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

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

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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陳惠琴. "The aesthetic appreciation and guidance of Chinese painting theories." JOURNAL OF CHINESE STUDIES ll, no. 21 (2007): 29–40. http://dx.doi.org/10.26585/chlab.2007..21.003.

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Yaxue, Wang, and Wang Yanli. "Learning to Listen - An Appreciation of Zhao Yu's Paintings from the Perspective of Greta Gaard's Critical Ecofeminism." International Journal of Interdisciplinary Research and Innovations 13, no. 1 (2025): 91–96. https://doi.org/10.5281/zenodo.15101290.

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<strong>Abstract:</strong> Zhao Yu is one of the Chinese contemporary painters of the Xin’an School of Painting, which is a school of painting that is mainly inspired by the landscapes of Mount Huangshan, Baiyue, and other Huizhou mountains. His paintings are mostly characterized by natural imagery such as landscapes, which often convey the ecological meaning of harmony between man and nature. Greta Gaard is a contemporary American ecofeminist writer whose ecofeminist research focuses on the intersection of environmental justice, social justice, and species justice. Analyzing Zhao Yu&rsq

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LIU, YUAN, Tajul Shuhaizam Bin Said, and Harozila Ramli. "Exploring Chinese Flower-And-Bird Painting's Impact On Porcelain Design: Aesthetic Philosophy And Creative Evolution Review." International Journal of Applied and Creative Arts 8, no. 1 (2025): 164–75. https://doi.org/10.33736/ijaca.8809.2025.

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This comprehensive review explores the synergy between the aesthetic philosophy and creative inspirations found in Chinese Flower-and-Bird Painting, examining its role as a pivotal subject matter in shaping the artistic evolution of Porcelain Surface Design. Grounded in the profound cultural appreciation for the natural world, artists employing this medium become conduits for conveying their innermost thoughts, encapsulating the essence of the Chinese aesthetic value philosophy. Identifying a critical gap in understanding, the study introduces a novel variable emphasizing the creative inspirat

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Zhao, Shichao, David Kirk, Simon Bowen, and Peter Wright. "Enhancing the Appreciation of Traditional Chinese Painting Using Interactive Technology." Multimodal Technologies and Interaction 2, no. 2 (2018): 16. http://dx.doi.org/10.3390/mti2020016.

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Turner, Matthew. "Classical Chinese Landscape Painting and the Aesthetic Appreciation of Nature." Journal of Aesthetic Education 43, no. 1 (2009): 106–21. http://dx.doi.org/10.1353/jae.0.0033.

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Turner, Matthew. "Classical Chinese Landscape Painting and the Aesthetic Appreciation of Nature." Journal of Aesthetic Education 43, no. 1 (2009): 106–21. http://dx.doi.org/10.2307/40263708.

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

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

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Ляхович, Е. В. "Compositional Organisation in 17th- and 18th-Century Chinese Porcelain Paintings: Specifics and Principles." Terra artis. Art and Design, no. 2 (July 1, 2023): 37–51. http://dx.doi.org/10.53273/27128768_2023_2_37.

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Росписи китайского фарфора в своей организации берут начало в композиционных принципах национальной живописи гохуа, имеющих древнюю историю и установленную систему, связаны с тенденциями и веяниями, характерными для живописного искусства той или иной исторической эпохи, и в то же время проявляют зависимость от моделей и форм собственно изделий из фарфора. Не только ориентация росписей на живописное искусство, но в первую очередь особенности материала и технологической специфики производства регламентируют процесс создания росписей фарфоровых предметов и оказывают определенное влияние на композ

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Xing, Xinyue. "The Generation and Transfer of the “Sweet” Category in Calligraphy Appreciation." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 13–17. http://dx.doi.org/10.54097/n336ft73.

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Ancient Chinese calligraphy theories often “discuss calligraphy by taste”. “Taste” is an essential category of classical Chinese aesthetics, and is a concrete expression of the spirit of Chinese art. In contemporary calligraphic critical discourse, outside of the audiovisual norms, the Chinese calligraphic tradition of “discussing calligraphy by taste” is undoubtedly an ideological resource that cannot be ignored. “Gan”. In English is called “pleasant” and was originally one of the five flavors, and in the Eastern Han Dynasty, it slowly developed the meaning of “Tian” (sweet) to describe the t

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

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

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LIU, BAO. "Design of Immersive Scenes in Chinese Ink Painting: A Five-Sensory Experience Approach." Культура и искусство, no. 7 (July 2025): 12–31. https://doi.org/10.7256/2454-0625.2025.7.75017.

