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1
Ng, Yuk-lan. "Sesshu and Chinese academic painting." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20565653.
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Lai, Mei Lin. "Lui Shou Kwan & modern ink painting." Phd thesis, Department of Art History and Theory, 2011. http://hdl.handle.net/2123/9258.
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Ng, Yuk-lan, and 吳玉蘭. "Sesshu and Chinese academic painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hdl.handle.net/10722/210304.
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Wong, Shan Elaine, and 黃山. "Flaring brush and ink: Chinese calligraphy and painting centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986870.
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Wong, Shan Elaine. "Flaring brush and ink : Chinese calligraphy and painting centre /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949834.
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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.
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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.
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SHENG, Hung. "Hong Kong ink painting : its role in the development of Chinese painting in the second half of the twentieth century and beyond." Digital Commons @ Lingnan University, 2017. https://commons.ln.edu.hk/vs_etd/11.
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This research investigates the field of modern ink painting, in particular the advocacy of shuimohua (水墨畫, literally water ink painting) which appeared in Hong Kong in the mid-1960s. The research is based on textual materials such as artworks, writings, treatises, newspaper and periodical documentation, as well as interviews with artists or artists’ families.
Because of the emergence of numerous terms related to ink painting and ink art in recent decades, it is crucial to trace their origins in order to develop a foundation from which to understand the complexities of the field related to ink. The starting point chosen for this research is the 1960s in Hong Kong which was a period of in which Hong Kong enjoyed much greater freedom in the arts compared to the mainland China and Taiwan. This atmosphere of greater freedom nurtured various new directions for Chinese painting, including the advocacy of shuimohua initiated by Lui Shou Kwan (呂壽琨 1919–1975) who wrote and lectured extensively about his ideas on shuimohua.
The advocacy of shuimohua opened a host of possibilities and influenced Lui’s students and contemporaries. Lui stressed the value of sincerity, gen (根 root), shi (適 adaption), inner expression and innovation. Lui held that these are fluid concepts subjected to change according to individuals. Five artists, Hon Chi Fun (韓志勳b. 1922), Irene Chou (周綠雲 1924–2011), Wucius Wong (王無邪b. 1936), Kan Tai Keung (靳埭強b. 1942) and Leung Kui Ting (梁巨廷b. 1945) were selected to examine the impact of shuimohua. These artists are consistent with Lui’s ideas of a broader concept and vision of art, but they all developed their own visual language and style in their artistic paths. There is no evidence of a “Lui’s School” or stylistic resemblance.
Another advocate of modern ink painting Liu Kuo Sung (劉國松 b. 1932) and his students, in addition to modern ink painters overseas like Tseng Yuho (曾佑和b. 1924) are also explored to provide a more comprehensive analysis of the scene. Art with the media of ink, such as experimental ink painting, blossomed in mainland China in the 1980s. This research tries to touch upon the evolution and relationship between shuimohua and ink art.
Exploring the character of Lui’s advocacy of shuimohua and tracing the origin of terminology related to ink painting and ink art are small but necessary steps to further conversations about the development of ink today. This contributes an historical as well as a Hong Kong perspective that may provide insights into the modernization of ink painting in the larger context of Chinese painting.
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Xu, Heidi Ping. "Between likeness and unlikeness a fusion of Chinese ink painting aesthetics into the medium of photography : a thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art and Design (MA&D), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/365.
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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.
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Qin, Zhao-Kai. "The Influence of Oriental Art and Ideas on Robert Motherwell's Work: An Investigation of Certain Affinities Between His Work and Chinese and Japanese Calligraphy and Ink Painting." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/166.
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This study is an examination of the influence of Oriental (specifically Chinese and Japanese) art and ideas on Robert Motherwell's work. To a certain extent, it is also an effort to balance previous interpretations that have mainly focused on the influence of Surrealists, Mondrian, and Picasso and to shed new light on the understanding of Motherwell's art. Consideration is given to the historical background of Motherwell's interest in Oriental art and ideas as well as the relation between this interest and his major artistic concerns. Among other things, the thesis investigates the influence of Oriental concept of the void on Motherwell's spatial conception, especially in the sense of using empty space. It also gives an account of the influence of Oriental calligraphy and ink painting on Motherwell's work in terms of pictorial languages and physical action.
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Chiu, Hsin-Yi, and 邱心怡. "The Synthesis of Chinese Ink Painting." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/76311218897488899145.
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碩士國立交通大學
資訊科學系
88
In contrast with the Western paintings, Chinese ink paintings lay stress on the “implicit meanings”. In other words, painters try to use as few strokes as possible to express their deepest feelings. However, ink figure paintings even more rely on various linear strokes to convey the meaning of paintings. In this thesis, we try to express ink figure paintings of different styles by modularized synthesis. We analyze conventionalized strokes of traditional ink figure paintings and set up a database of various components with different styles. Then, according to a reference image or figure, we can synthesis an ink figure painting. By allowing users to reuse all kinds of conventionalized strokes, we can save the tedium and time consumed by real ink painting, and also make the creation with more and more possibility.
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Liu, ChenHan, and 劉振漢. "Chinese Color Ink Painting Diffusion Research." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/27609616024023150636.
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碩士東海大學
資訊工程與科學系
94
The Simulation in Chinese Ink Painting becomes more intact now, but The Chinese Color Ink Painting is short of the research in this respect, in addition Chinese Color ink painting is colorful, it can express more abundant artistic style, so the researches about this issue will be more and more important. For Chinese Color Ink Painting simulation, other researches construct the Xuan-paper and black-ink diffusion model well but they can’t solve the problems of coloring effects, and some investigations use texture mapping or mathematically approach, in fact, those method lacks of physical property, in this paper we will propose the method to solve it. We use the method of Alpha Color Composition to simulate mix of different color, and at the same time we also propose Full Color Diffusion method transferring the real photo to Chinese Color Ink Painting’s drawing, In addition our method also express the Effect of Ink-refusal and the Effect of Stroke-trace-reservation in Chinese Color ink painting. in this paper we propose a full Chinese Color ink painting system, and through experiment simulation, our method gets good effects of mix of different color and the Full Color Diffusion. In our research, we reconstruct a good physical model apply in Chinese Color Ink Painting simulation, other researches just can simulate black ink effects in Chinese Painting, Chinese painters often use the following skills “Effect of Ink-refusal, Effect of Stroke-trace-reservation, and Color Composition in Chinese Color Ink Painting. Our method simulate that effects well, and propose the Full Color Diffusion method to get the Chinese Color Ink Painting style paints quickly. Finally our model really simulate successful in Chinese Color Ink Painting.
