Journal articles: 'Ink painting, Chinese'

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Jin, Yueling, Zeyang Li, and Tiantian Lu. "The Style Transfer of Photos and Landscape Paintings Based on CycleGAN Combined with Nested Edge Detection Module." Applied and Computational Engineering 8, no. 1 (August 1, 2023): 171–79. http://dx.doi.org/10.54254/2755-2721/8/20230118.

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Chinese landscape paintings, especially Chinese landscape ink paintings have always been the treasure of the Chinese, or even the world culture. Due to the advancement of the science and knowledge, there are always interests for finding ways to produce Chinese landscape paintings through the way of the technology. In this paper, based on the original CycleGAN model, we are trying to transfer a real-world photograph to a typical Chinese landscape painting. To be specific, the brushwork in Chinese ink paintings contains enormous numbers of distinct and technical brush strokes which makes it extremely hard for CycleGAN to recognize and transfer Chinese ink painting. We improved the brushstroke effect of Chinese ink painting still by incorporating the Holistically Nested Edge Detection (HED) method into the CycleGAN model. The HED module puts the source image and the corresponding generated image into the convolution layer of five stages to generate their respective edge maps. The balanced cross-entropy loss calculated with edge maps is added to the total loss of CycleGAN to train the generator which is confronted with discriminator to improve output results. The addition of HED enables the extraction of edge features from the images, preserving the structural information and enhancing the accuracy of the style transfer, so the detailed of the Chinese ink painting can be transferred better in this sense. Experimental process with model building, training, validating, and predicting concludes that, complementing HED method into the original CycleGAN models well preserved distinct features in the conversion processes from real-world photographs to traditional Chinese landscape paintings.

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Zhang, Hao. "A Comparative Study on the Painting Forms of Western Oil Painting and Chinese Ink Painting." American Journal of Arts and Human Science 3, no. 2 (May 15, 2024): 39–45. http://dx.doi.org/10.54536/ajahs.v3i2.2778.

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Since modern international students introduced oil painting on a large scale to China, oil painting has been developing in China for over a hundred years. In citing the process of progress, learning, integration, and improvement, the change in titles from “Western painting” and “Western painting” to “oil painting” and then to “Chinese oil painting” indicates that oil painting, as an art form, has deeply embodied the characteristics and connotations of traditional Chinese culture. During this period, its development is closely related to the historical background of the entire China, reflecting the continuation and evolution of traditional Chinese freehand brushwork spirit in the complex and changing context of the times. This article compares oil paintings imported from abroad with domestic ink painting, taking the artistic realm of painting in both the East and the West as the starting point. The main axis that runs through them is Chinese ink painting and Western oil painting landscapes. Showcasing the similarities and differences between Chinese ink wash landscape painting and Western oil painting landscapes, Chinese landscape painting emphasizes the expression of emotions and a sense of awe and emotion towards nature, with the main idea of “learning from nature”; The Western oil painting landscape emphasizes the realism of the scenery, which is a re-creation of nature, allowing people to have a realistic feeling of being there when watching the painting. The main reason there are these differences between Chinese ink painting and Western oil painting landscapes is due to different social and cultural backgrounds and fields of consciousness.

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Hu, Manran. "A Study of the Development History and Stylistic Features of Chinese Ink Painting." Pacific International Journal 6, no. 1 (March 31, 2023): 71–76. http://dx.doi.org/10.55014/pij.v6i1.310.

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The modern ink painting in China started in the 1980s and it didn't become popular until the late 1990s. Up till now, it has become a major branch of Chinese art and painting. This paper makes a brief review on the historical development of Chinese ink painting based on the current studies on the topic. Compared with the western painting, the Chinese ink painting enjoys a special position in terms of spiritual forms, Artistic function, Language Structure, ink and brush form. The study finds that ink painting has a strong philosophical conception of Chinese cultural traditions and an ideology that matches its history, culture and religious beliefs. The values and ideology of the traditional Chinese philosophical outlook can be glimpsed in ink painting, and the ancient subsistence smallholder economic system also permeated and influenced the way of painting in terms of economic and social development. This influence ultimately reflected in the ancient philosophical system of thinking .

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Ma, Caixia. "Morphological Structural Element Optimization for Automatic Line Characterization of Ink Drawings." Security and Communication Networks 2022 (May 11, 2022): 1–7. http://dx.doi.org/10.1155/2022/8595203.

