjoyed by the royal court.<br/>The late Joseon period saw unprecedented developments in social, economic and cultural norms. Among these were friendly relations with Qing, allowing Koreans access to new imported culture including various regional Chinese embroidery styles. Gu embroidery bec

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ZHAO, Liang. "Thinking of the Value of Traditional Ink and Modeling in the Creation of Contemporary Chinese Figure Painting." Research on Literary and Art Development 1, no. 1 (2020): 4–8. http://dx.doi.org/10.47297/wsprolaadwsp2634-786501.20200102.

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Blanchard, Lara C. W. "Virtue and Women's Authorship in Chinese Art History: A Study of Yutai huashi (History of Painting from Jade Terrace)." Journal of Chinese Literature and Culture 10, no. 1 (2023): 221–43. http://dx.doi.org/10.1215/23290048-10362457.

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Abstract Yutai huashi (History of Painting from Jade Terrace), published in 1837, is rare among Chinese art-historical texts, not only for its focus on women painters of the imperial period but also for its female authorship. While the text preserves information on women who painted, its acknowledged author, Tang Shuyu, draws connections between women authors (defined broadly here to include both artists and writers) and virtuous women. First, her organization of the text's first five chapters foregrounds the social identities of women painters—a system that hints at their virtue. Second, biog

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Kraushaar, Frank. "Translating personality into landscape." Acta Orientalia Vilnensia 8, no. 2 (2007): 61–71. http://dx.doi.org/10.15388/aov.2007.2.3733.

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University of LatviaThis essay stems from a hypothesis which belongs to a work in progress: an attempt to understand and to make translatable into contemporary conceptions the figure of the anonymous 隱者 (yin zhe) and its formation into a kind of humanistic cipher or an empty interior space sketched like a human being in classical Chinese poetry and Tang and Song painting. The idea is that the correspondence of personality and landscape in Chinese aesthetics replaces its Western counterpart―the relativity of subjectivity and outer space. The first part of the essay delineates differences in the

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Kraushaar, Frank. "Translating personality into landscape Frank Kraushaar." Acta Orientalia Vilnensia 8, no. 2 (2007): 61–71. https://doi.org/10.15388/aov.2007.42399.

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This essay stems from a hypothesis which belongs to a work in progress: an attempt to understand and to make translatable into contemporary conceptions the figure of the anonymous 隱者 (yin zhe) and its formation into a kind of humanistic cipher or an empty interior space sketched like a human being in classical Chinese poetry and Tang and Song painting. The idea is that the correspondence of personality and landscape in Chinese aesthetics replaces its Western counterpart―the relativity of subjectivity and outer space. The first part of the essay delineates differences in the approach to landsca

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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their p

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CHI, XIAOCHEN. "A study of the formal beauty of Chinese figure painting during the Tang Dynasty - Gestalt psychology as the central basis." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 59 (May 30, 2023): 95–108. http://dx.doi.org/10.19078/ea.2023.59.4.

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Feng, Lisi. "Developing Encounters between Chinese and Western Art: The Contribution of Two Jesuits in China in the Seventeenth and Eighteenth Centuries." Religions 15, no. 1 (2024): 129. http://dx.doi.org/10.3390/rel15010129.

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This article explores the introduction and influence of Western art in China during the Ming and Qing dynasties, focusing on the role of the Jesuits—especially Matteo Ricci (1552–1610), one of the founders of Catholic missionary work in China—and the most famous and influential Western figure in China’s art history, Giuseppe Castiglione (1688–1766). The Jesuits recognized art’s potential in their missionary efforts. The article examines the varied responses of Chinese literati to Western art theories in the 17th and 18th centuries, and how Jesuit-introduced artistic concepts were assimilated w

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Aiqing, Wang, and Thomas William Whyke. "From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)." Animation 19, no. 1 (2024): 58–75. http://dx.doi.org/10.1177/17468477241236129.