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This research explores fusing traditional Chinese ink painting with digital immersive technologies (VR/AR, holography, touch sensors), focusing on creating multi-sensory experiences. It examines the unique aesthetic language and philosophical foundations of ink painting, particularly the "unity of man and nature," essence over realism, and fluid spatio-temporal composition. The study analyzes how effectively these technologies transmit ink painting's artistic language, using practical cases like the "Dream on the River" digital pavilion. A core contribution is developing a "synergy of the five

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Wang, Tianfeng. "The Positioning and Development of Reproductions of Ancient Chinese Calligraphy and Painting in the Cultural Market." Communications in Humanities Research 26, no. 1 (2024): 227–35. http://dx.doi.org/10.54254/2753-7064/26/20232071.

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The materials used in ancient calligraphy and painting, such as silk and paper, are susceptible to damage and aging. The practice of creating copies through meticulous imitation has been employed by ancient individuals to extend the lifespan of precious cultural artifacts. Reproductions continue to serve as an effective means of dissemination in museums, imparting functions such as appreciation and educational value to society. The replication of cultural artifacts extends beyond calligraphy and painting to include items like bronze ware, lacquerware, and ceramics, giving rise to activities su

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Fan, Xiaobing. "Cross-Cultural Art from the Perspective of Aesthetic Education: Cultural Exchange in Chinese Export Paintings (18th - 19th Century)." Journal of Education and Culture Studies 8, no. 2 (2024): p128. http://dx.doi.org/10.22158/jecs.v8n2p128.

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During the late Ming to early Qing dynasties, the great demand for Chinese export porcelain laid the foundation for the development of export paintings. From the 18th to the 19th century, a unique form of cultural hybridity emerged in the coastal area of Canton: export paintings. This paper attempts to explore the interaction, conflict, and fusion with foreign cultures within the frameworks of Homi Bhabha's "third space" theory and Mary Louise Pratt's concept of the "contact zone." It examines how this cross-cultural art form manifests hybridity in materials, painting techniques, and themes.Fr

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Lin, Tao, Quanhao Gan, Fuxi Ouyang, et al. "AromaCanvas: A wearable olfactory display for Chinese painting appreciation and learning in virtual reality." Computers & Education: X Reality 7 (December 2025): 100109. https://doi.org/10.1016/j.cexr.2025.100109.

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Wong, Kin Yuen. "The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains." Deleuze Studies 7, no. 3 (2013): 360–76. http://dx.doi.org/10.3366/dls.2013.0117.

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By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the ‘mountain-water’ genre would consider moun

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Li, Huizi. "On the Leadership Training of Chinese music teachers -- Taking Teacher A as an example." BCP Social Sciences & Humanities 18 (June 30, 2022): 310–18. http://dx.doi.org/10.54691/bcpssh.v18i.1127.

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With a unique system of symbols, the music art is a special form of art. The symbolic system based on the musical structure cannot find its prototype in the real life of the human. It is different from the symbolic system of the literature and poetry with the established system of language words as well as that of the plastic art with the concrete medium in the real life. Hence, the room for imagination, experience and comprehension created by the appreciation of music works is much broader and freer than that of the appreciation of literature, poetry and painting. Although it can not provide

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Ullah, Ishfaq, and Shahab Khan. "Calligraphy and painting scraps of old and new Asian papers, their simulation, performance, sources, and characteristics." Journal of Polymer Science and Engineering 6, no. 1 (2024): 3260. http://dx.doi.org/10.24294/jpse.v6i1.3260.

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This article explores the importance of paper in traditional Chinese calligraphy and painting and investigates the performance differences between a new paper and an old paper. The characteristics of paper, such as texture, absorbency, color, and durability, significantly impact the artwork’s quality and expression. The development of new papers has been driven by the desire to improve characteristics and meet the evolving needs of artists. This research compares a new paper, made using alternative materials and technology, with an old paper, combining a simulation sample and authentic calligr

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Yu, Jingyi, Yuanhang Zhang, Yaling Zhao, and Jiaying Zeng. "A probe into the Visual elements in female illustrations from the Perspective of Feminism." Highlights in Art and Design 2, no. 2 (2023): 83–88. http://dx.doi.org/10.54097/hiaad.v2i2.7031.

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With the rise of the feminist movement in the 1970s, the concept of feminism gradually entered the public's field of vision. Its theory revolves around with the development of society, the wave of feminism continues to deepen and affect all aspects of human life. The improvement of productivity and the change of production relations urge women to re-recognize themselves, and the improvement of productivity and the change of production relations urge women to re-recognize themselves, and women's self-worth and social status are more and more affirmed. The female image, as one of the common subj

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Xiaozhong, Teng. "The occurrence and development of traditional Chinese painting of the regional Xin Jinling school and its prominent representatives." Bulletin of Lviv National Academy of Arts, no. 51 (October 10, 2023): 134–45. http://dx.doi.org/10.37131/2524-0943-2023-51-13.