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As a traditional Chinese art, the tools of Chinese ink painting are mainly brushes, ink, and rice paper and ink stone. As an important form of ink painting, ink landscape painting consists of ink lines that first outline the overall trend of the mountain and then complete the basic process of painting with rich chapping techniques. The article proposes a process to draw water animation based on Chinese painting style; this method first perceives the position of water form in Chinese painting and enhances it by morphological structural elements used to automatically draw the line feature analysis of ink painting; next, the image rendering technique is used to render the water form, firstly using BF for noise removal processing and then gradienting by Canny edge detection operator to get the gradient amplitude. Next, morphological optimization is applied, and finally the image is visualized. In the process of morphological optimization, the optimal parameters of the structural elements are found through the threshold segmentation number, and the rendering algorithm for ink-based landscape painting is explored in depth, starting from the ink lines. The results reveal that the method is more accurate than typical marker-watershed algorithm segmentation, and that changing different structural elements and their parameters has a bigger impact on the ink painting drawing effect.

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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 (December 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 small and did not form a large scale, and it did not break away from the style of literati painting, resulting in the failure to cause more researchers at the time of the pro-gaze. After the modern society, a group of overseas artists returned, the advanced western humanistic thought into the painting, bold attempt to a variety of painting language performance, the theme of the performance is also more extensive. Mr. Guan Liang’s opera figure painting is a model of this period. He is an explorer who takes opera figures as the main performance theme of painting, and combines his own creative experience to successfully create countless opera figures with different personalities in the performance language of Chinese painting. Finally, he formed his own independent painting style, different from the artistic style of literati painting. After that, more and more painters began to express operas in Chinese paintings. Among them, Han Yu, Gao Made, Lin Fengmian and so on, the works have their own unique spiritual outlook, explored a new path of painting, these excellent works not only from the inheritance of traditional culture, but also reflects the rich and colorful art of today’s era, in the history of Chinese art will leave a glorious page.

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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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Long, Dapeng, Preechawut Apirating, and Pat Kotchapakdee. "The Creation of Loneliness in Contemporary Chinese Ink Painting - Revelation from Harald Sohlberg's Paintings." International Journal of Religion 5, no. 7 (May 11, 2024): 638–56. http://dx.doi.org/10.61707/yjptjm89.

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This research employs methods of iconography analysis to dissect the visual representation of loneliness in the paintings of Harald Sohlberg, aiming to inspire in the creation of loneliness within Contemporary Chinese ink painting. The article unfolds by delving into Sohlberg's painting style, cultural origins, and the profound meanings embedded within his works, subsequently exploring the revelations of Sohlberg's paintings for contemporary Chinese ink painting, and thereby elucidating the author's creation. By providing novel perspectives and methodologies, this paper contributes to the realm of cross-cultural research in the arts, demonstrating the existence of commonalities diverse backgrounds, cultures, and artistic genres, with the aspiration of fostering mutual understanding and exchange across different cultures and nations. Furthermore, this article serves to inspire painters in their creations and aids in enhancing the audience's appreciation and aesthetic sensibilities towards painting.

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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.

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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

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Ma, Feifei. "My Opinion on Urban Figure Ink Painting." International Journal of Education and Humanities 11, no. 2 (November 6, 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 their shapes are also closer to traditional ancient costume character costumes. Therefore, it is relatively easy to graft traditional pen and ink programs onto the above-mentioned themes, which is quite lazy in the current innovation of ink characters. In the process of socialization today, urban culture is an important representation of modern culture. If we continue to draw contemporary urban characters in a conservative traditional ink style, it will feel out of place. The theme of urban figures is a major challenge and opportunity in the process of Chinese figure painting. How to use more vivid language to depict urban characters is an important topic that contemporary Chinese character painters need to ponder deeply.

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Chen, Tian Ding. "Chinese Calligraphy Brush Stroke Interactive Model with Ink Diffusion Style." Advanced Materials Research 108-111 (May 2010): 507–12. http://dx.doi.org/10.4028/www.scientific.net/amr.108-111.507.