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This study delves into the use of visual rhetorical strategies in 中国奇谭 Zhongguo Qitan ‘Yao-Chinese Folktales’ (2023), particularly focusing on 鹅鹅鹅 E E E ‘Goose Mountain’ (henceforth ‘Goose’) directed by Hu Rui. We assert that ‘Goose’ transcodes and reinterprets the ancient Chinese zhiguai novella 阳羡书生 Yangxian Shusheng ‘The Scholar from Yangxian’ (henceforth ‘Scholar’) for a contemporary audience through the use of visual rhetoric, leading to a compelling contemporary rendition of this tale. As a silent animation, ‘Goose’ does so by adeptly incorporating visual depictions, especially animal-re

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Guo, Siru. "An analysis of the creation of the theme of the ladies in Tang Dynasty." Frontiers in Humanities and Social Sciences 4, no. 4 (2024): 104–10. http://dx.doi.org/10.54691/x0xxqv89.

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The Tang Dynasty ladies are of great significance in the history of Chinese painting, and the development of figure painting in this era reached its peak, blending the roughness of the north and the delicacy of the south. Since the Tang Dynasty, it has been found that both men and women are fat as beauty, women are full of breasts and fat buttocks, and their outfits are even more daring. The aesthetics of the Tang Dynasty were different from those of previous dynasties, and it was no longer weak for beauty, but mainly for health. Throughout the Tang Dynasty. Regardless of the differences in ag

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Wang, Shue. "Anti-Japanese war in the fine arts of China of the XX – beginning of the XXI century." Философия и культура, no. 6 (June 2023): 141–51. http://dx.doi.org/10.7256/2454-0757.2023.6.40967.

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This study examines the specifics of the theme of the anti-Japanese war in Chinese art at various stages from the 1930s to the beginning of the XXI century. The key works of graphic artists and painters are selected as the material, which mark the key points of the evolution of the topic under consideration. Images in Chinese art associated with the events of the anti-Japanese War or the "War of Resistance" have been created by artists for more than seven decades, changing and transforming in accordance with political, ideological, socio-cultural and artistic-stylistic factors. This topic is e

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Kim, Eun-a. "A Study on Zhèng Qiáo (鄭樵)’s Understanding of SeoHwa (書畵: Calligraphy and Painting) based on his Theory of SeoHwaDongChul (書畵同出: Calligraphy and painting are beginning from same root) in the Era of Song Dynasty". Korean Society of Calligraphy 42 (31 березня 2023): 187–207. http://dx.doi.org/10.19077/tsoc.2023.42.7.

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This article presents why Zhèng Qiáo understood the relation between Seo and Hwa focusing on graphonomy to raise the theory of SeoHwaDongChul. Zhāng Yàn Yuǎn (張彦遠)’s thoughts of SeoHwaDongChe (書畵同體: Calligraphy and painting are same as each other) led to the theory of SeoHwaDongChul suggested by Zhèng Qiáo in the era of Song dynasty. Zhèng Qiáo drew the meaning of DongChul of Seo and Hwa from graphonomy to develop his thoughts. The essences of his theory of SeoHwaDongChul investigated for this article are: First, YukSeo (六書: the theory of explaining about the formation of Chinese characters in

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Liu, Qi. "History of building picture story books “Lenin in October” and “Lenin in 1918”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 149–56. http://dx.doi.org/10.17223/22220836/45/14.

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In 1950, the People's Republic of China and the USSR signed the Treaty of Friendship, Alliance and Mutual Assistance. The development of the Chinese economy and the sphere of art has experienced the all-round influence of the USSR. The Chinese language was translated works on the revolutionary struggle of the Soviet people, as well as on the topic of production and construction. Many works began to be produced in the format of picture story books. This trend greatly contributed to the popularization and dissemination of Soviet literature and art in China. Gu Bingxin is one of the talented arti

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Moon, Mi-jin. "A study of picture titles and images of “Three old men asked their age”." Society for Chinese Humanities in Korea 84 (August 31, 2023): 365–82. http://dx.doi.org/10.35955/jch.2023.08.84.365.

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A painting's title can be divided into three main categories. The first is the title that the artist decides what kind of painting he or she is going to paint, the second is the title that the artist writes on the painting after the painting is completed, and the third is the title that someone else adds to the painting. The first two types of titles usually go well with the content of the painting, but the titles given by others are sometimes wrong for reasons such as a lack of understanding of the content of the painting. Especially in the case of auspicious paintings with hidden meanings or

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薛孟琪, 薛孟琪. "圖、底與透明性：試論陳其寬先生建築與繪畫中共通的空間探索". 建築學報 118, № 118 (2021): 027–52. http://dx.doi.org/10.53106/101632122021120118002.