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This article explores the emergence and development of the Xin Jinling school of traditional Chinese painting, focusing on its notable representatives. The main objective of this study is to investigate the school's formation, development, and the artistic features of works by renowned artists such as Fu Baoshi, Qian Songyan, Ya Ming, Wei Zixi, and Song Wenzhi. The scientific novelty of this research resides in determining the role and significance of the regional Xin Jinling school in Chinese art history and assessing its influence on contemporary Chinese art. Employing research methods such

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Bi, Jiancheng. "Symbiotic nurture between literature, culture and nature in Gary Snyder’s Meta-Picto-Poetry of landscape." Trans/Form/Ação 46, no. 4 (2023): 163–82. http://dx.doi.org/10.1590/0101-3173.2023.v46n4.p163.

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Abstract: This article holds the opinion that some meta-picto-poetry of landscape, composed by American poet Gary Snyder, takes Chinese landscape painting as its subject matter with the characteristics of ancient Chinese poetry, shimmering with incomparable artistic charm and cultural substance. Poetry of this kind is a perfect combination of eastern and western elements, integrating the cultures, thoughts and arts of both sides. The appreciation of this poetry creates a complex experience with a hybrid of artistic forms and aesthetic spaces. Gary Snyder is not only an eco-poet, but also a sty

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

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

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High, Anna Jane. "Grassroots NGO Regulation and China's Local Legal Culture." Socio-Legal Review 09, no. 2 (2013): 1. http://dx.doi.org/10.55496/fhsp2863.

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Law-lauding ideology and rhetoric has been increasingly evident in China since the end of the Cultural Revolution. In conjunction nAth decades of rapid and prolfc legal institution-building, this has provded rich data for scholarship on the trajectory of China s legal system, and the nature of rule and order in modern Chinese society. Yet a solely law-centric approach to state regulation is not aposite to painting a complete picture o how order is maintained in the distinctly non-legal Chinese clture. Drang onfleldwork investigating non-state Chinese ophanage I argue that the surdval and proli

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Huang, Weiwei, Qiong Luo, and Lingling Chen. "A Brief Analysis of the Role of Architectural Aesthetics in Chinese Architectural Education from the Perspective of Mental Health." Occupation and Professional Education 1, no. 2 (2024): 77–84. http://dx.doi.org/10.62381/o242214.

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With the progress of the times, Chinese education must enable students to understand that architecture is not only a tool for life, but also an artistic creation. Architectural aesthetics also involves historical, cultural, and social factors, as well as psychological health. To cultivate architects with good artistic cultivation, it is necessary to increase education in art, aesthetics, psychology, and humanities such as traditional architectural theory, Chinese traditional philosophy, Chinese and Western architectural aesthetics, aesthetic principles, Chinese and foreign art history, mental

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Zhao, Shichao. "An Analysis of Interactive Technology’s Effect on the Appreciation of Traditional Chinese Painting: A Review of Case Studies." International Journal of New Media, Technology and the Arts 14, no. 3 (2019): 1–12. http://dx.doi.org/10.18848/2326-9987/cgp/v14i03/1-12.

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

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

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

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

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Zhao, Haiting. "Analysis of Painting Elements of Tea Culture and Art Works Based on Image Perception." Security and Communication Networks 2022 (July 12, 2022): 1–9. http://dx.doi.org/10.1155/2022/2439464.

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The art works take tea as the theme of painting elements, and depict the content of Chinese traditional culture by showing the connotation of tea culture painting elements. For example, Wen Zhiming, a painter and calligrapher in Ming Dynasty, is best at painting landscape figures. He often uses tea as the theme in his art works, adding the elegant, natural, and simple painting elements of tea into his works, and has created many famous art works that are spread around the world. In recent years, with the deepening of the research on image processing technology, image perception technology has

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Han, Fei. "A Brief Analysis of Blank Space in Ancient Chinese Hand-scroll Paintings from the Perspective of Reception Aesthetics." Journal of Social Science and Humanities 6, no. 12 (2024): 135–38. https://doi.org/10.53469/jssh.2024.6(12).23.