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Weng, Shan-Zan, and 翁山然. "The Synthesis of Chinese Ink Painting." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/89113624264680622034.
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碩士國立交通大學
資訊科學系
87
Chinese Ink Painting is an art with long history in China. However, it requires so much time and painting techniques during the painting process. Besides, we will not know what the final results looked like before the paintings are finished. If a painter want to see the painting in different styles, he must repeat the entire painting process and still can not sure that the result is the one he wants. In this thesis, we propose a method to synthesize Chinese Ink Painting automatically. The algorithm extracts strokes from an existing Chinese Ink Painting image and re-paints it in other styles whatever we want. Using this method we can see resulting images without really performing the painting process. Moreover, the user even requires no painting technique to finish the job.
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Chen, Hong-Yi, and 陳弘逸. "Image-based Chinese ink painting simulation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/8u3g78.
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碩士國立交通大學
資訊學院資訊學程
106
This thesis constructs an image-based Chinese ink painting simulation system. Via six steps, the system will output an image that has Chinese ink painting style. The six steps include: (1) Nine spatial scales are created by dyadic Gaussian pyramids, then compute forty-two feature maps and combine it to a salience map. (2) Using Guided Image Filtering for blurring image. (3) Using diffusion algorithm to simulate ink diffusion. (4) Transfer color image to gray image and black-white enhance. (5) The edge-detection algorithm will figure out the edge of image that is used to draw the outline of calligraphy. (6) Combine the decolorizing image and edge-detection image. And it is the result. The image which is processed by this system becomes the ink painting style image that seems like drawing by a real painter.
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Le, Chia Mei, and 李佳玫. "Beyond the Mist of Chinese Ink Painting - The Affection of Chinese Ink Painting Aesthetics in Fashion Design." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/18352223562203692167.
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Chen, You-Quan, and 陳有權. "A Stroke Model with Ink Diffusion in Chinese Ink Painting." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/50181339944856143086.
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碩士國立交通大學
資訊科學系
91
In Chinese Ink Paintings, strokes are the skeleton of a painting, and the quantity of ink and water is the soul of it. The strokes make people have the gradated feeling of the whole painting. Different quantity of water makes the strokes with the same contact area on the Hsuan paper form different diffused results. In order to obtain more realistic results, simulating the complex movement of both water and carbon molecules of ink is an essential part of Chinese Ink Painting research. In the thesis, we present a stroke model with ink diffusion mechanism based on the physical properties and the actual observation and analysis. By using our physically-based model, we can synthesize broken stroke and diffused stroke or dilute brush and dense brush with simply controlling the quantity of water and carbon.
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Liu, Shu-Ching, and 劉淑菁. "「Variety of Chinese Ink Painting」 —The Painting Works of Shu-Ching Liu「Variety of Chinese Ink Painting」 —The Painting Works of Shu-Ching Liu." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/19888664361744569837.
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碩士大葉大學
設計暨藝術學院碩士在職專班
98
ABSTRACT The essence of the art is to demonstrate the value of the existence of truth . "－Martin Heidegger, 1889－1976.Contemporary art creators continue to express the idea and the truth by using new art forms, and pursue the unreachable ideal. Chinese ink painting is a matter of the spirituality with its unique oriental aesthetics, Zen and vision. Using Chinese ink painting as a media, I create my own painting language and the concept of creation to achieve the truth of life and Art. The idea of the "Variety of Chinese Ink Painting" is based on the theory of the "aesthetics" in Chinese painting. It used the relationship between the ink, the color, and the artistic conception to probe the inside meaning of painting creations. By the naturally flowing ink and glamorous color, the "Variety of Chinese ink Painting" emphasizes the idea and the connotation of the creations and tries to establish a link between the works and the creators to complete the art experiencing and the meaning of life.
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Kuo, Yi-Chun, and 郭怡君. "City impression－Chinese ink painting and collage." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/ya3mjv.
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碩士國立臺北藝術大學
美術學系碩士在職專班
96
"City impression” has been is my creative theme in my graduate school. Most wok is related to city life., I describe the surrounding space and people who lives in the city, things, and materials. In this way, I hope to express the feeling of isolation arising from being city people. I attempt to collage approach, outlined in the living environment around, the movement of the tracks and urban life image, to the point of life and between the starting point and destination, collage and enunciation of deliberately creating a space in the building of the pictures, these patchwork of fragments of memory, expression of the city and being fragment of the situation of overcrowding in the city, and they have a greater sense of isolation. Along with paste layers of the way, the reorganization will be dismantled screen time to express complex mobile environment staggered relations. On the direction of the Oriental painting is the performance of the main ways to "Image" as the main form of direction and performance, individual creativity of the work to be motivated and creative content captions, in the form of narrative collage paintings of the contemporary history of the East and development. And "material ontology" in the works is the meaning of creation, I want to part of the discussion. As in every age have their culture intertwined with the times from a special syntax, creators choose to express their sense of self-expression wish to express the main media.
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Guo, zei-wei, and 郭子維. "Travel freely in nature－chinese ink painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/hacf2y.
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碩士長榮大學
美術系(所)
104
Chinese landscape has been existed for a long time that with different styles representing different creating ways of each dynasty. Even now, Chinese landscape is still developing a new style. In this age, it is hard to say which style can be represented because it is too short for the history fluid. One of the ways for the present Chinese landscape is observing and sketching the real views from the nature by the western method. Artist uses this western method that is different from the past on their performance, but it doesn’t change on the expressing of feeling.Artist tries to find out something which is closing to the real life and make their performance more touch audience’s heart via taking pictures and collecting the information from their traveling experience in the nature. In this study, the Author combines traditional Chinese landscape and western sketch skills to present the feeling of traveling free in the nature and the artistic conception of traditional Chinese landscape. I. instruction: describe the research direction, method, and purpose of this study. II. The discussion of traveling free in the nature: To understand the transform of Chinese landscape and the creating concepts. III. Trees and stones: we are going to talk about aesthetics from aspect of modeling, connotation, chromatics, and other theories. IV. The idea of traveling free in the nature: no matter pass or now, the author gives the artistic conception and meaning. V. The practice and analysis: In this chapter, the author analysis the creating ideas and result according to the theories. VI. Conclusion: Review and reflect this period. Provide some advices for the future creating.
