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Journal articles on the topic 'Western Painting'

Author: Grafiati

Published: 5 June 2025

Last updated: 15 July 2025

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1

Jin, Lian, and Kexin Wang. "A Study of Chu Teh-Chun’s Abstract Paintings from the Perspective of East-West Integration." Region - Educational Research and Reviews 6, no. 4 (2024): 122. http://dx.doi.org/10.32629/rerr.v6i4.2079.

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Chu Teh-chun is an outstanding abstract artist of the twentieth century and the first member of the Académie française of Chinese descent since the establishment of the academy. His abstract paintings are full of brilliant colors and beautiful melodies, and are filled with a poetic aura, and his works show a kind of oriental imagery that transcends the objective world, which is regarded as a "perfect fusion of the subtlety of oriental art with the richness of western painting". He has been described as "a perfect blend of the subtlety of oriental art and the richness of western painting". He t

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2

Lin, Shuxin. "A Comparative Study of Yuanti Flower-and-bird Paintings and Western Classical Still-life Paintings: A Formal and Thematic Analysis of Li Song’s “Basket of Flowers” and Caravaggio’s “Basket of Fruit”." World Journal of Education and Humanities 6, no. 4 (2024): p95. http://dx.doi.org/10.22158/wjeh.v6n4p95.

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In the context of globalization, cultural exchange between the East and West is becoming increasingly frequent, and painting serves as a unique perspective for exploring cultural differences. In particular, flower-and-bird paintings and still-life paintings, as two major traditional painting genres, share similarities in selecting the subject and pursuing realism while maintaining their artistic characteristics, which both act as effective research models for cross-cultural comparative studies. This paper selects Li Song’s “Basket of Flowers”, a representative of Yuanti flower-and-bird paintin

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3

Yan, Zhiqi, Zidi Guo, and Miao Guo. "On the Combination of Oil Painting Techniques and Modern Illustration Art." Highlights in Art and Design 4, no. 1 (2023): 118–21. http://dx.doi.org/10.54097/hiaad.v4i1.12015.

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Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color the

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4

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 (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 o

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5

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 (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 to

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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 (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

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Li, Lingjing, and Yu Tian. "Aesthetic Preference and Time: Preferred Painting Dilates Time Perception." SAGE Open 10, no. 3 (2020): 215824402093990. http://dx.doi.org/10.1177/2158244020939905.

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In the domain of aesthetic preference, previous studies focused primarily on exploring the factors that influence aesthetic preference while neglecting to investigate whether aesthetic preference affects other psychological activities. This study sought to expand our understanding of time perception by examining whether aesthetic preference in viewing paintings influenced its perceived duration. Participants who preferred Chinese paintings ( n = 20) and participants who preferred western paintings ( n = 21) were recruited to complete a temporal reproduction task that measured their time percep

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8

Yang, Hongyi, and Han Yang. "Evolution of Entropy in Art Painting Based on the Wavelet Transform." Entropy 23, no. 7 (2021): 883. http://dx.doi.org/10.3390/e23070883.

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Quantitative studies of art and aesthetics are representative of interdisciplinary research. In this work, we conducted a large-scale quantitative study of 36,000 paintings covering both Eastern and Western paintings. The information entropy and wavelet entropy of the images were calculated based on their complexity and energy. Wavelet energy entropy is a feature that can characterize rich information in images, and this is the first study to introduce this feature into aesthetic analysis of art paintings. This study shows that the process of entropy change coincides with the development proce

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9

Xu, Yixuan. "Color Expression and Mood Creation in Imagery Oil Painting." Journal of Contemporary Educational Research 8, no. 1 (2024): 7–12. http://dx.doi.org/10.26689/jcer.v8i1.5934.