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This paper presents an interactive method of using ink diffusion, and gradually approaching simulation brush character with style of Chinese painting and calligraphy. Try to use materials based on the Chinese ink painting: ink and rice paper, according to their characteristics to build the diffusion rules to simulate text ink. Although the initial can show the phenomenon of ink rendering, they can only show diffusion of the ink with black lines, Can not rendering a complete ink diffusion behavior, it is difficult to form a sense of artistic calligraphy. It proposes Interactive model to amend the power of the brush pen and puts forward a binding behavior of ink broken down. The results show that based on the pratice physical meaning, considering the interaction of the two materials(ink and rice paper), appropriate to improve the mathematical equation model to render the calligraphy image more in line with Chinese ink painting style.

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Chen, Chen. "Painterly focused Chinese ink animation: Seeing through the cultural lens of the Xiang system." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 141–64. http://dx.doi.org/10.1386/ap3_00009_1.

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Chinese ink animation has won worldwide respect for its ethereal and refined approach to ink painting. From the 1950s to 1980s, the Shanghai Animation Film Studio produced a number of award-winning ink animations. These animations share a unique traditional Chinese aesthetic based on Chinese literature and philosophy. However, the complex and long hand-made production process is one of the factors that caused the decline of Chinese ink animation following the 1980s. Since the millennium, three-dimensional ink modelling and digital painting technology have contributed to the revival of Chinese ink animation. This article summarizes the development of the production process of Chinese ink animation, together with its artistic features in both the analogue and digital age. Theoretically, this article focuses on a Chinese poetic framework, ‘the Xiang system’, as both a creative strategy for producing Chinese ink animation and an analytical lens to critique it.

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Chen, Jiajun. "The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times." Scientific and Social Research 3, no. 6 (December 29, 2021): 157–63. http://dx.doi.org/10.36922/ssr.v3i6.1293.

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The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.

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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.p.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

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Wang, Feng, and Mengyang Cheng. "The Status and Changes of the Relationship between Ink and Color in Traditional Landscape Painting." Highlights in Art and Design 5, no. 3 (April 27, 2024): 20–26. http://dx.doi.org/10.54097/64jnn757.

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Color has always played a key role in the evolution of Chinese painting history. With the rise of ink painting and the development of literati painting, the expression of landscape painting gradually transformed, green and heavy colors gradually lost their dominant position, and ink painting gradually became the dominant style in the Chinese painting world, with the use of color gradually weakening. Especially in the Song and Yuan Dynasties. The change and application of color in landscape painting is in line with the changes in society and aesthetic concepts, reflecting the aesthetic interests and cultural backgrounds of different times.

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Cao, Chong, Lingfei Yang, and Xukun Shen. "Immersive experience of Chinese poems and paintings." Proceedings of the ACM on Computer Graphics and Interactive Techniques 6, no. 2 (August 12, 2023): 1–6. http://dx.doi.org/10.1145/3597621.

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Chinese painting incorporated with poems is famous for its distinct characteristics and unspeakable moods. Ink lines are used to depict scenes in paintings while concise words are used to describe scenes and events in poems, making for a beautiful yet enigmatic art style. Such an art style requires viewers to patiently examine the details and attempt to understand the meaning, which creates a barrier for a wide audience to relish and disseminate it. The condition can be effectively improved with immersive and interactive animation techniques. In this paper, we present the design and production of an interactive 3D animation entitled "Illustrating Ten Poems" based on the famous Chinese painting with the same name. Compared with viewing the original painting, the animation provides immersive scene reconstruction in Chinese painting style, interactive characters and visual-audio experience. Rather than complete three-dimensional reconstruction, we attempted some innovative methods which proved to be effective and efficient in Chinese painting style artwork production.

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Zhang, Jianmin. "On the Presentation of Artistic Conception in Ancient Chinese Ink Painting." Korean Journal of Art History 314 (June 30, 2022): 135–56. http://dx.doi.org/10.31065/kjah.314.202206.005.

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As an integral part of the Chinese tradition, ancient Chinese ink culture has its own independent framework. The ink painting has its ideological foundation upon this ink culture, and its way of thinking echoes with the typical Eastern holistic worldview, presenting unique artistic conception and affection with ink image, which bears ancient Chinese people’s comprehension and reflection of the order of nature, the truth of life and the charm of culture. The view of drawing form for ancient ink painting is based on the visual experience of “traveling sight”, “mindful acknowledging” and location management to portray the shape and spirit of nature and manifest the holistic cosmology of the unity of man and nature in its artistic conception.