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<p>著名建築師、畫家陳其寬先生的建築設計與繪畫創作之間的關聯是一個重要卻尚未被充分探索的領域。為補此闕漏，本文以脈絡化的研究方法，將陳的繪畫創作以及四件早期建築設計作品放回20世紀前半葉視覺藝術與現代建築思潮共同發展的過程中探討，結合當時風行並影響他的《時間&bull;空間&bull;建築》、《視覺語言》和〈透明性〉等三部著作，探索當時國際上關注的「透明性」概念與「圖&mdash;底關係」如何啟發陳其寬先生的思維和表現方式。本文主張結合陳的繪畫與建築共同探討有助於得到更為整體的認識，並發現建築與繪畫是他用於探索同一種空間新觀念的兩種不同媒介。透過對陳之繪畫與建築作品的深入分析，本文指出：1. 陳透過「圖」與「底」之交互疊合，試驗其所造成看似裁切、實則使空間與畫面延伸之心理感知效果；2. 陳藉操作「現象的透明性」創造模糊多義的空間，從中既可見前述西方思潮帶來的影響，亦可見陳結合自身文化底蘊所開展出的創新路徑；3. 陳以具有地域特色的透空建築皮層、質紋拓墨／紙背塗色等特殊技法表現「字面的透明性」，一方面回應、修改了玻璃在西方建築、繪畫中表現透明性時扮演的角色，另一方面也同時挑戰、革新了中國傳統水墨與空間營造中既定的做法與價值觀。這些都是具有開創性的視覺與空間設計思維。陳其寬先生並非僅止於被動接受西方建築與繪畫的影響，而是以此為基礎，在持續的試驗中發

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Kho, Youenhee. "Meritorious Heroes." Sungkyun Journal of East Asian Studies 21, no. 1 (2021): 1–25. http://dx.doi.org/10.1215/15982661-8873872.

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Abstract This study explores the allegorical usage of hawk painting to praise a hero with meritorious deeds in Yuan China (1271–1368) and early Chosŏn Korea (1392–1910). Through an analysis of Yuan-dynasty poems inscribed on hawk paintings, this article demonstrates that paintings of a hawk sitting still on a tree in the woods conveyed the allegory of a hero subduing wily beings, such as rabbits and foxes. Moreover, Yuan paintings of a hawk and a bear (yingxiong 鷹熊) employed a Chinese rebus and represented the animals as heroes, comparing them to historical heroic and loyal figures. This artic

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Blanchard, Lara C. W. "Defining a Female Subjectivity." positions: asia critique 28, no. 1 (2020): 177–205. http://dx.doi.org/10.1215/10679847-7913106.

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Cui Xiuwen (b. 1970) and Yu Hong (b. 1966) are contemporary Chinese artists whose images of women reflect a complicated gendered perspective. This article focuses on Cui’s Ladies’ Room (2000) and Yu’s Female Writer (2004, from the series She). Both can be construed as feminist reinterpretations of Chinese works of the imperial era that represented idealized female figures from a male perspective. Ladies’ Room, a video that shows behind-the-scenes images of sex workers in a nightclub washroom, brings to mind earlier paintings that depict women in feminine space. Ladies’ Room, however, incorpora

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Yueling, Wu. "SPECIFICITY OF POLYCHROMY OF ANCIENT FRESCO WALL PAINTING OF CHINA." Spatial development, no. 10 (November 29, 2024): 196–204. https://doi.org/10.32347/2786-7269.2024.10.196-204.

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The topic of the research is related to the peculiarities of the coloring of Chinese wall paintings in ancient tombs. The specific role of colors in the scenes of frescoes of ancient burials and their symbolic meaning are analyzed. On the example of an ancient funerary wall painting, changes in colors, the symbolic role of colors in the depiction of sacred figures, mythical creatures, and secular subjects are traced. Thus, it is argued that in the ritual fresco wall painting, specific coloristics were used along with specific figurative means and composition. The analysis of ritual and secular

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Dewa Gede, Purwita. "Foreign Figures in the Paintings of I Ketut Gede Singaraja." KALPATARU 30, no. 1 (2021): 87–98. http://dx.doi.org/10.24832/kpt.v30i1.828.