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Oil painting is a traditional Western painting form. With the introduction of China and the influence of China’s traditional painting and aesthetics, the painting style became more distinctive, expanding a new development direction of oil painting, and thus imagery oil painting came into being. Color, as the most important element in imagery oil painting, mainly plays the role of mood creation and emotional expression. Many creators are good at injecting their thoughts and emotions into the paintings through color matching, so as to enhance the artistic expression of the paintings. This paper

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10

Chen, Changhuan. "Research on the Influence of Western Renaissance Thought on Modern Painting Art." Journal of Education, Humanities and Social Sciences 15 (June 13, 2023): 202–6. http://dx.doi.org/10.54097/ehss.v15i.9257.

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The comparison between poetry and painting in the Renaissance has ancient origins, which was directly inspired by some ancient scholars' comments on the relationship between poetry and painting. People admire outstanding works of art, but they think that artistic creation is contemptible physical labor. Therefore, even the best artists are just excellent craftsmen. In the Italian Renaissance, a large number of outstanding painters emerged, and they made great achievements in art, leaving behind a painting aesthetic theory that benefited the whole western painting field. In this paper, the auth

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Lyu, Chao, and Tatiana Alexandrovna Kemerova. "The influence of Western ideas of women's Enlightenment on women's painting in the Republic of China." Культура и искусство, no. 5 (May 2022): 60–73. http://dx.doi.org/10.7256/2454-0625.2022.5.37747.

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During the period of the Republic of China, China was in the complex context of the fusion of Eastern and Western cultures. Under the influence of Western women's educational thought, the artists of the Republic of China entered the modern context of the Republic of China as participants. In this article, the object of research is the "new women's painting" from 1912 to 1949. The study includes an analysis of painting practices and artistic concepts of new women artists in the Republic of China. Under the influence of internal and external factors, their participation in the modern transformat

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12

Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.

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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the

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Meng, Weiwei. "A Functional Study of Chinese and Western Painting in the 13th Century." Literature Language and Cultural Studies 2, no. 1 (2025): 1. https://doi.org/10.63313/llcs.9054.

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In the 13th century, China and the West were in different historical periods. The destruction of the Southern Song Dynasty by the Yuan Dynasty in 1279 caused unprecedented difficulties and torture to the intellectuals of the Yuan Dynasty. Therefore, the literati paintings of the Yuan Dynasty mostly conveyed the pain of losing the country and their fate through the use of pen and ink. The rulers also used painting to publicize their power, and more literati hermits made a living by painting. In the West, the Middle Ages were the era of religious rule, and the holy portrait was the representativ

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Wulandari, Anak Agung Ayu. "The Role of Pitamaha in Balinese Artistic Transformation: A Comparison Between Kamasan and Gusti Nyoman Lempad Artistic Style." Humaniora 7, no. 4 (2016): 463. http://dx.doi.org/10.21512/humaniora.v7i4.3599.

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The Balinese artistic traditions of wayang style paintings that were known as Kamasan lasts for generations occurred some changes. Following the collapse of Balinese traditional court, the arrival of western artists and scholars, Pita Maha association was established to prevent the excess of commercialism to Balinese arts and crafts. A new generation of artists started to emerge, not only they adopted western painting techniques taught by their western ‘gurus’, but they also showed freedom of self-expressions in their works; one considered as a genius was Gusti Nyoman Lempad. The aim of this r

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15

Zhou, Yuhang. "Silent Water and Deep Flow, Resounding Gold and Stone." Highlights in Art and Design 7, no. 2 (2024): 20–23. http://dx.doi.org/10.54097/cfj7t346.

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Since Lang Shining came to China in the middle of the eighteenth century, Western watercolor painting has been introduced to China for about 270 years, and it has been a century since Western watercolor painting became popular in Shanghai at the end of the nineteenth century. Combining the taste of traditional Chinese art with the thoughts of watercolor artists of the new era, Chinese watercolor paintings present a bright and dazzling Chinese spirit, of which Liu Shouxiang's watercolor works are a representative.

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16

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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17

Lin, Zhen. "The Formalism Issue of Catholic Iconography in China." Communications in Humanities Research 8, no. 1 (2023): 131–36. http://dx.doi.org/10.54254/2753-7064/8/20230985.