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Jing, Tang. "INTERPRETATION OF CHINESE PAINTING IN THE XIEYI STYLE." Arts education and science 2, no. 31 (2022): 116–21. http://dx.doi.org/10.36871/hon.202202015.

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The core of Chinese painting in the Xieyi style is to convey an idea in a free form, Xieyi paintings have the beauty of poetry, calligraphy and prints. It uses a colour method based on black and white imagery and the concept of linear modelling with brush and ink. It differs from Western painting in its methods of perspective, which transcend the limitations of time and space. The spirit of Xieyi is a reflection of real life, but refined and sublimated through imagination, ultimately completing the process of creating artistic images. Having great innovative and creative force and inheriting the tradition of Chinese culture and art, Xieyi condenses the inner ideological characters of Chinese nation. Moreover, Xieyi is a unique form of free emotional expression stimulating the continuous development and advancement of the art of Chinese landscape painting. The artistic characteristics of Chinese Xieyi landscape painting are unique and embody the oriental aesthetic thought and Chinese philosophy. Confucianism, Taoism and Buddhism are the spiritual basis that shape and nurture the artistic features of Chinese painting, at the same time, the XXth century European painting also influenced them.

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Hua, Jianing. "Integration of Chinese and Western Art in Late Ming Dynasty: Imitation and Innovation with Wu Bin as an Example." Communications in Humanities Research 8, no. 1 (October 31, 2023): 76–82. http://dx.doi.org/10.54254/2753-7064/8/20230972.

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The late Ming Dynasty witnessed an art exchange between two distinct civilizations, the East and the West, which served as a microcosm of globalized art history in China. In the context of numerous Western religious paintings introduced to China by Jesuit missionaries during the late Ming Dynasty, whether Chinese artists who painted in ink at the time borrowed Western painting techniques in their paintings has become a subject of discussion among contemporary scholars. To further explain the integration triggered by this artistic exchange, the research analyses the attitudes of Ming society towards foreign painting. Furthermore, the study conducts the visual comparison methodology to identify the elements of Western painting that were incorporated into Chinese painting during this period, centering on the works of artist Wu Bin (1550-1643) and employing specific information as corroborative substantiation. The results of the study indicate that late Ming society did not exhibit overt animosity towards Western art and that Wu Bins paintings contain discernible Western painting inspirations. Yet, these factors did not impede the prevalence of indigenous artistic and aesthetic inclinations in his oeuvre.

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Zhang, Hongtao. "The Emotional Expression of Ink Language in Chinese paintingA Case Study of the Ink Art of Bada Shanren." Communications in Humanities Research 12, no. 1 (November 20, 2023): 117–23. http://dx.doi.org/10.54254/2753-7064/12/20230057.

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Ink art holds a distinctive position within the realm of artistic expression in China. Throughout the course of Chinese history, ink painting has served as the favored medium for literati to convey their deepest emotions. Unlike the blue-green ShanShui style, ink painting offers a material that is both of superior quality and cost-effective. It encompasses techniques such as ink color changes, rubbing, and dyeing, allowing artists to directly reflect their pursuit of poetic expression. Bada Shanren, also known as Zhu Da, emerges as a preeminent master of ink painting during the early Qing Dynasty, whose artistic legacy continues to evoke profound thoughts and emotions even in contemporary times. By delving into the historical context and techniques employed in ink painting, this article explores the profound emotional expressions prevalent in literati ink art, using Bada Shanren as a compelling case study.

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long, xingyang. "Common features of Henri Matisse's painting concept and Ancient Chinese pictorial thought." Человек и культура, no. 3 (March 2023): 60–68. http://dx.doi.org/10.25136/2409-8744.2023.3.40837.

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Matisse, an iconic artist of the Zverev school, was a pioneering European modernist artist. He showed great interest in Oriental painting and drew inspiration from it, introducing flatness, ornamentation and bright forms of color into his paintings, which were valued in Oriental painting. His unique approach to space in composition is similar to the "white space" method in Chinese painting, which cancels the traditional European rules of perspective, and his minimalist approach to painting and images led to the formation of a pronounced Oriental style of painting. His "accuracy is not reality" is similar to the Chinese concept of "likeness and impropriety", and his understanding of the relationship between the outside world and himself is similar to the Chinese concept. At the same time, Matisse's concept of subjective expression, which focuses on the expression of subjective feelings rather than the reproduction of objective nature, is also very similar to the desire to express subjective ideas inherent in traditional Chinese ink painting. Matisse's approach to oriental art was not a copy or a simple addition to his own painting. He absorbed Oriental art creatively, extracted elements that were close to his heart, internalized them and made his works similar in internal structure or common views with Oriental painting in terms of spirit, concept and art form.