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Kuo, Li-Wen, and 郭力文. "Non-Photorealistic Rendering with Chinese Ink Painting Style." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/25566178464414842633.
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碩士中原大學
資訊工程研究所
94
Non-photorealistic rendering is a research to use techniques of digital image processing and computer graphics to generate painting images. Some recent researches have transformed a photo image to a rendering image with pen-and-ink, watercolor or oil painting style. This thesis attempts to create a method to transform images with Chinese ink painting style. This thesis provides an algorithm for non-photorealistic rendering with Chinese ink painting style. The algorithm transforms a photograph with simple background and few objects to a painting image with Chinese ink painting style. The algorithm uses techniques of digital image processing and computer graphics, including thresholding, edge detection, boundary extraction, thinning and texture to process the transformation. To improve the reality, this thesis used true paper as the canvas of images with Chinese ink painting style. Then, the algorithm simulates ink diffusion in the Hsuan paper. Finally, the algorithm combines techniques of non-photorealistic rendering with oil painting style to generate the image with Chinese ink painting style. Our results demonstrate that out algorithm has achieved reasonable simulation of images with Chinese ink-painting style.
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Tsai, I.-Hshang, and 蔡毅軒. "The Synthesis of Cloud in Chinese Ink Painting." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/49322487117557524530.
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碩士國立交通大學
資訊科學系
91
Clouds play important role in traditional Chinese Landscape paintings. Static gesture of mountains becomes vivid with floating clouds. The chain of mountains result in heaviness without the collocation of clouds. Therefore, clouds harmonize the real and imaginary components with limited pen and ink in Chinese paintings which place emphasis on the relation of guests and hosts. In this thesis, we provide a three-dimensional Chinese Ink Painting Simulation System. Users can generate the stream lines of clouds in outline style interactively. By adjusting parameters of brush model, like degree of ink consistency, degree of diffusion and so forth，we can attain both outline style and diffused effect in synthesizing cloud strokes. Joined together with the major scenery, a traditional Chinese Ink painting comes into being.
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Wang, Ling-Lan, and 王鈴蘭. ""Floating Sensations"-Dimension in Modern Chinese Ink Painting." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/74433092057100939129.
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Wu, Tsung-Han, and 吳宗翰. "The Ink Pool : Using Chinese Painting Simulation Technique." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/77406352712374778783.
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碩士國立臺北藝術大學
科技藝術研究所數位藝術創作組
94
This research discusses the implementation of the interactive installation, "The Ink Pool". It consists of three sections：human-machine interaction, Chinese painting simulation, and behavioral model. We integrated them to establish an interactive installation system, and then applied it in the field of digital art. The concept of "The Ink Pool" is attempting to combine Chinese painting with interactive technology, for the sake of continuing the spirit of traditonal art with modern digital media. The intallation is made up of virtual scenes and real objects. The virtual scenes include virtual water and swimming fishes in Chinese painting style. And the real objects contain a water vat and a ladle. Users can interact with the virtual water and fishes, which projected on the water vat, by operating the ladle directly. Consider the implementation of this work. In human-machine interacion, the virtual scenes and the real objects are merged seamlessly and associated dynamically, by a projector and a 3D tracker. In Chinese painting simulation, we focused on the feature of ink diffusion and the movement of strokes. We materialize both above two effects in a single stroke model，and then assembled several strokes as a fish in Chinese painting style. In behavior model，the fishes have automatic behaviors and reactions. We made them represent various behaviors, such as swimming，flocking, flee and so on, according to the control models of perception，behavior, and motor.
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Wang, Yun-Wen, and 王允文. "A Novel method for Chinese Ink Painting Colorization." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/82855264684043341345.
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碩士國立交通大學
多媒體工程研究所
96
The Chinese Ink Painting is an art with long history in Chinese culture. Painters can obtain various kinds of scenery by mixing water and ink properly. This thesis provides a colorization technique that can transfer gray scale paintings to color paintings. Various colorization techniques for photorealistic images have good results. But these techniques are uncertainly suitable for Chinese Ink Painting. In our method, user only provides a gray scale Chinese Ink Painting and a similar color Chinese Ink Painting subjectively, system can automatically transfer the color from color painting to gray scale painting. We also provide a method for user to refine the automatically generated result.
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"疑問水墨: 香港當代水墨創作初探." 2013. http://library.cuhk.edu.hk/record=b5884259.
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黃綺琪."2013年9月".
"2013 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Huang Qiqi.
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Hsu, I.-Hao, and 徐毅豪. "A STUDY ON THE GENERATION FOR CHINESE INK PAINTING." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/26x8c7.
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碩士國立雲林科技大學
設計運算研究所碩士班
96
Recently, many elements of Chinese graphics are used in design. Chinese ink painting is one of them – a skill applied by visual designers or graphic designers; as well as represents many kinds of styles. Visual designers or graphic designers often apply Chinese ink painting in design. Therefore, the application of Chinese ink painting has its potential to be a more flexible skill in the Computer Aided Design. That helps solve the problems of being time-consuming and changeless. This study focus on manipulating the variables that construct on growth processes of plant - L-system concept and Non-Photorealistic. We should support visual designers or graphic designers in designing process which a generative design system to generate Chinese ink painting. By the generative design system, when designer is working the graphic of Chinese ink painting, it can make the textures of stroke represent more practicability, more plenty and more conveniently. The conception of plant growth and NPR (Non-Photorealistic Rendering) technique support the system with diversified way, it can gained wide possibility, when designer create Chinese ink painting. Finally, the application of Chinese ink painting will be extensive and enhance its value.
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Ching, Yeh Chi, and 葉季青. "Study of chinese ink method, calligraphy and painting art." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/23831894187201689635.
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碩士臺北市立大學
中國語文學系
103
Ink method plays a very key role in Chinese painting and calligraphy art, to say the traditional Chinese painting and calligraphy art pen and ink by the product of the interaction effects. In calligraphy works using ink method wonderful infinity, through shades of shades of ink change and spatial arrangement, to create a sufficient number of famous masterpieces come for admiration, and in the use of ink painting method is being played the most. The following article from the perspective conduct a systematic analysis and integration, to explore the mysteries of Chinese ink painting and calligraphy Ink method. Origin and manufacture of ink: ink on Chinese ancient cultural origins torrent talk, followed by analysis of the type of ink belongs, then the final ink and ink manufacturing method selection and application of the merits detailed narrative. Ink method: for the role and influence in Chinese painting and calligraphy in the end to do the discussion, by the effect of the ink, the ink of the role to be discussed and analyzed in calligraphy and ink painting method for the three-oriented. The Implications of Ink method in calligraphy and painting: to explore and analyze changes for shades of ink painting and calligraphy and ink in the space of the image. Performance from a wide range of Ink method, the ink shades of light and space imagery to convey the change of thinking, and thus come closer to the Chinese literati is seeking to master posterity thought and spirit.
