Relevant bibliographies by topics / Painting, chinese – appreciation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting, chinese – appreciation'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Painting, chinese – appreciation"

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Chen, Bingquan. "Classification of Artistic Styles of Chinese Art Paintings Based on the CNN Model." Computational Intelligence and Neuroscience 2022 (August 30, 2022): 1–7. http://dx.doi.org/10.1155/2022/4520913.

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People’s appreciation needs of Chinese paintings have gradually increased. The research on automatic classification and recognition of Chinese painting artistic style and its authors have great practical value. This study presents a Chinese painting classification algorithm with higher classification accuracy and better robustness. Using a convolutional neural network (CNN) to extract the features of Chinese painting, the image features of Chinese painting are extracted by fine-tuning the pretrained VGG-F model. The mutual information theory is introduced into embedded machine learning, so tha
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Feng, Jiarui. "The Spirit of Freehand Brushwork in Chinese Oil Painting." Pacific International Journal 6, no. 1 (2023): 56–60. http://dx.doi.org/10.55014/pij.v6i1.306.

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Freehand Brushwork is a unique artistic language in Chinese painting and calligraphy, celebrated for its ability to express emotion and spirit in the process of artistic creation. This paper aims to explore the spiritual connotation and artistic aesthetics of Freehand Brushwork oil paintings, and to examine the use of traditional Chinese Freehand Brushwork techniques in the expression of Western painting. By reconstructing the language of oil painting expression with traditional Chinese techniques, the paper seeks to investigate the Freehand Brushwork spirit of Chinese oil painting, which is d
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Hanchena, Li, and Rushana Sulaiman @. Abd Rahim. "Appreciation of Imagery Oil Painting in Contemporary Chinese Art through Cultural Context." International Journal of Religion 5, no. 11 (2024): 6696–716. http://dx.doi.org/10.61707/66bqrc83.

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This article is about the appreciation of contemporary Chinese imagery oil paintings in Henan Province, and the researcher has chosen the work "Fishing in the twilight" by Li Mingwei, a painter from Henan Province, China, as the object of discussion. This work is analysed in terms of formalism, as well as being studied in terms of the concepts of culture and imagery. The objective of the research is to identify the subject and analyse the art form in the work “Fishing in the twilight” and to explain the connection between formalism in the art of painting through socio-cultural systems and the
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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 (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 real
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NI, NI. "A Study on the Measures for the Archival Protection of the Intangible Cultural Heritage - "Chinese Painting Pigment Making Technique"." Pacific International Journal 6, no. 1 (2023): 33–36. http://dx.doi.org/10.55014/pij.v6i1.300.

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Chinese painting pigments are essential for creating Chinese paintings and are an integral part of Chinese national culture, as they embody the spirit of Chinese painting. The technique of making Chinese painting pigments was included in the third batch of the National Intangible Cultural Heritage List by the State Council in 2011, emphasizing the significance of Chinese traditional culture. However, as a "living" culture, it is susceptible to change or extinction due to various factors such as inheritance, the social environment, and conservation measures. The art of making Chinese painting p
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Tian, Tian, and Feng Nan. "A Multitask Convolutional Neural Network for Artwork Appreciation." Mobile Information Systems 2022 (April 14, 2022): 1–8. http://dx.doi.org/10.1155/2022/8804711.

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The computational aesthetics of pictorial art is an important part of human artistic creation, and the computational aesthetics of pictorial art images is a computationally computable human aesthetic process using machines, which has important applications and scientific significance in the automated analysis of large-scale paintings and the computational modeling of perception by machines. To this end, this paper proposes a multitask convolutional neural network model for emotion and rating of artworks. (1) An artwork appreciation dataset consisting of fifty Chinese paintings and fifty Wester
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Bian, Jianying, and Xiaoying Shen. "Sentiment Analysis of Chinese Paintings Based on Lightweight Convolutional Neural Network." Wireless Communications and Mobile Computing 2021 (August 9, 2021): 1–8. http://dx.doi.org/10.1155/2021/6097295.

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Chinese painting is one of the representatives of our country’s outstanding traditional culture, and it embodies the long history and intellectual wisdom of the Chinese nation. In the paper, we combine the artistic characteristics of Chinese paintings and use an optimized SqueezeNet model to study the sentiment analysis of Chinese paintings. To make full use of the advantages of lightweight convolutional neural networks, we make two optimizations based on SqueezeNet. On the one hand, expand the model width to obtain more effective Chinese painting sentiment features for classification tasks, t
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Jiaqing, You. "Aesthetic Appreciation of Landscape Oil Painting and Traditional Chinese Landscape Painting." Fine Art Version 2, no. 3 (2020): 61–65. http://dx.doi.org/10.35534/fav.0203011c.

