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Relevant bibliographies by topics / Ink painting, Japanese Ink painting, Japanese

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Academic literature on the topic 'Ink painting, Japanese Ink painting, Japanese'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Ink painting, Japanese Ink painting, Japanese"

1

Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching classical Japanese Haiku poetry through the perspective of ink painting art and application to teaching foreign literature for Literature Pedagogy students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (2021): 41–49. http://dx.doi.org/10.52296/vje.2021.98.

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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a

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Nguyen, Lien Mai Thi, and Nhu Chan Minh Dieu Nguyen. "Approaching Classical Japanese Haiku Poetry through the Perspective of Ink Painting Art and Application to Teaching Foreign Literature for Literature Pedagogy Students at Dong Thap University." Vietnam Journal of Education 5, no. 2 (2021): 52–60. http://dx.doi.org/10.52296/vje.2021.69.

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Exploring the culture and literature of countries around the world is increasingly important in the current trend of international exchange and integration. Therefore, foreign literature disciplines, including Japanese literature, occupies an increasingly essential position in the curriculum of Dong Thap University. However, the perception and teaching of Japanese Haiku poems have long been challenged due to language barriers as well as cultural differences. In order for enhancing the quality of teaching Haiku poetry to Literature Pedagogy majors at Dong Thap University, the article presents a

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3

Lippit, Yukio. "Of Modes and Manners in Japanese Ink Painting: Sesshū'sSplashed Ink Landscapeof 1495." Art Bulletin 94, no. 1 (2012): 50–77. http://dx.doi.org/10.1080/00043079.2012.10786029.

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Lippit, Yukio. "Tawaraya Sōtatsu and the Watery Poetics of Japanese Ink Painting." Res: Anthropology and aesthetics 51 (March 2007): 57–76. http://dx.doi.org/10.1086/resv51n1ms20167715.

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TAGUCHI, Tsunemasa, and Michitaka KONO. "A Novel White LED Lighting System for Appreciation of Japanese Antique Ink Painting." Journal of Light & Visual Environment 31, no. 3 (2007): 149–51. http://dx.doi.org/10.2150/jlve.31.149.

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Ковальова, М. М., та Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ". Art and Design, № 3 (13 листопада 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

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Tao, Cai. "Guan Liang, Tan Huamu, and Ding Yanyong: Their Modern Art Practice and the Phenomenon of the “Tōyō Review”." China and Asia 2, no. 1 (2020): 3–56. http://dx.doi.org/10.1163/2589465x-00201002.

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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the West

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Shim, Sangbo. "A Study of the Aesthetic Sense of Hanbok and Kimono by Analyzing Korean and Japanese Ink Painting Style." Journal of the Korean Society of Costume 66, no. 5 (2016): 82–98. http://dx.doi.org/10.7233/jksc.2016.66.5.082.

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Čapková, Helena. "The Mystical Spirit of Japan – Stefan Łubieński and Transnational Artistic Networks in 1920s Japan." Studia Religiologica 53, no. 1 (2020): 15–31. http://dx.doi.org/10.4467/20844077sr.20.002.12505.

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Stefan Łubieński (1893–1976), composer, fine artist, diplomat, spiritual seeker, and thinker, was a Polish nobleman, follower of Anthroposophy and author of such books as Ways to Spiritual Light and Man between Microcosm and Macrocosm. With his first wife, Zina Łubieńska, he resided in Japan in the first half of the 1920s. Although Łubieński published his autobiography and the names of the two Poles were mentioned at that time, the time they spent in Japan has not yet been analysed by scholars. This article is an attempt to unravel the Łubieńskis’life in Japan and show how it is placed in the

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McCausland, Shane. "The Flight of the Dragon." Archives of Asian Art 70, no. 1 (2020): 51–83. http://dx.doi.org/10.1215/00666637-8124979.

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Abstract After his expulsion from the Forbidden City in 1924, China's “last emperor,” Henry Puyi 溥儀 (1906–1967), settled in Tianjin, where he later presented parting gifts to his former English tutor, Reginald F. Johnston [Zhuang Shidun] 莊士敦 (1874–1938), among them an album by the Nanjing painter Chen Shu 陳舒 (active ca. 1649–ca. 1687) from the ex-Qing (1644–1911) imperial collection and an inscribed folding fan. These are now reunited in the library collection of SOAS University of London, where Johnston taught Chinese after his return to Britain in 1931. Together with Puyi's preface transcrib

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Dissertations / Theses on the topic "Ink painting, Japanese Ink painting, Japanese"

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Ng, Yuk-lan. "Mid-Muromachi flower and bird painting in Ashikaga painting circles /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38030962.