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During the Republican period in China, the Catholic Church gradually developed and grew in China and made attempts to localize itself in different fields, one of which was the promotion of localized Catholic icon painting in the field of art. Due to the problem of divergence between Chinese and Western cultures and styles, formalistic expressions of these paintings emerged. As a representative practice of Catholic painting in China, Beiping Fu Jen Catholic University, with Chinese painting style as its main focus and Western style as its auxiliary, consciously innovated the expression of Catho

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18

G, G. "A Study on China’s Lingnan School of Painting: Centered on its Revolutionary and Eclectic Natures." Global Knowledge and Convergence Association 6, no. 2 (2023): 93–132. http://dx.doi.org/10.47636/gkca.2023.6.2.93.

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In the first half of the 20th century, the Lingnan School of Painting was active in the Chinese painting world for more than 40 years. Its founders, Gao Jianfu, Gao Qifeng, and Chen Shuren, studied in Japan in their early years and followed Dr. Sun Yat-sen in his “political revolution”. After returning to China, they took on a wide range of disciples through art education, thus forming a school of their own. They applied their revolutionary ideas to the field of art and launched an “artistic revolution” movement. By absorbing the modeling techniques of Western and Japanese paintings, they carr

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19

Holmwood, Sigrid. "The peasant paints: Minor painting and peasant cosmopolitics." Journal of Contemporary Painting 8, no. 1 (2023): 73–96. http://dx.doi.org/10.1386/jcp_00040_1.

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This article discusses the idea of ‘peasant-painting’ as minor painting, playing with the contrast between ‘paintings-of-peasants’ and ‘paintings-by-peasants’. I argue that the appearance of the figure of the peasant as a genre of Western European painting is inextricably linked with the rise of capitalism and the construction of the modern individualized self, separate from nature. Through ‘naturalistic’ images of peasants in landscapes this in turn enabled the bourgeois gaze to naturalize unequal capitalistic relations. I shall then contrast these paintings-of-peasants, with paintings-by-pea

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20

Pedram, Behnam, Mahdi Hosseini, and Gholam Reza Rahmani. "The Importance of Painting in Qajar Dynasty Based on the Sociology Point of View." Journal of History Culture and Art Research 6, no. 3 (2017): 985. http://dx.doi.org/10.7596/taksad.v6i3.967.

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<p>The paintings of Qajar dynasty are the most thriving and important artworks in Qajar dynasty. Studying Qajar painting helps importantly to identify and study the art and culture of Qajar dynasty. Existence of lots of paintings, diversity of designs, color and subject, combining tradition and modernism were factors for selecting this dynasty to investigate. As the painting is the visual history of each era, sociology studying of painting in this dynasty will make one to understand common culture and thinking of people in that society. Amount of influence of western culture especially d

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Dong, Qingtao. "The Classification of Painting Art Styles in Art Teaching Based on Machine Learning from the Perspective of Affective Semantic Analysis." Archives des Sciences 74, s1 (2024): 103–8. http://dx.doi.org/10.62227/as/74s115.

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To address the problems of accuracy and efficiency in the classification algorithm of painting art in art teaching, we propose a machine learning-based classification algorithm for painting art in art teaching from the perspective of sentiment semantic analysis. Seven representative art painting styles of western comics, drawing, oil painting, watercolor painting, and domestic branding painting, ink painting and mural painting are selected as the research objects, and the images are pre-processed by denoising and normalization. Subsequently, the style characteristics of the paintings are ident

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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

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Qu, Yifeng. "Interpretations of Rice Paper Watercolor Painting in Art Teaching." Review of Educational Theory 3, no. 1 (2020): 62. http://dx.doi.org/10.30564/ret.v3i1.1635.