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WANG, KUAN-YA, and 王冠雅. "Bonding with Dogs-Research of Chinese Ink wash Painting." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/83c3fn.
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碩士國立臺灣藝術大學
書畫藝術學系
106
The title “Bonding with dogs” represents the strong connection between the author and dogs. Dogs use their whole life to make great companies with humans. I am lucky to have some dogs grew up with me. That’s the reason why I pick up my paint and brush to record those shiny memories with dogs. This essay is divided into five chapters. The first chapter, Introduction, contains my motivation and my goal to my creation. My research methods and limitations are also in this chapter. The second chapter focuses on how dog’s body language, their emotional performance or dog’s breed affects my art-work. The third chapter introduces author’s personal experience, living habits, art experience and related references. I combined those together and learn how to use different materials to do my art-works in different ways. And those will be used in my two experiments in the following essay. The fourth chapter is divided into two categories. One is “No boundary” series which use the extension of the painting to let people can not only see the dog on the board but also imagine the picture outside the board. The other one is “Line” series which use calligraphy to paint and indicate the joy of dots, lines and surface. The Fifth chapter, Conclusion, shares my personal reflection about doing this research. At the beginning, I was confused about my research and then I moved step by step to find out my process to create. By collection and reading references, I cleared up my mind and re-consider about myself and my future way of creation.
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Jing-Chyi, Wong, and 翁竟期. "The Comparative Study between Chinese Ink-landscape Painting and Western Watercolor-landscape Painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/95589675566139308685.
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碩士中國文化大學
藝術研究所美術組
99
This thesis is divided into five chapters: The first chapter elaborates on the profound magnitude and the extensive impacts of Chinese culture, highlighting its uniqueness and the fusion of western and eastern cultural heritages, thus formulating an integrated entity of form and content, providing mutual evidences in support of the revelation of their preciousness. Chapter Two manifests that Chinese painting is partially characterized by giving particular importance to the pursuit of shape, spirit, disposition, and artistic conception. Chapter Three indicates that traditional Western Painting reflects the pursuit for realism, the capture of form and content, and its evolution. Chapter Four accentuates the thematic distinctions in the motivations and presentations between the Chinese and Western paintings, addressing their artistic constitutions, combination, and their mutual relationship. Chapter Five demonstrates the nature of painting brushes, painting colors, and painting papers, illustrating the differences between Chinese and Western painting materials by citing frequently-used materials. In Chapter Six, we shall conduct the survey and summery for the thesis for an articulated integration and conclusion. Chapter Seven features Discourse on Creation, highlighting specific analysis on the author’s works, with particular emphasis on materials frequently employed such as watercolor-painting and ink-painting. Through the realistic depiction of landscape and object and the conveyance of the individual subjective conception, we shall explore the connection between these two materials, and proceed to seek for the potentiality of development. The thesis is composed of separate discourses; yet the chapters are mutually-affiliated. The methodologies adopted include Cross Validation, Data Collection, Inductive Analysis, and Individual Discourse.
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葉淑芳. "A Survey on the Chinese Ink Painting Education in Junior High Schools-The importance of Chinese Ink Painting Education in the Arts andHumanities Area." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/39295273528773599068.
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碩士國立新竹師範學院
美勞教育研究所
90
Abstract The purpose of this survey is to investigate the current status of the Chinese ink painting education in junior high school. The information of the ink painting education status is collected by questionnaire, and analyzing the above information results in the following conclusions: 1. The Chinese ink painting is a common course in most junior high schools. 2. Most instructors use self-prepared materials, and illustrate in the class. 3. Most instructors explain to students how to appreciate the art of Chinese ink painting. 4. The major difficulties in the Chinese ink painting education are as follows: students do not have a full set of painting instruments, most of them are not familiar with the Chinese ink painting, and most schools lack a dedicated studio. 5. The subjects of the Chinese ink painting should be sampled from common objects in everyday life. Students also like free-style painting and field trips to exhibitions. 6. The Chinese ink painting education is considered as an essential topic in the “multicultural education” and “arts and humanities” by most instructors. 7. The interest level in the Chinese ink painting of junior high school students is merely average. 8. Most of them consider learning the Chinese ink painting difficult. Key words: Chinese Ink Painting, Arts and Humanities Area, Multicultural Education
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Li, Chen-Hua, and 李承樺. "Existence and Transformation－Images of Mountains in Chinese Ink Painting." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/494p88.
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碩士國立臺北藝術大學
美術創作碩士班在職專班
98
Chinese ink painting is a unique visual experience particular to the Orientals. The challenge of confronting traditional Chinese painting methods and imaging structures, further expanding this artistic language, and combining traditional painting styles with Huang Bin-Hong''s transformation of contemporary Chinese ink creations, has greatly influenced my creativity and encouraged me to explore new artistic horizons. Maintaining the spirit of Chinese ink, building upon this technique while integrating Western abstract expressionism, I choose to present my artistic sentiments with diversity while upholding harmony. In the field of painting skills, I utilize a variation of cursive lines to transform mountains and branches to a simple yet strong depiction. My attempt to diverge from traditional Chinese ink painting has become the main structure of my art pieces. My dissertation consists of the following: Chapter 1 – Creative background, motive, and method. Chapter 2 – Connecting Chinese ink painting styles and structures with contemporary American abstract presentation. Chapter 3 – The beauty of Chinese calligraphy, utilizing cursive style to present Chinese ink creations. Chapter 4 – The comparison of various painting paper and brushes, and the effects on artistic presentation. Chapter 5 – Commentation on art pieces, discussion of artistic creation, style and presentation. Chapter 6 – Conclusion, personal philosophy and thoughts about Chinese ink creations.