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Reception aesthetics emphasizes the comprehensive role of multiple functions of works. For ancient Chinese hand-scroll paintings, blank space in the picture also reflects such an aesthetic principle. Blank space not only has a specific aesthetic image in the picture, but also is a summoning structure when appreciating the picture. This structure provides the viewer with the possibility of imagination and secondary creation. For this reason, ancient hand-scroll paintings not only need the beauty of blank space in the construction of the body of the painting, but also have similar structural fun

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Pawlik, Karolina. "What a Difference a Brick Makes? Transitions of Memory and Shanghai Shikumen Walls." Śląskie Studia Polonistyczne 18, no. 2 (2021): 1–12. http://dx.doi.org/10.31261/ssp.2021.18.01.

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This essay is intended as an appreciation of an overlooked element of Chinese material culture: discarded blue bricks from demolished shikumen houses in Shanghai. It contemplates the concept and materiality of a wall from a unique perspective, combining insights from Chinese architecture history and scholarly tradition of appreciating stones. Combining scientific and poetic approaches, the author argues that these bricks can be contemplated analogically to ink landscape paintings and famous Dali dreamstones. The author uses these clay objects as a starting point to reflect on the rapid transfo

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Temme, J. Elbert V., and Carline A. C. Gieszen. "Contrast Effects and Social Desirability in Art Appreciation." Empirical Studies of the Arts 13, no. 2 (1995): 171–81. http://dx.doi.org/10.2190/7eha-jdc4-uvbj-h1rv.

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In a number of experiments the effects of presenting different categories of art in contrasting order were explored. In the first experiment traditional and abstract paintings and Chinese calligraphy were used as stimuli, each type was contrasted with the other two, which led to shifts in appreciation as well as in perceived complexity. Two more experiments were performed. In one of these experiments fragments of traditional and modern classical music were presented. The same effect was found as when traditional and abstract paintings were contrasted: enhancement of the appreciation of traditi

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Yi, Zhenzhen, Heung Kou, and Sukyoung Cho. "An Analysis of the Stress Relief Effect of Appreciation of Oriental Paintings on Chinese University Students’ Academic Stress and Family Expectations." Journal of Humanities and Social sciences 21 14, no. 1 (2023): 3951–66. http://dx.doi.org/10.22143/hss21.14.1.278.

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Gao, Yan, and Xiaobing Li. "Evaluating the Effects of Integrating Music and Painting Aesthetics in Children’s Education: A Quantitative Study." SHS Web of Conferences 187 (2024): 01016. http://dx.doi.org/10.1051/shsconf/202418701016.

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The scope of aesthetics is often bound by the limits of sensory perception. In appreciating music and painting, information is typically processed through distinct perceptual channels. However, at the cerebral cortex and nervous system level, these modes of perception can interact and integrate, influenced by collected audiovisual information, thereby enriching the aesthetic experience and improving aesthetic efficiency. The domain of audio-visual interactive aesthetics holds significant potential in aesthetic education, yet current research in this area has made limited substantial advancemen

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Yuan, Liu, Tajul Shuhaizam Bin Said, and Harozila Ramli. "Exploring the Classification of Birds in Ceramic Flower-And-Bird Paintings and Aesthetic Value Philosophy." International Journal of Research and Innovation in Social Science IX, no. I (2025): 128–33. https://doi.org/10.47772/ijriss.2025.9010013.

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The porcelain surface designs in Chinese flower-and-bird paintings reflect the deep cultural appreciation for flowers and the natural beauty of birds. Birds are not only depicted as part of nature but also celebrated for their aesthetic and symbolic value. However, there is a significant gap in understanding the classification of the bird motifs in ceramic paintings and their aesthetic value in relation to philosophical variables. This study systematically reviews research papers and electronic books from three major databases: Web of Science, Scopus, and CNKI. Additionally, fieldwork was cond

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Kim-Marandet, Meejung. "Original Mountings of Paintings Created for Connoisseurs in Joseon Korea: Case Study of Works by Yi Jeong (1554–1626)." Journal of Conservation Science 40, no. 5 (2024): 698–707. https://doi.org/10.12654/jcs.2024.40.5.01.

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This study examines the rarity of surviving original mounts of traditional Korean paintings and the challenges posed by remounting such works in Chinese or Japanese styles, which often detract from the authentic form of the works. This paper compares two paintings of Yi Jeong (1554–1626) to assess the use and significance of colophons and their role in enhancing scholarly appreciation. The investigation reveals how the refined materials and style used in these mounts reflect the aristocratic origins of Yi Jeong and the high regard his art received during the Joseon dynasty. Furthermore, I will

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Rahayu, Nisa Restu, and Martien Roos Nagara. "POTENSI DAYA TARIK GALERI SOPHILIA MEMAJANG KARYA SENI BERGAYA EROPA DAN CINA KUNO." ATRAT: Jurnal Seni Rupa 11, no. 2 (2023): 184–93. http://dx.doi.org/10.26742/atrat.v11i2.3186.