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Du, Xiaojie, and Wenhao Wang. "Recognizing the Style of Artistic Painting via Information Entropy for Smart City Construction." International Journal of Distributed Systems and Technologies 12, no. 2 (April 2021): 46–54. http://dx.doi.org/10.4018/ijdst.2021040105.

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Digitalization is conducive to the protection and inheritance of culture and civilization. The artistic painting recognition is an essential part in digitalization and plays an important role in smart city construction. This paper proposes a novel framework to recognize Chinese painting style by using information entropy. First, the authors choose the ink painting, pyrography, mural, and splash ink painting as the known artistic styles. Then, this article uses the information entropy to represent the paintings. The information entropy includes color entropy, block entropy, and contour entropy. The color entropy is obtained by a weighted function of Channel A and B in the lab color space. The block entropy is the average information entropy of blocks which are a small part of the image. The contour entropy is obtained from the contour information which is obtained by contourlet transform. The information entropy is input into an oracle to determine the style. The oracle includes a one-class classifier and a classical classifier. The effectiveness is verified on the real painting set.

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Wang, Mengting. "Contemporary Dream Aesthetic of the Taihang Dream." Learning & Education 10, no. 3 (November 7, 2021): 14. http://dx.doi.org/10.18282/l-e.v10i3.2377.

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The creation of contemporary ink and landscape painting is not only a kind of artistic creation,but also represents the”unity of man and nature”.The”rhythm of life”expressed in the combination of water and ink implies the unique way of Chinese painting,and finally presents a pattern of.

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Liew Jia Xi and Wan Jamarul Imran Bin Wan Abdullah Thani. "AN ELECTRONIC ART APPROACH IN THE ADAPTATION OF WHITE SPACE ART COMPOSITION ON CHINESE INK PAINTING." International Journal of Applied and Creative Arts 6, no. 1 (June 30, 2023): 91–103. http://dx.doi.org/10.33736/ijaca.5664.2023.

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White Space Art, otherwise known as Xu Shi, is not only used to create a powerful visual drawing space, but also a key composition principle and aesthetic feature in Chinese Ink Painting. This study focuses on the application of White Space Art in the implementation of the artwork. In other words, which initiatively to explore the method of combining the approach of technology with Chinese Ink Painting Art. Through the practical experience which executed by the author, intently to verify the feasibility if White Space Art to express the space philosophy of electronic art and discusses the possibility that the practical process can be used for further reference. The implementation of such a merger to achieve an artwork in the form of contemporary art which gives a new perception and meaning to the Chinese Ink Painting Art in a new context rather than in a conventional background.

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Fan, Wenwei. "The Fusion of East and West in Chinese Painting from the Formal Language of Lin Fengmian's Paintings." Highlights in Art and Design 2, no. 3 (April 24, 2023): 12–14. http://dx.doi.org/10.54097/hiaad.v2i3.7544.

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Lin Fengmian was a scholar who travelled to France in the early 20th century to study Western art, and he dedicated his life to research and art education on the fusion of East and West in Chinese oil painting. He had many followers who interpreted the creativity of combining East and West in their creative works. Although the concept of integration of East and West has long been introduced into local oil painting and contemporary ink painting through the efforts of generations, the overall standard and artistic value of Chinese oil painting and contemporary ink painting has yet to be improved, and the slow pace seems to be a long way from the ideal. This paper attempts to reconceptualize Lin Fengmian's concept of the fusion of East and West, and to study his artistic ideas in aesthetics and culture in depth, in order to provide a clear idea for the creation of contemporary art.

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Yang, Guangyu. "imagery and abstraction trend of Chinese contemporary oil painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 454–71. http://dx.doi.org/10.21744/lingcure.v5ns2.1383.

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The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the execution of oil painting without preliminary sketches. The expressiveness inherent in Chinese art is achieved through four values of the artist. It is revealed that each artist attaches great importance to the choice of their professional tools and approaches it with an increased level of responsibility. The practical significance of the study is in the fact that the paper shows the possibility of developing the culture of traditional oil painting. It is shown that two opposites must be combined at the same time: dark and light, large and small, dry and wet, short and long, rare and frequent.