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Chang, Wei-Yuan, and 張維元. "Psychological Reflections –The Thesis of Chinese Ink and Color Painting." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/x5jy5t.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系
102
Abstract Art produced by human needs, thus the condition of art is definitely not only in the pursuit of a natural image, but mostly rely on their own emotions, emotion origins from life, while living in the oriental cultural environment, there is a need to pursue for the humanistic thinking of the east. Buddhists said that "discipline is from one’s heart, outside the heart there’s nothing." "Discipline" is like the universe, ”discipline” and “one’s images" are things from the universe. Art inspired our mind through the senses of human being, and the true spirits of art is to demonstrate our true self. From the Eastern art, the main values of artistic creation is resulting from people's emotion, which triggered by the objective conditions of emotion. That is to say, our own feelings become the power of art creation. I believe that ‘’seeing, thinking and expressing oneself are three process of art creating.” And the seeing part is the most important one in the creation of art, it can also consider to be the first step of it. Due to the different way of creating, I divide the work into two series. One is “the reflection of heart”, the other is”personifying the things”. Each works provide different style. The main idea of this article is to find the possibility of art creation, referring to the Eastern and Western aesthetic theory, with various of media, and transforming to the ideal style of painting.
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TU, YU-XIN, and 凃雨芯. "Carefree・Inspiring-The Thesis of Chinese Ink and Color Painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/rw29gw.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系
105
Art, life and sensibility are interrelated; therefore, according to the experience in enjoying raising fish, the author took tropical fish as the main theme and explored that in Chinese painting, the artworks which are related to fish is much less comparing to other paintings. Consequently, the author expected to let more people attach importance to this kind of paintings through his or her artworks. The purpose of this study was to manifest rhythm through the carefree leisure, posture, shape and colors of tropical fish. Moreover, because the aesthetic sense of posture of tropical fish is inspiring, the author expressed his or her own emotion on papers by depicting the object, also this reflected the experience of life. As a result, the author used the word-inspiring as the topic and expected spectators not only be touched by his or her artworks, but also transferred the vision into the sense of hearing. To begin with elaborating the sensation and perception and then discussing the theory of perception of Gestalt psychology, the author understood the amusing phenomenon in vision and experience. Additionally, through the concept of lively spirit and charm in Chinese painting, the author simply classified the rhythm. Last but not least, through vision, there is the possibility to feel the sense of hearing. From ancient times to the present, it is closely interrelated between music and us. By Kandinsky’s theory, there is sound in point, line and surface. For this reason, composers would compose appropriate melody after appreciating artworks. Thus, the author looks forward to his or her artworks which can let people who learning music be inspired in order to make distinct music. In the process of creating art, the author drew support from photoshop because of the modern technology in order to indicate the finished artworks in the stage of sketch. The author tried some new materials such as resin, acrylic and so on. Through referring to other artists’ artworks, the author can have particular creation on painting style and materials, in particular the use of recycled cap as the base material, and with resin, different from the previous plane painting.
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Hsieh, Hua-Shing, and 謝華興. "The Synthesis and Rendering of Water in Chinese Ink Painting." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/90438002669472566381.
Full textAbstract:
碩士國立交通大學
資訊學院碩士在職專班資訊組
94
If the mountain symbolizes the male, water symbolizes the female. The mountain is enriched by the nourishing effects of water. The water, when embraced by the mountain, becomes more graceful and charming. In contrast to one another, the mountains stronger, and the water brighter. A small waterfall painted in a scene of many mountains, brings the mountain to life. A narrow river painted on flat ground, brings elegance to the entire landscape. In this thesis, we develop a semi- automatically Chinese ink painting system. User just need to input a coordinate of three-dimension and the system will generate the water streamline follow the topographical model, According to the important characteristic parameter that the user define, the computer will generate Chinese ink painting automatically.
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i, liu feng, and 劉鳳儀. "A Interpretation of essentials between Chinese Ink and Painting Space." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/47873381003323585257.
Full textAbstract:
碩士臺北市立師範學院
視覺藝術研究所
92
A. Purpose of Research and Concept of Creation In The Origin of The Work of Art, Martin Heidegger stated, “The origin of the work of art is art.” However, what is art? What is the entity of art? The relationships between the work of art and art seem to resemble the chicken-or-egg paradox. How is the value of a work of art recognized? As a creator of art works, I shall look for the possible existence of art and construct the existence of an artwork in a limited space from the standpoint of aestheticism and semiology. B. Method The material of choice in this research is ink. The usage of ink has a long history in China; therefore, ink possesses many of the Chinese characteristics. The basic structure as well as the signs and symbols utilized in my artwork are based on western philosophies and theories of Chinese artists in the history, which guided my process of creation and also established the value of my own artwork creation. C. Conclusion Art is a journey of an artist’s self-reflection. In order to pursue an existence of values, people search for self-breakthroughs. The work of art in every stage, as Schiller stated, is only a transient lodge for beauty; whereas the true meaning of a "work of art", according to Heidegger, reaches its independent existence through its creation artist. Rene Descartes declared, “I think; therefore, I exist.” An artist is always changing and therefore, the existence of an artist only makes sense through his or her endless creation of artworks.
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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.
Full textAbstract:
碩士國立交通大學
資訊科學系
91
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 styles of clothes are automatically generated according to contours of picture or painting. The painter also can select different collar to make distinct style. Therefore, user may create good-looking painting styles easily even he is not familiar with Chinese painting skills.
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黃麗容. "Searching for Utopia ：Chinese Ink Painting by Huang Li-jung." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/38114136882261736106.
Full textAbstract:
碩士臺北市立師範學院
視覺藝術研究所
93
Where the Utopia is ？ Yearn for the ideal place ﹘ Utopia , I start looking for the balance between reality and ideal , and meanwhile realize that there is the limitation of being to every individual . Just as the nature of grass , it blossomed and withered with time . There means not only the symbol of beginning and endless , but also of circulation and enternal . Alike the presentation of Tao , the conception that I try to present is the ideal of the circulation of life . It form as my creative motivation of Utopia , the real spirit of Utopia is free of worldly cares , rather than the sense of petals falling in riotous profusion . The thesis contains five chapters：In chapter1‚starting with my art thinking ‚purpose and study method of research , and confined the definition of Utopia（an ideal place）‚and reasons for expression about works . In chapter 2 ‚concerning researches of Peach Blossom Spring by Tao Yuan Ming ‚including the source of thoughts ‚the symbolic meaning ‚and the paradox that it was brought about . Every possible way to the Utopia on literature、Chinese painting and philosophy . It seems conclude with the Utopia is reside in mind . In chapter 3‚presenting my view point for the abstract thoughts of Utopia ‚and why I used「grass」as the symbol of it .The most important form of my works is Chinese ink on paper . In chapter 4‚the art discourse of works can be separated into three phases ‚it showed the transition about my mind on the working process . The first series is 「the yearning」 ‚the second series is 「the doubles」 and the third series is 「the moment 」. In the final chapter of conclusion ‚besides the understanding of Utopia ‚I will like talk about some idea of future development in life . After understanding the limitation of being and the truth of life ‚it makes me start to think about the essence of reality and can be living at the presence .Then I would not seek after the art trend any more ‚and moreover I could face myself and personal intention on work much honestly .