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Generally, galleries in Indonesia exhibit local art in traditional to contemporary style, but there is one gallery, the Sophilia Gallery, which is different from other galleries. The gallery displays almost all the works of art in European and Chinese styles and the gallery is permanent. This is an attraction for the general public, of course. The purpose of the discussion about what is the attraction of the gallery is as a means of introducing society in the world of art in particular the art of European and Chinese style. Not only do you know or see the paintings, but you can also know the h

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Kroll, Paul W. "Li Bo and the zan." T’oung Pao 108, no. 1-2 (2022): 98–125. http://dx.doi.org/10.1163/15685322-10801007.

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Abstract One of the more overlooked forms of Chinese poetry is that called by the word zan 讚 or “appreciation.” Here we examine the pre-Tang use of the term in its application both to a summary prose or verse statement in historical texts as well as to a form of verse often regarded as akin to the song 頌 or “laud” but especially associated with illustrations or paintings. Discussion then proceeds to a focus on and analysis of Li Bo’s 李白 seventeen extant zan poems, nearly all of which are about or were inscribed on paintings. These poems can be divided among three categories: those on portrayed

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Zhou, Tiancheng. "The Narrative Techniques in Chinese Buddhism Mural The Deer King Jataka." Communications in Humanities Research 2, no. 1 (2023): 598–603. http://dx.doi.org/10.54254/2753-7064/2/2022635.

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This paper researches the art techniques used in a Chinese mural The Deer King Jataka to explore the narrative elements and methods in this work. The paper focuses on clarifying painting techniques of the mural especially through the layout, composition, color, and cultural style. After that, the paper discusses how such techniques influence viewers understandings of the mural, and followed by the explanation of the content. By clarifying and then comparing the techniques to their practices in the work, it is easier for readers to understand the methods, and link the information mentioned to t

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Chutataweesawas, Sirikoy, Tippanet Yaemmaneechai, Sumate Tanchareon, and Rattanachada Tiawchamroen. "Enhancing Artistic Creation through Participatory Development Processes in Yaowarat Chinese Community." Asian Creative Architecture, Art and Design 38, no. 1 (2025): 1–21. https://doi.org/10.55003/acaad.2025.275716.

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The research on Enhancing Artistic Creation through Participatory Development Processes in Yaowarat Chinese Community has the following objectives: 1) To design a creative process for community art that involves the participation of the Yaowarat community; 2) To create artworks that result from the active participation of the community; and 3) To evaluate the art exhibition and assess the suitability of products developed from the artworks. The research is divided into three phases: Phase 1 involves a literature review, interviews with experts and community members about Yaowarat's cultural ca

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Yang, Jinhua, Tianyue Niu, and Huali Long. "Judging the Reasons for Generating Artificial Intelligence Paintings in Human-Computer Interaction: Topic Analysis Based on Natural Language Processing." Applied and Computational Engineering 138, no. 1 (2025): 161–66. https://doi.org/10.54254/2755-2721/2025.21387.

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Studying the interaction between people and generative AI art has become a popular direction in interdisciplinary studies: this study explores the key mechanisms in people's cognitive responses when identifying generative AI paintings through natural language processing (NLP) techniques. By analyzing the textual feedback of 17 Chinese college students with art appreciation backgrounds, we adopt topic modeling and sentiment analysis to explain their perceptual criteria and emotional responses. This study reveals two key contributions: first, it finds the "paradoxical authenticity" of AI-generat

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Lufkin, Felicity. "Mon Van Genechten (1903–1974), Flemish Missionary and Chinese Painter: Inculturation of Christian Art in China. By Lorry Swerts and Koen De Ridder. [Leuven: Leuven University Press and the Ferdinand Verbiest Foundation, 2002. 188 pp. €16.15. ISBN 90-5867-222-0.]." China Quarterly 176 (December 2003): 1118–19. http://dx.doi.org/10.1017/s0305741003410631.

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This books offers an appreciation of the life and work of Father Mon Van Genechten, a Belgian artist-priest who was a missionary in China from 1930 to 1946. It presents Father Van Genechten as an open-hearted and creative man of faith, and also makes the rather dramatic claim that Van Genechten, whose art combined Chinese styles with Christian iconography, should be seen as a Chinese artist.The book contains two essays: one by De Ridder, on the art-historical context of Van Genechten's work; and the other by Swerts, giving fuller biographical detail. It also includes a brief memoir of Van Gene

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