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Kang, Tinghu, and Ping Wang. "Semantic Representation and Emotional Awareness in Chinese Painting Viewing: Is There a Difference Between Landscape Painting and Figure Painting?" Behavioral Sciences 15, no. 6 (2025): 790. https://doi.org/10.3390/bs15060790.

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The artistic expression inherent in Chinese paintings serves as a conduit for the artists’ emotional and cognitive expression. However, current research lacks consensus regarding the distinct psychological mechanisms underlying the appreciation of Chinese painting genres (landscape vs. figure paintings). This study—employing a vocabulary generation task and the Implicit Association Test (IAT) to compare semantic representation and emotional awareness during participants’ viewing these two types of paintings—aims to elucidate potential disparities in aesthetic processing. In Experiment 1, altho
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Wang, Qiangui, and Layla P.Padolina. "Knowledge, Skills, and Appreciation in Oil Painting among Students in Vocational Colleges in China: An Opportunity for Professional Development Training." International Journal of Social Sciences and Public Administration 5, no. 3 (2024): 197–211. https://doi.org/10.62051/ijsspa.v5n3.26.

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This study investigates students' knowledge, skills and appreciation level in oil painting in Chinese vocational colleges and universities. It explores the influencing factors and current situation of oil painting among students in Chinese vocational colleges. In addition, based on the investigation and analysis, opportunities to enhance students' professional development training are proposed. This paper collects, organizes and analyzes data related to oil painting of students in vocational colleges and universities in China by means of questionnaire analysis of 303 students, and the results
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Dissertations / Theses on the topic "Painting, chinese – appreciation"

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Chen, Hsiu-Hsiung. "The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan." FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2131.

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For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations. Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education.
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Fournier, Anik Micheline. "Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.

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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese age
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Huang, Michelle Ying Ling. "The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.

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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and
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Lin, Chia-Ching, and 林佳靜. "The Instructional Design of Multimedia Courseware for Appreciation in Chinese Painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/86947160449386868633.

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碩士<br>淡江大學<br>教育科技學系<br>89<br>Art is the treasury of culture. Painting represents artists'''' perspective of life in their generation. Traditional painting is one of the media to realize the past. Therefore, to appreciate and comprehend traditional painting will lead us to the old values and to the identity of our culture. However, traditional aesthetic theories are hard for modern people to comprehended. To meet the needs of art appreciation materials in Chinese traditional painting, and to transfer old knowledge to a new form, which could be easily learned by people nowadays, motivates me mo
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Books on the topic "Painting, chinese – appreciation"

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Lai, T. C. Understanding Chinese painting. Schocken Books, 1985.

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Li Keran yi shu ji jin hui. Suo yao zhe hun: Li Keran. Shanghai shu hua chu ban she, 2012.

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Zheng, Qi. Gu dai ming hua shang xi. Rong bao zhai chu ban she, 2010.

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Wang, Huimin. Zhongguo jin xian dai hui hua yi shu jian shang. Shanxi ren min mei shu chu ban she, 2011.

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Ruan, Jingjing. Zui mei Zhongguo hua 100 fu. Xianggang zhong he, 2018.

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translator, Liang Xiao, ed. Shui zai kam Zhongguo hua. Guanxi shi fan da xue chu ban she, 2020.

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Ho, Sou Ping. Paintings & calligraphies of Ho Sou Ping: An introduction to art appreciation = He Shaobin shu hua. Candid Creation Pub., 2010.

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Mizuno, Yūji. Jukyō shisō to kaiga: Higashi Ajia no kankaiga. Bensei Shuppan, 2022.

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Chao, Fangfang, and Lin Xiu. Zhongguo mei shu jian shang: The Chinese university arts & design teaching material. Liaoning mei zhu chu ban she, 2007.

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Chen, An. Xun zhao mao tou ying: Look for the owl. Hebei jiao yu chu ban she, 2005.

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Book chapters on the topic "Painting, chinese – appreciation"

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Tian, Di, and Ji Xiao Zhang. "The Influence of the Concept of Virtual-Actual Coexistence in Taoist Aesthetics on Traditional Chinese Painting and Landscape Art." In Proceedings of the 2022 International Conference on Science Education and Art Appreciation (SEAA 2022). Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-05-3_32.

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Chen, Yushun, and Qian Zhao. "Evaluation Method of Online Teaching Effect of Chinese Painting Art Appreciation Course in Colleges and Universities Based on Machine Learning Model." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51468-5_2.