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YU, TZU-WEI, and 游慈葦. "Animal Clinic Resort - Chinese Ink Painting Representation for Art Therapy." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/jkg32w.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系
106
In people's heart, there is a desire for “loving someone” and “wanting to be needed.” The need for “Love” is necessary for people, and “love” also has healing power. Because the companionship of the dog, the author transformed the love of the family’s death into that of animals. Through observation and self-recognition, the author thought that the relationship between people and animals that is gradually sprouting is even more different from the past. Therefore, we expect to use the author's personal experience to arouse people’s collective experience of animals and stimulate their love and care for animals by the artwork. We attempt to paint animals with ink and wash, through the so-called “empathy” out of aesthetics of creation, to resort to artistic creation to give viewers resonance, and thus create a sense of pleasure from the spiritual repression. The thesis is divided into two sections in the second chapter, which offers the theoretical basis for our research. Firstly, it uses “emotional brain” as the main body to discuss the psychology and needs of human healing and their application. Secondly, animal-based therapy and its healing function are used as examples to illustrate the local agencies having actually applied this approach and received good feedback. Finally, we further explore the evolution of animal-to-human relationships from paintings. In the third chapter, which presents the theme of animal art therapy, the artist's paintings, their subject matter, and their techniques of expression as well as the color and psychology of healing are analyzed from the perspective of color science. The data collection in the first three chapters, image analysis, and absorption and digestion are to be applied to the painting creation of the author. The achievement and gains of this creative thesis might be summed up about like this： 1.In the process of creation, by observing the animal's modeling and sketching, the mood is pleasant and it really feels “healed”. 2.In addition to self-healing or animal modeling, color, etc., the concept of more caring and friendly animals, it wants to emphasize is mutual respect between humans and animals is emphasized. 3.Art is not just a matter of visual enjoyment. Art's influence on society can also lead to more resonance in society through art. In the future, the subject will continue to be created and it is hoped that viewers will be able to resonate and exert greater influence.
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Ling-Chun, Su, and 蘇玲君. "The Dyeing of Traditional Painting Restoration---a case study of Chinese ink painting “Orchids” ---." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/46859613810229707596.
Full textAbstract:
碩士國立臺南藝術大學
古物維護研究所
94
Mounting is a necessary step in the conservation of a traditional painting piece. Proper mounting not only ensures the longevity of the piece, it enhances the aesthetic aspect as well. Old paintings are often plagued by water stain, dirt, pest, breakage, partial loss or other forms of damages. When such damages are discovered, it is necessary to perform conservation treatments to restore the painting and its mountings. A guiding conservation principle is to restore the original colorings of the painting. This paper explores the subjects of properly choosing conservation materials and the subsequent dyeing procedures for conservation of original colors. To repair the damages and to restore the original grandeur, in addition to repair the painting itself, one must also consider the appropriate mounting materials and mounting forms that will best suit the painting. The dyeing of conservation materials is an important step in the overall conservation procedure. These materials include: patch paper, first lining paper, and silk. For patching the painting itself, one usually chooses a patch that is made of same materials or has similar patterns and texture as the original painting. After dyeing, the patch can be applied to the painting and subsequent inpainting can proceed. The first lining paper is the layer behind the actual painting. In addition to choosing the proper fiber strength, one must also consider the effect the first lining paper would have on the painting. The colors of the first lining paper may affect the resulting piece, after the painting is mounted onto the first lining paper. Careful trials and dyeing of the lining paper is essential for proper restoration treatment. This paper uses an early Taiwan painting – Lin Shun’s Lily Flower – as an example to explore the colors issues surrounding restoration tasks. We discuss the issues and considerations that go into the selection of appropriate patch, first lining paper, and silk material for this particular piece. In addition, we discuss the selection of dyeing materials and dyeing procedures, and also focus on the stability and suitability of the various choices and the overall assessment, then finally the actual application of these materials and procedures to the actual piece, and the final results.
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Lin, Wei-Jin, and 林韋錦. "Computer-Generated Chinese Painting with Physically-Based Ink and Color Diffusion." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/12296062370441019401.
Full textAbstract:
碩士國立交通大學
資訊科學系所
92
Water and ink are two important elements in Chinese Ink Painting. By mixing water and ink, we can get different concentrations to show the contrast of an object. To make a painting more vivid, we can also apply the third element, color, to display the nature of an object. In this thesis, we simulate the ink diffusion effects based on observations and analysis of the physical phenomenon, such as the flows of water and ink/pigment on paper. Then we display realistic colors by taking the light reflection and transmission between pigments and paper, namely the Kubelka-Munk theory [15], into consideration. We also use tablet pen as an input device to create an interactive painting system for users to draw a Chinese Ink Painting with color pigments.
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Lee, Kyung Ah, and 李庚娥. "Earth and Fire: Application of Chinese Ink Painting on Ceramic Works." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/gddapg.
Full textAbstract:
博士國立臺灣師範大學
美術學系
102
The close relationship between pottery art development and human civilization dated back to ancient time. People make use of natural materials to pursue and create, not only for the sustainability of livelihood, but also to develop their own unique cultural appreciation of beauty. Pottery glazes are the crystallization of wisdom from thousands of years of precise creation by potters using natural raw materials. In Korea for example, traditional potteries were mainly colored in blue and white. The most symbolic representation of these was the turquoise “Koryo Celadon”, which were used by aristocrats, and the “Joseon White Porcelain”, which were used by civilians. My study aims to break through the creative forms of traditional Chinese painting and transfer it to creative ceramic arts and researches on pottery glazes. In the course of artistic creation of decorative potteries, I experimented with color variations of natural mineral colors by measuring glazes and trying different processes of firing. I also attempted to integrate traditional Chinese painting with an artistic creation of decorative potteries. This paper is my personal exposition of the integration of Chinese ink painting on pottery and porcelain. I will also discuss the relationship between the glazes used on clay and treatment of the clay bricks. The differences in mineral pigments affect the techniques of applying glazes, such as over-glaze and under-glaze. Also, the temperatures of bisque, the kiln and the fired products are important. The greatest challenge of transferring Chinese painting into pottery decoration was the anticipation of each stage, especially when accurate concoction of glazes was the key to producing the various different colors of glazes desired. The main materials for pottery painting in this study were clay, glazes and stains. In order to emphasize how Chinese painting could be applied on ceramic materials, I used a variety of different color glazes to present my personal “Earth and Fire” series of pottery paintings. I also experimented with shapes of clay bodies, concocted glazes, mill glazes, ceramic painting techniques and temperature control. I would like to make a breakthrough to transfer Chinese painting into pottery painting and apply glazes precisely to show my individual creative works in expanding ceramic materials for broader expressions.