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Zhu, Beitang, and Jin Zhu. "Application of Intelligent Image Color Technology in Teaching Chinese Painting Color." Security and Communication Networks 2022 (May 10, 2022): 1–12. http://dx.doi.org/10.1155/2022/1942046.

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This paper presents an in-depth analysis and research on the application of intelligent image color technology in teaching Chinese painting color. A feature reorganization-based approach to Chinese painting image style migration is proposed. Using the connection between depth features in neural networks and image semantics, the artistic style expression method of traditional Chinese painting is combined with existing methods to match the feature matrix in the generative network by feature reorganization, and finally, the migrated image is generated using a decoder. The texture of the target image is input to the generator as an additional condition, and the discriminator is changed to a relativistic discriminator to build a new generative adversarial network. To demonstrate the effectiveness of the method, a large number of Chinese ink and wash style landscape paintings and natural landscape photos are used as experimental data. The experimental results show that the obtained generated images after style migration are 8% better in realism and quality. An image color intelligent analysis system was designed, which integrates a color classification module, a pigment analysis module, an output saving module, and a pigment sample library to achieve the automatic classification of different color areas in Chinese painting, and ultimately allows a judgment to be made on the most likely pigment to be used for each type of color. In the teaching of Chinese painting, the system can transform the traditional “ear-listening” color transmission through vision into eye perception, which makes the teaching of Chinese painting vivid, arouses the enthusiasm of the classroom, and greatly promotes the color teaching of Chinese painting.

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Wang, Jitai. "Expressionism in European and Chinese painting (late XIX – early XXI centuries)." Культура и искусство, no. 5 (May 2020): 27–46. http://dx.doi.org/10.7256/2454-0625.2020.5.32729.

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This article examines the impact of Chinese traditional painting upon the formation of Western expressionism, as well as interprets the influence of Western expressionism upon Chinese painting in expressionist manner of different periods. The author reveals the mutual influence, similarities and differences between Western expressionism and Chinese painting in expressionist manner, Chinese imagery oil painting, Chinese colored ink painting, and Chinese imagery painting in Western style. Based on correlation between the spiritual ideology of painting and artistic form, the author carries out a comparative analysis of spiritual and formal factors of Chinese and Western painting systems for the purpose of determination of their mutual influence, and how it affects the emergence of new concepts in painting. The structure of brush stroke of the artist defines his aesthetic spirit. The article determines the “cyclic” nature of interinfluence processes between Chinese and Western painting systems that stimulate the development of human civilization. The analysis of corresponding cultural factors allows assessing the individual artistic characteristics of painting. Both, Chinese and Western painting systems entered the period when spiritual ideology of painting interacts with the artistic forms, opening the era of “globalization” of the language of painting.

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Lee, Sooyeun. "A Study on the Image of the Splashed Ink and Color Landscape Painting by Chang Dai-Chien." Korean Society of Culture and Convergence 44, no. 12 (December 31, 2022): 739–53. http://dx.doi.org/10.33645/cnc.2022.12.44.12.739.

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The splashed ink and color landscape painting was created by Chang Dai-Chien(1899-1983) in his latter days to summarize his art life. This paper studied the ‘image’ revealed in the Splashed Ink and Color Landscape Painting presented by Chang in his latter days. Overall, the ‘images’ expressed by Chang can be induced as follows. First, Snow Mountains in Switzerland, created in 1965, showed the ‘combination of specific image and abstract image.’ Second, the ‘formation of aesthetic effects of contrast and combination.’ Chang created a ‘new technique’ surpassing the ancient artists by exhibiting his unique ‘eloquence’ in Aafchen See, created in 1968. Third, by expressing his uniquely splashed ink and color summarizing the ‘combination of specific image and abstract image’ and the ‘formation of aesthetic effects of contrast and combination’ in Panorama of Mount Lu, known as his ‘last work,’ Chang showed an ‘image’ representing the character of ‘abstract ink painting’ with more Chinese features. Such ‘creative images’ of Chang Dai-Chien suggest that the exploration of traditional Chinese philosophies and aesthetics must be accumulated before studying its old techniques.