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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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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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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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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 o

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Huang, Chi-hui, and 黃琪惠. "Confronting Colonial Modernity: The development of Taiwanese Ink Painting under Japanese Rule." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/07056799459124800274.

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博士<br>國立臺灣大學<br>藝術史研究所<br>100<br>In year of 1895, Taiwan was forced turning into Japan ’s colony from once a frontier province of the Qing dynasty. Under the Colonial rulers’ leadership gearing towards the process of Taiwanese modernization, the new trend of modern Japanese art also follows. Taiwanese painting and calligraphy which inheriting Qing dynasty’s tradition all made modernization changes in terms of painter’s creative space, art style and exhibit space, etc. This dissertation mainly focuses on Taiwanese ink painting as research subject and studies how Taiwanese ink painters respon

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Du, Xiaohan. "On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan." Thesis, 2021. https://doi.org/10.7916/d8-gcqq-m715.

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This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247-1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, i

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Feltens, Frank. "Ogata Kōrin (1658–1716) and the Possibilities of Painting in Early Modern Japan." Thesis, 2016. https://doi.org/10.7916/D8RV0NQR.

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This dissertation investigates the work of Ogata Kōrin (1658–1716), one of the most idiosyncratic artists of Japan’s early modern period. By employing aspects of literature and theater, as well as a focus on Kōrin’s experimentations with the effects of style, materials, and artistic media, I elucidate how his oeuvre is characterized by a continuous strive to test the faculties of painting. Following a chronological approach, the four chapters of the dissertation trace Kōrin’s life and work from his early steps as a painter to the collaboration with his brother Kenzan (1663–1743) during his fin

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Books on the topic "Ink painting, Japanese Ink painting, Japanese"

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Yasuhiro, Sato, Kuwayama George, Los Angeles County Museum of Art., and Japan Bunkachō, eds. Japanese ink painting. The Museum, 1985.

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Mikami, Takahiko. Japanese brush painting: The art of Sumi painting. David & Charles, 1985.

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Japanese ink painting: The art of sumi-e. Sterling Pub. Co., 1995.

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Sumi-e: The art of Japanese ink painting. Tuttle Pub., 2010.

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Satō, Shōzō. Sumi-e: The art of Japanese ink painting. Tuttle Pub., 2010.

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Bijutsukan, Gunma Kenritsu Kindai. Kindai no suibokuga ten: Modern Japanese ink painting. Gunma Kenritsu Kindai Bijutsukan, 1988.

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7

Cunningham, Michael R. Ink paintings and ash-glazed ceramics: Medieval calligraphy, painting, and ceramic art from Japan and Korea. Cleveland Museum of Art, 2000.

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8

Ink on paper: Poems on Chinese & Japanese paintings. City Lights Books, 2001.

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Yanagidaira, Sosetsu. Shichi kunshi de manabu sumie no kiso /Yangidaira Sosetsu cho. Emu Pī Shī, 2000.

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10

Misulgwan, Kungnip Hyŏndae. Sumuk ŭi hyanggi, sumuk ŭi chohyŏg: Han-Chung-Il hyondae sumukhwajŏn = The scent and shape of ink : contemporary ink painting of China, Japan, Korea. Sam kwa Kkum, 2001.

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Book chapters on the topic "Ink painting, Japanese Ink painting, Japanese"

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Mai, Cong Hung, Ryohei Nakatsu, and Naoko Tosa. "Developing Japanese Ikebana as a Digital Painting Tool via AI." In Lecture Notes in Computer Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-65736-9_27.

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Toque, Jay Arre, Masateru Komori, Yusuke Murayama, and Ari Ide-Ektessabi. "Analytical Imaging of Traditional Japanese Paintings Using Multispectral Images." In Communications in Computer and Information Science. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11840-1_9.

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Kano, Masashi, Hiroyuki Akaji, Noriaki Kuwahara, and Hiroyuki Hamada. "A Study of the Tacit Knowledge on the Design of Kimono Patterns from Japanese Painting." In Digital Human Modeling. Applications in Health, Safety, Ergonomics and Risk Management: Human Modeling. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-21073-5_31.