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Huang, Li-Chu, and 黃麗珠. "Sketch Creation of Li-Chu Huang in Chinese Ink Painting Style." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/02288547078478700042.
Full textAbstract:
碩士長榮大學
美術系(所)
99
Abstract As a result of the impacts of Western thoughts, the contemporary Chinese painting has experienced diverse areas of development; therefore the question confronting each of today’s artists is how to open up a new path. Through studies of the creative processes of generations of masters, it is revealed that the attitude of ‘learning from nature’, along with a solid foundation of theoretical understanding, are vital to a creative process. Ching Hao’s Notes on Painting Techniques consists of the fruits of his continuous experimentation with and personal experience in sketch painting and demonstrates the essence of artistic creation. In particular, it introduces the ‘Six Fundamentals of Painting’, which provide insights into the art of sketching. This dissertation, therefore, aims to examine the application of the ‘Six Fundamentals of Painting’ in sketch creation in Chinese painting style. This dissertation first analyzes the meaning of sketching in Chinese painting and thus establishes an understanding of the broad definition of sketching in Chinese arts. It also reviews the insights into the art of sketching, as provided by the masters before the Five Dynasties, and thus offers an understanding of the significant attributes of sketching, including an emphasis on spiritual presentation and the expression of artistic conception. Following a general review, the dissertation then examines the discussions related to sketching in Ching Hao’s Notes on Painting Technique. Ching’s masterpiece reveals that an artistic creation should break both the temporal and special boundaries and look for the spirits of the subject matter, thus ‘seeing the form and experiencing the spirits’. Being the core of Notes on Painting Technique, the ‘Six Fundamentals of Painting’ emphasizes the following points: first of all, an artist must present the spirits of the subject matter clearly and not focus solely on the technical achievement; secondly, it is necessary to separate the wheat from the chaff in order to produce a piece of art work in both form and spirits; and finally, an artist is in control of the brush instead of being controlled, so as to present a picture closer to nature. Concluding from the above theoretical review, the present author applies the following creative principles. Firstly, an artist of landscape sketching should carefully observe the subject matter, in order to present its aesthetic values and spirits and to be in touch with the artistic language of the artist him/herself. Secondly, in terms of originality, the presentation of individual artistic conception and the passion for nature are essential to an artistic creation. Thirdly, the painting should present the time, place and context in which the artist is situated. The present author applies the ‘Six Fundamentals of Painting’ to her creative works, which reflects her adequate and appropriate grasp of six principles as suggested by Ching Hao. Keywords: Ching Hao; Notes on Painting Techniques; Chinese ink Painting; Sketching
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Hsueh, Hong Yi, and 薛宏毅. "Rendering 3D Models with Chinese Ink Painting StyleSimulating in MAYA 2008." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/30616142600377260990.
Full textAbstract:
碩士國立臺灣科技大學
建築系
97
This article attempts to make a 3D film in Chinese ink painting style using a similar way to simulate in the 3D environment. The study is using software MAYA 2008 to simulate. The main structure is divided into three parts, the first one is to use the angle between the normal vector of object surfaces and the shooting angles of the camera to the object surface to calculate the edge of the 3D object and generate the ink line around the object. The second part of the article is to turn the realistic light and shade effect of the 3D object into a light and shade effect of Chinese ink painting style. The third part of the article is about to generate the smoke effect in Chinese ink style by means of MAYA Fluid Effect. At the end of the article a short film in Chinese ink painting style under the name of “After a Rainy Day” will be played for about 30 seconds to show the result of this experiment.
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Lee，Su-yueh and 李素月. "Essence and Zen: The Tension in Action in Chinese Ink Painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/09081414550436138557.
Full textAbstract:
碩士國立臺灣師範大學
美術學系在職進修碩士班
99
In this research, the author acquires dancing, emotional symbols through her directly perceived inner feelings about the surroundings. She tries to express the unity of inner feelings and formal spirits through the hidden meanings and the external forms of images. Whether the artworks are stylish, unique, following the artistic trend or not, the most significant point is whether the production of the forms come from the need of the heart. It is because works of art are emotional expressions of certain meanings. And artists could feel satisfied in the process of painting. Through the inquiry into Chinese aesthetic documents, this research contemplates the essence of objects. The content includes the property of objects in the philosophy of Laozi and Zhuangzi, the dualistic view of dual antithesis, the power contained in the root of oriental objects, and the epiphany of changing power and energy of visual perception caused by the collision of particles. That Tai Chi is quiescent and motionless is an extremely dangerous balance, which includes unlimited changing factors. Buddhist theory of impermanence explains that changing is a kind of principle. Therefore, corresponding to the dynamic energy of nature, an artist must meet the free state, in order to create the beauty of art. On the other hand, the research explains nature and the intuition through Western aesthetics, and the conception of aesthetician of Croce's school that intuition is the performance and art is the expression. Dance to express the effect, through the isomorphism, alienating methods to strengthen the visual tension. The tension in dancing results in tension and charm through the performance of the dance theme in the quiescent screen. The creator tried to adapt from the creation of dancing, living plants and show and perform the graphic perception of rhythm and dancing in the plane visual works with ink-painting creative methods. In order to convey the author's thoughts, feelings and achieve the visual effect with "dancing tension" on screen images, this artistic work is created through overlapping, transparent, twisting spinning, simplifying, isomorphism, and alienating methods to express the depth of meaning. The work attempts to generate new concepts from natural plants and reproduce the plant of life in the past experiences as far as possible The ink-painting form of dancing beauty finally returns to the expression of oriental thinking and the spirit of ink paintings. The ultimate goal of the work is to enable the old ink theme to find a new visual form.