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Belozerova, Vera. ""Modern Chinese Ink Painting” by Qu Leilei." Problemy dalnego vostoka, no. 1 (2021): 157. http://dx.doi.org/10.31857/s013128120013895-5.

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Dong, Lixing, Shufang Lu, and Xiaogang Jin. "Real-time image-based chinese ink painting rendering." Multimedia Tools and Applications 69, no. 3 (May 22, 2012): 605–20. http://dx.doi.org/10.1007/s11042-012-1126-9.

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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.

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Ying, Chen. "Study on the changes of pen and ink in Song Dynasty landscape painting." OOO "Zhurnal "Voprosy Istorii" 2023, no. 11-1 (November 1, 2023): 194–203. http://dx.doi.org/10.31166/voprosyistorii202310statyi66.

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As the peak of the development of Chinese landscape painting, the Song Dynasty not only had its own innovation in brush and ink techniques, but also had a profound impact on the inheritance of subsequent generations. Under the influence of different social development and economic condition artists of the Northern Song (960-1127) and Southern Song (1127-1279) used various brush and ink techniques, the study of which allows to expand the understanding of the processes of evolution of landscape painting in China as a whole.

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Yang, LiJie, and TianChen Xu. "Animating Chinese ink painting through generating reproducible brush strokes." Science China Information Sciences 56, no. 1 (December 12, 2012): 1–13. http://dx.doi.org/10.1007/s11432-012-4740-2.

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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 (March 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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Wang, Qiang, and Min Zhou. "The Exploration on the Application of Chinese Ink Painting in Web Design." Advanced Materials Research 926-930 (May 2014): 2836–39. http://dx.doi.org/10.4028/www.scientific.net/amr.926-930.2836.

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Web design is the new art design combined the art and technology, and Chinese ink painting is a traditional drawing with long history. With the rapid progress of globalization, web design complies with the western design principles with simple and standard designing styles. However, the wonderful works should both meet the world’s design trends and inherit national culture. Integrated the traditional ink-and-wash features, the paper has analyzed the applicable ways of ink-and-wash with fine web design works and discussed how to create a good web design works in national and modern way.

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Chai, David. "Shitao and the Enlightening Experience of Painting." Dialogue and Universalism 31, no. 3 (2021): 93–112. http://dx.doi.org/10.5840/du202131347.

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Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.

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Cao, Jing. "Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”." ARTMargins 9, no. 1 (February 2020): 83–91. http://dx.doi.org/10.1162/artm_a_00256.

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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.

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Xiangsheng, Feng. "A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros." ARTMargins 9, no. 1 (February 2020): 92–99. http://dx.doi.org/10.1162/artm_a_00257.

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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.

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Chiu, Ling-Ting. "A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun." Translocal Chinese: East Asian Perspectives 15, no. 1 (July 1, 2021): 93–130. http://dx.doi.org/10.1163/24522015-15010006.

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Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.

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Jin, Baopen, and Yakup Mohd Rafee. "The Challenges and Development Strategies of Contemporary Chinese Painting." Highlights in Art and Design 3, no. 1 (May 31, 2023): 61–67. http://dx.doi.org/10.54097/hiaad.v3i1.9352.

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The purpose of this paper is to discuss the dilemmas and challenges of contemporary Chinese calligraphy painting in art creation and its development strategies. As an important part of traditional Chinese culture, Chinese painting has been widely recognized and praised by the world for its unique artistic style and cultural connotation. However, with the change of the times and the development of the society, Chinese calligraphy painting also faces many problems and challenges, such as the contradiction between tradition and innovation, the lack of calligraphy and painting techniques, and the pressure of marketization and commercialization. Taking the lack of brush and ink as the entry point, this paper conducts an in-depth study of the artistic creation dilemma of contemporary Chinese calligraphy and painting, explores the reasons and influences behind it, and proposes corresponding development strategies, including strengthening art education and training, improving government support and supervision, and encouraging artistic innovation and experimentation. Among them, strengthening art education and training is the key to improving the level of creative writing and enriching the cultural connotation of painting. Government support and supervision can regulate the market order and protect the rights and interests of artists. Encouraging artistic innovation and experimentation can promote the artistic development of Chinese calligraphy painting and explore new ways of expression.