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Okazawa, Gouki, and Hidehiko Komatsu. "Image Statistics for Golden Appearance of a Painting by a Japanese Edo-era Artist Jakuchu Ito." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36700-7_6.

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

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Reed, Christopher. "Conclusion." In Bachelor Japanists. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231175753.003.0005.

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By 1965, the very visible realities of imperialism, immigration, World War, and Cold War diminished Japanism’s viability as a mode of what, in the introduction, I call an “unlearning” of the West. Of course, this did not happen all at once or completely.<sup>1</sup> As with the nineteenth-century shift from the kinds of stylistically conventional depictions of Japan exemplified by Mortimer Menpes’s paintings to Japanist subversions of Western representational conventions, new and old paradigms can coexist, especially where there is a taste for the old-fashioned. But change has come, and that cannot be regretted. Notwithstanding the brilliance of Wilde or Barthes, the appeal of the houses and museums that constituted spaces of Japanism in the West, the sublimations enabled by Western practices of art or spirituality that drew from Zen Buddhism, or the opportunities created for individual Japanese like Okakura by dynamics termed ...

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Birrell, Anne. "Chinese and Japanese Studies." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0013.

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This chapter examines British work on Chinese and Japanese studies. It explains that for a significant part of the twentieth century British sinologists have been trendsetters worldwide in the field of medieval studies. Most of the British research focused on Tun-huang studies, the Taoist canon, Buddhist temple art, Chinese landscape painting, Sung porcelain and Chinese poetry. This chapter also stresses the need to examine the concepts of gender and egalitarianism with the framework of current trends in medieval sinology.

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"CHAPTER V. Western-Style Painting in the Early Meiji Period and Its Critics." In Tradition and Modernization in Japanese Culture. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869015-010.

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"CHAPTER VI. The Formation of Realism in Meiji Painting: The Artistic Career of Takahashi Yuichi." In Tradition and Modernization in Japanese Culture. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400869015-011.

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Morse, Samuel Crowell. "Pilgrimage for pleasure: time and space in late medieval Japanese painting." In Negotiating Secular and Sacred in Medieval Art. Routledge, 2017. http://dx.doi.org/10.4324/9781315090597-8.

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Conference papers on the topic "Ink painting, Japanese Ink painting, Japanese"

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Yumoto, Hina, Shuhei Kodama, and Tokiichiro Takahashi. "A real-time rendering method based on contour drawing techniques in Japanese ink painting." In International Workshop on Advanced Image Technology, edited by Phooi Yee Lau, Kazuya Hayase, Qian Kemao, et al. SPIE, 2019. http://dx.doi.org/10.1117/12.2521265.

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Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto, and Hiroyuki Hamada. "Skill Level Differences of Urushi Craftspeople in Urushi Products." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.

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There are various traditional crafts in Japan. Japanese modern manufacturing industries have stemmed from the traditional crafts. And there is craftspeople’s wisdom in the traditional crafts technique inherited for years, which is well known as “tacit knowledge”. Especially in Kyoto which has 1200 years history, many traditional crafts have been inherited. In this study, Urushi crafts was focused. Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi

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Shimode, Yutaro, Atsushi Endo, Chieko Narita, et al. "Study on the Degradation Mechanism of the Urushi Products." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-87693.

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Japanese lacquer is called “Urushi” in Japanese. Urushi have meanings such as Urushi tree, its resin and also Urushi crafts. Urushi has been used 9000 years ago in Japan. In this long history, Urushi crafts techniques have been developed, refined and inherited by many Urushi craftspeople. As a result, Urushi affect Japanese culture and aesthetic feeling greatly. Urushi has various characteristics. For example, Urushi coating surface is very smooth and glossy. And more, Urushi is strong to acid and alkali. However it is very weak to ultraviolet rays. As a result, Urushi coating is degraded very

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Oka, Yasuhiro, and Akihiko Goto. "Research of Adhesive Effect Enhanced by Pounding Brush on Second Lining Pounding Procedure for Japanese Scrolls." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-37886.

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Hanging scrolls are a traditional Japanese ornamental art, which allow paintings and calligraphy to be unrolled and hung on a wall or in an alcove for display, and rolled up and stored in a box. Hanging scrolls should hang straight when unrolled, and roll smoothly for proper storage, without damaging the artwork beneath. For this purpose, scrolls are lined with several layers of Japanese paper, and adhered together with a weak, aged paste made from wheat starch, which gives the paper the flexibility required when the scrolls are rolled up for storage. While this old paste facilitates winding a

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