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Liu, Hong, Jiawei Liu, and Han Qin. "Research on the Appreciation and Application of Traditional Chinese Calligraphy and Painting in the Digital Context: The Yijie APP and Derivative Mystery Box Design." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2025. https://doi.org/10.3233/faia250344.

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Traditional Chinese calligraphy and painting have a long history and feature a unique artistic style. As Chinese people grow more confident in traditional Chinese culture, younger generations in this country are becoming increasingly interested in calligraphy and painting and relevant knowledge. This study conducted field research to analyze and investigate the distribution of young people’s interests, the platforms they use to communicate, and the characteristics of this group of people, with a focus placed on their interests in traditional calligraphy and painting. The storyboard method from
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Zhang, Yifu. "Flowing with Tea: An Interactive System Based on Human-Computer Interaction Technology." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2025. https://doi.org/10.3233/faia250159.

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Ancient Chinese tomb murals are a unique form of painting with significant historical, artistic, and scientific value. The preservation and display of these frescoes require highly specialized environments; in some cases, the original murals cannot be directly viewed by the public. The cultural heritage represented by these murals faces challenges regarding knowledge dissemination and audience engagement. In this paper, we design and develop a digital system Flowing with Tea that leverages motion capture and multimodal interaction to create an immersive environment, the audience can engage in
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Shuo, Hua. "Transcultural Interpretations of Twentieth-Century Chinese Art: Exhibiting Wu Guanzhong in Hong Kong." In Exhibiting Chinese Art in Asia. Amsterdam University Press, 2025. https://doi.org/10.5117/9789048558704_ch08.

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This chapter explores how art intermediaries have played a role in exhibiting the modern Chinese painter Wu Guanzhong (1919–2010) in late twentieth-century Hong Kong. From the 1940s through the 1970s, a paradigm shift in art history emerged towards transcultural exchange in the Chinese art world. This chapter argues that scholars, curators, artists, collectors, and dealers of Hong Kong have fostered the understanding and appreciation of Wu’s paintings from a transcultural perspective. Through both public and private exhibitions, and news media in Hong Kong and beyond, I argue that they conside
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Jianping, Gao. "The Aesthetics of Nature and the Environment." In Comparative Everyday Aesthetics. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723367_ch04.

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The study of environmental and ecological aesthetics in China only began in the 21st century. But environmental aesthetics has a long history including the design of Chinese gardens and the practice and the evaluation of ancient Chinese landscape paintings. Comparing the aesthetic discourses on nature in China and in Europe, this essay lists Western discourses on the beauty of creation, of the sublime, and of the picturesque. Chinese discourses of the beauty of the nature have undergone a discursive development, which has formed a transformation of the discipline of aesthetics. From the apprec
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Humphrey, Caroline. "Chiefly and Shamanist Landscapes in Mongolia." In The Anthropology of Landscape. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198278801.003.0007.

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Abstract The Western idea of ‘the landscape’ arises from objectification and is closely related to practices such as painting, map-making, song, and poetry. The secular, appreciative gaze is certainly not unknown among the Mongols. But it was historically intermittent and was inspired by non-Mongol kinds of representation, such as Manchu maps, Chinese and Russian landscape painting, or the ‘genre’ scenes in Tibetan religious paintings. In Mongolian culture itself landscapes are more in the nature of practices designed to have results: it is not contemplation of the land (gazar) that is importa
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Conference papers on the topic "Painting, chinese – appreciation"

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Yu, Dehua. "MR and Sensors Application in the Folding Experience Exhibition of Chinese Traditional Furniture." In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001108.

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The study focuses on the digital and mixed interaction of Chinese traditional furniture in Chinese ancient painting, in which Chinese traditional furniture would be displayed in its ancient real using environment. The virtual character in the painting can interact and communicate with people with the help of MR, sensor and motion capture technology. A game process similar to removing the blind box will be developed to guide people to the fix and unfix process of folding table, fix up for tea tasting, painting, calligraphy and antique appreciation, from which people can know more about the diff
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Long, Dingning, and Rongrong Chen. "Individual Visual Working Memory Capacity Affects Aesthetic Appreciation of Chinese Ink Painting." In VINCI 2023: The 16th International Symposium on Visual Information Communication and Interaction. ACM, 2023. http://dx.doi.org/10.1145/3615522.3615532.

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Jin, Xin. "Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a t
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Kong, Ling. "The Value of Traditional Chinese Painting Appreciation Course of College and University in the Context of Visual Culture." In 2018 Symposium on Health and Education (SOHE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/sohe-18.2018.20.

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