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Bickford, Maggie. "Momei (ink plum) the emergence, formation, and development of a Chinese scholar-painting genre /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/23169560.html.
Full text
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"香港水墨畫運動硏究." 1992. http://library.cuhk.edu.hk/record=b5895390.
Full textAbstract:
劉健威.稿本
論文(碩士)--香港中文大學硏究院藝術學部,1992.
附參考文獻
Liu Jianwei.
目錄 --- p.1
撮要 --- p.2
前言 --- p.3-7
Chapter 第一章 --- 水墨畫運動的歴史背景 ´ؤ´ؤ香港藝壇與西方現代藝術的初接觸 --- p.1.3-1.13
Chapter 第二章 --- 水墨畫觀念的完成 --- p.2.1-2.7
Chapter 第三章 --- 水墨畫運動的完成和主流地位的確立 --- p.3.1-3.12
Chapter 第四章 --- 由一畫會成立到水墨畫運動的完結 --- p.4.1-4.19
Chapter 第五章 --- 香港當代水墨畫的一些繪畫模式 --- p.5.1-5.9
Chapter 第六章 --- 總結 --- p.6.1-6.6
參考書目
Chapter 一、 --- 中文參考書目
Chapter 甲、 --- 展覽場刊目錄 --- p.7.1-7.4
Chapter 乙、 --- 一般美術論著 --- p.7.5
Chapter 二、 --- 英文參考書目 --- p.7.6
Chapter 三、 --- 報章、期刊文章 --- p.7.7-7.9
附圖 --- p.7.10-7.12
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"八十年代以來香港水墨畫新發展探討." 廖桂英], 1996. http://library.cuhk.edu.hk/record=b5895681.
Full textAbstract:
廖桂英.論文(碩士) -- 香港中文大學硏究院藝術學部, 1996.
參考文献 : leaves 52-57.
Liao Guiying.
目錄 --- p.1
撮要 --- p.2
前言 --- p.3
Chapter (一） --- 六七十年代香港水墨畫發展的歷史背景及槪況 --- p.4
Chapter (二） --- 八十年代以後香港水墨畫的發展 --- p.11
Chapter (三） --- 香港水墨畫的藝術特色 --- p.27
Chapter (四） --- 香港水墨畫發展的隱憂 --- p.41
Chapter (五） --- 總結 --- p.49
參考書目
Chapter 一´Ø --- 中文參考書目 --- p.53
Chapter 甲. --- 畫冊 --- p.53
Chapter 乙´Ø --- 一般美術論著 --- p.54
Chapter 二´Ø --- 英文參考書目 --- p.54
Chapter 三´Ø --- 期刊、報章文章 --- p.55
附圖 --- p.58
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Tseng, Ting-Kai, and 曾庭楷. "When Traditional Chinese Folk Art''s Image Encounter With Contemporary Ink painting." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/yzpva7.
Full textAbstract:
碩士國立臺北藝術大學
美術學系美術創作碩士班
100
This thesis aims to explore the relations between conventional ‘Folk Paintings’ and the author’s practices of recent years. The first chapter introduces the research motives and intentions, and the following one spells out how the so-called folk paintings‘came into being.’Subsequently, I will investigate into the transformation in the role of folk paintings under the changes in outside circumstances. This part begins with the comparison between ‘folk paintings’and ‘literati paintings,’in order to trace how the former have flourished in and developed into its unique style of Taiwan, which is an island country. What follow are two notions: ‘images of the folk painting’and ‘the creative potential in contemporary art’that illustrate the significant role played by folk paintings in the development of contemporary art. In the last part, I will turn to the creating ideas and propositions I raise in previous chapters and reflect on my personal process of creation, where the influence of folk paintings can be found. The research bases on two series of my works: Thanks for Your Glasses and Polyethylene Charm, and thereby the existing sense of self is revealed.
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Liao, Chung-Sheng, and 廖中聖. "The Discourse and Creation of Chinese Ink Painting by Chung-Sheng Liao." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/8qygwe.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
101
In Chinese history, "Shi" was a special class that undertook the cultural mission. From then on, they have played as “intellectuals” in Chinese history. Different from the western intellectuals, the traditional eastern intellectuals had more complex relationship with politic. Shi was the one who walking along aloofness and worldliness. Chapter One is to introduce the self-motivation, purpose, content and scope, the relationship between research and creation, and the whole structure of the research. Chapter Two is the theoretical framework. The formation of intellectuals had a close relationship with literati painting (Wen-Ren-Hua). The image expression of literati painting also placed the Chinese painting into a historical position. Affected by the Confucian ideal personality, those who took the world as their responsibility and concern the social issue were all for one purpose–“Their States being rightly governed, the entire world was at peace.”. Ancient intellectuals indulged themselves on painting during the aloofness and worldliness to fulfill their self-personality. The concept of “In difficulty they could only cultivate their own goodness. Successful, they could share their goodness with the whole world.” guided the literati who with “inner saint and outer king” mind and traditional thinking into the field of painting. Through the discussion over image symbols, giving an idea of how literati understood the paintings through symbolic images. As a result, the method of symbolic symbol was formed to show the social concern and humanistic feeling. Chapter Three is to understand the composition method of contemporary Chinese ink painting subjects and modern painting images. Traditional literati painters were used to use the composition of “A garden in a garden, a garden in a mirror” to extend and expand the space, and arranged the architectures in the garden. With the method of movie “montage”, the author transformed it into the painting structure of his creation. The author explored the phenomenon of post-literary era, especially the combination of montage and the possibility of visual effect on Chinese ink painting. Discuss the expression of contemporary Chinese ink painting and the subjects of painting. Then, get deeper to analyze the integration of the symbolic images and montage composition on the creation. At the end, the author focused on the topic of social issue and daily concern, which reflected the social and humanistic feeling. Chapter Four is to elaborate the personal creation analysis. The creation was base on the individual consciousness of intellectuals, which focused on ecological environment of social issue. Using the method of symbolic images and personification to elaborate the expression on painting from personal concept, and also presented the combination of techniques, materials, and images. To extend the author’s college creation – ecology series, the author re-evaluated his personal language. He focused on the concern of social issue, and surveyed the final creation, which the author could follow the result, and keep moving on. Chapter Five is the conclusion. The author had surveyed the importance of how intellectuals influenced contemporary arts. And based on the current creation, the research has given a vision of future.