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I Ketut Gede Singaraja always portrays figures adopted from the depiction of wayang pattern. It is similar to Wayang Kamasan but more expressive. Aside of painting the local figures, he also painted foreign figures such as Javanese-Muslims, Chinese people, and Europeans. They were narrated as the cultural actors in the life of Singaraja City at the end of the 19th Century. This paper compares those figures, especially their attributes and faces thorugh iconographic studies. The result shows some cultural diversity through figures painted by I Ketut Gede Singaraja. The diversity is a plurality

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Chu, Liubokai. "Exploring the Flat Form Language of Chinese Figures in Contemporary Oil Painting." Journal of Global Humanities and Social Sciences 5, no. 8 (2024): 316–21. http://dx.doi.org/10.61360/bonighss242016680804.

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Planarized formal language has important artistic value and cultural significance in modern Chinese oil painting. This paper discusses the development of planarized language in China, from the early European influence to the modern localization practice, analyzes its artistic characteristics in composition, color, and modeling, and demonstrates the specific application of planarized language in Chinese oil painting. On this basis, four directions for the future development of planarized language are proposed, including strengthening the integration of local culture, exploring diversified expre

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Xue, Zhengtao, and Zhou Liu. "A study of the development and characteristics of Chinese painting art in the Tang Dynasty." OOO "Zhurnal "Voprosy Istorii" 2023, no. 1-1 (2023): 198–209. http://dx.doi.org/10.31166/voprosyistorii202301statyi03.

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This article explores the influential factors and characteristics of the Tang Dynasty painting art by sorting out the representative figures and their works, and summarizes four characteristics of Tang Dynasty painting. Painting in the Tang Dynasty was the pinnacle of Chinese feudal painting, with unprecedented artistic achievements.

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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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Hao, Wei-Kun, and Man-Chae Koo. "Changes in Composition of Contemporary Chinese Meticulous Figure Paintings." Journal of Startup Convergence & Consulting 2, no. 3 (2023): 17–24. http://dx.doi.org/10.56165/kosc.2023.2.3.017.

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Liu, Chunxiao, RongRong Cui, and Zhicheng Wang. "Digital Virtual Simulation for Cultural Clothing Restoration: Case Study of Tang Dynasty Mural ‘Diplomatic Envoys’ from Crown Prince Zhang Huai’s Tomb." Journal of Theoretical and Applied Electronic Commerce Research 19, no. 2 (2024): 1358–91. http://dx.doi.org/10.3390/jtaer19020069.

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The advent of 3D virtual presentation technology for clothing has led to the gradual popularisation of digital virtual clothing in the modern fashion industry. However, there remains a gap between the application of this technology and the integration of cultural attributes in the field of digital communication of traditional cultural clothing. Consequently, the objective of this paper is to propose the establishment of a fusion system integrating archaeological research on traditional culture with emerging virtual presentation technology. This paper draws inspiration from the replicability an

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Hung, Chang-Tai. "Oil Paintings and Politics: Weaving a Heroic Tale of the Chinese Communist Revolution." Comparative Studies in Society and History 49, no. 4 (2007): 783–814. http://dx.doi.org/10.1017/s001041750700076x.

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“In my entire life I did not produce a single painting that was uppermost in mind to create,” the celebrated painter Dong Xiwen (1914–1973) reportedly lamented on his deathbed. Dong may not have produced the dream piece that he would truly cherish, but he did create, albeit unwillingly, a deeply controversial work of art in his 1953 oil painting The Founding Ceremony of the Nation (Kaiguo dadian) (Figures 1 and 2), for it epitomizes the tension between art and politics in the People's Republic of China (PRC). In this famous piece, Dong portrays Chairman Mao Zedong (1893–1976) in Tiananmen Squa

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Zheng, Liping, and Shumin Chen. "The Application of Painting Language in Literary Translation from the Perspective of Translation Aesthetics: A Case Study of Wiley's English Translation." International Journal of Education and Humanities 10, no. 3 (2023): 83–86. http://dx.doi.org/10.54097/ijeh.v10i3.12103.

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Points, lines and surfaces are the expression forms of painting, while words, phrases and sentences are the expression forms of language. The mutual reference and combination of painting art and language art enriches the expression of literary translation, and makes literary translation, like painting, give full play to its unique aesthetic value and artistic emotion. Based on Liu Miqing's translation aesthetics theory, this paper analyzes the aesthetic object and aesthetic subject of translation, combines the viewpoint of painting language with translation, and discusses the use of painting l

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