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Gao, Meihui, Xinyin Xie, and Zhian Zhang. "The Reacher on the Functions of Chinese Ink Elements in Movie Posters of The Golden Era." Communications in Humanities Research 9, no. 1 (October 31, 2023): 231–37. http://dx.doi.org/10.54254/2753-7064/9/20231189.

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Chinese components have distilled the ancient cultural soul of the Chinese nation, whose culture has a lengthy history. The Golden Eras movie poster makes extensive use of Chinese design themes. The movie poster skillfully mixes traditional Chinese aesthetic themes with poster design to create poster works with national cultural meanings. Movie posters often contain ink-based elements. One of Chinese cultures most significant artistic genres, ink painting has a lengthy history and numerous symbolic meanings. The ink component gives the poster design a distinctively oriental aesthetic and an artistic foundation rooted in the Confucian tradition. Through the analysis of The Golden Era as a case study, this study investigates the use of Chinese ink elements in movie posters. This article will talk about the special function of the Chinese ink elements depicted by the movie poster for The Golden Era from the viewpoint of the audiences movie poster. It also offers a fresh perspective on how to display the soft power of a countrys culture by interpreting the energizing impact of movie posters using Chinese themes on the cultural identity and national pride of Chinese spectators. Designers that utilize ink components to create cross-cultural movie posters must also be aware of cross-cultural design methods and respect the diversity of cultures.

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Zhao, Qike, and Won-Hyung Lee. "The Application of Traditional Chinese Painting Technique and Stroke Effect in Digital Ink Painting." TECHART: Journal of Arts and Imaging Science 5, no. 2 (May 31, 2018): 35–42. http://dx.doi.org/10.15323/techart.2018.05.5.2.35.

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Xinyi, Huang. "The Influence of the Color and Composition in Chinese Painting on the Animation"Cowboy's Flute"." International Journal of Religion 5, no. 1 (February 1, 2024): 606–15. http://dx.doi.org/10.61707/c7ehjj47.

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This journal article examines the animation "Cowboy's Flute" produced in 1963 at the animation studio in Shanghai, focusing on its use of coloring and composition influenced by traditional Chinese watercolor and ink painting. By analyzing specific elements within the animation, such as the overall composition, depiction of nature, and the portrayal of a shepherd boy riding a buffalo, this article explores how the film embodies authentic Chinese aesthetics. Drawing upon the symbolism and cultural significance associated with these artistic elements, this article sheds light on the theme and artistic choices made in "Cowboy's Flute." The findings reveal the strong influence of traditional Chinese painting on the animation and its contribution to the portrayal of Chinese cultural values and aesthetics.

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Laing, Ellen Johnston, and Maggie Bickford. "Ink Plum: The Making of a Chinese Scholar-Painting Genre." Chinese Literature: Essays, Articles, Reviews (CLEAR) 19 (December 1997): 150. http://dx.doi.org/10.2307/495097.

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Harrist, Robert E., and Maggie Bickford. "Ink Plum: The Making of a Chinese Scholar-Painting Genre." Artibus Asiae 59, no. 1/2 (1999): 143. http://dx.doi.org/10.2307/3249866.

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Sturman, Peter, and Maggie Bickford. "Ink Plum: The Making of a Chinese Scholar-Painting Genre." Harvard Journal of Asiatic Studies 59, no. 2 (December 1999): 637. http://dx.doi.org/10.2307/2652730.

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Guo, Fan, Hui Peng, and Jin Tang. "A novel method of converting photograph into Chinese ink painting." IEEJ Transactions on Electrical and Electronic Engineering 10, no. 3 (February 13, 2015): 320–29. http://dx.doi.org/10.1002/tee.22088.

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Jianchao, Ren. "The influence of traditional culture on the role shaping of Chinese local film and television animation." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 164–69. http://dx.doi.org/10.31166/voprosyistorii202308statyi36.

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This article mainly summarizes the role building of Chinese local film and television animation, analyzes the influence of traditional culture on the role building of Chinese local film and television animation, and introduces in detail the application of traditional culture such as paper cutting art, ink painting art, costume art and opera art in the role building of film and television animation.

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Leung, Wai-yu. "Two Sides of Landscape in Ink-wash Painting: Chinese Landscape Painting in Expressive Arts Practice." Creative Arts in Education and Therapy 6, no. 2 (February 1, 2021): 209–20. http://dx.doi.org/10.15212/caet/2020/6/23.

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Journal articles on the topic 'Ink painting, Chinese'

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