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The ricepaperplant pith is also known as Tetrapanax papyrine, Akebia, or tall gastrodia fruit, a kind of shrub or small tree of the Araliaceous. It is native to south China and Taiwan Prov., the raw material of rice paper. Extract its central tissue from the stem to make pith slices which could be made as the watercolor painting paper. It arose in Guangzhou in the 19th century, and the themes are mainly focused on reflecting the social life scenes as well as various characters in late Qing Dynasty, such as officials, soldiers, juggling, weaving, playing instrument, etc. The works are lively, v

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Alya, Shopia Himatul. "Lukisan Pemandangan: Teknik Spon Dalam Karya Seni Lukis Jelekong." Aksara: Jurnal Ilmu Pendidikan Nonformal 7, no. 1 (2021): 103. http://dx.doi.org/10.37905/aksara.7.1.103-110.2021.

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<p>Nature is a theme that is always present in the development of art in the world, both Western and Asian arts, such as China and Indonesia. The visualization can be a literal or abstract representation. Nature can be an additional element to a painting to convey depth, or perspective. However, the depiction of nature in a painting can also be the main focus of a work of art. In Indonesia itself, there is an Art Village, precisely Jelekong Art Village, where hundreds of people work as painters and some have made nature the main focus of their work. The uniqueness of the Jelekong painter

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Ju, Wanying. "The Research on the Origin and Communication of Blue and Green Colors in Chinese Blue and Green Landscape Painting." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 119–25. http://dx.doi.org/10.54097/ehss.v5i.2891.

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Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic

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Lyakhnitsky, Yu S. "Features of Paleolithic painting of the Kapov Cave (Shulgan-Tash)." Voprosy kul'turologii (Issues of Cultural Studies), no. 6 (June 28, 2024): 488–512. http://dx.doi.org/10.33920/nik-01-2406-02.

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The article describes the methodology and results of fixing the Paleolithic painting of the Kapov Cave. The characteristics of the most interesting drawings and their typification are given. A comparison is made between the drawings of the Kapov Cave and the paintings of the caves of Western Europe. The high importance of the painting of the Kapov Cave as an object of culture, art and archeology of world importance is substantiated. The existence in the Paleolithic of an independent South Ural center of the most ancient culture, similar to the Western European, but having certain specifics and

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Wang, Jitai. "Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 4 (April 2020): 1–20. http://dx.doi.org/10.25136/2409-8744.2020.4.32802.

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This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works &ndash; from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as &

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цао, тиншу. "The history of development of Chinese oil painting in the period from 1900 to 1949." Культура и искусство, no. 4 (April 2021): 94–103. http://dx.doi.org/10.7256/2454-0625.2021.4.35528.

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After the defeat in the Opium War of 1840, the Chinese Qing Government realized the advanced nature of Western technologies and culture and proceeded with comprehensive examination of the Western experience. The study of the Western painting by the Chinese artists became an important part of this process. The period from 1900 to 1949 was a pivotal stage in the history of development of the Chinese painting associated with the advent of the Chinese oil painting. This article analyzes the development trends in Chinese painting by means of comparison the corresponding historical documents that re

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Sun, Yu, and Linghui Wang. "Watercolor Painting under the Background of Industrial and Commercial Development in the late Qing Dynasty." Frontiers in Humanities and Social Sciences 3, no. 6 (2023): 8–11. http://dx.doi.org/10.54691/fhss.v3i6.5136.

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In the late Qing Dynasty, Western painting techniques and artistic concepts were gradually introduced into China, which had a profound influence on the development of watercolor painting. This paper will discuss the western influence of watercolor painting in the late Qing Dynasty, including the introduction of Western painting techniques, the promotion of watercolor painting by missionaries and diplomatic missions, and the influence of western artistic concepts on watercolor painters in the late Qing Dynasty. By studying these aspects in depth, we can better understand the background and char

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Claypool, Lisa. "Lunation." Archives of Asian Art 75, no. 1 (2025): 67–82. https://doi.org/10.1215/00666637-11696822.

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Abstract Tao Lengyue (1895–1985) obsessed over the moon. He painted it endlessly. He was a chronicler. By complexly foregrounding long-lived Chinese systems of lunar timekeeping in his paintings and journals, Tao presents an alternative to Western semi-heliocentric modes of measuring time. But there is more to Tao's understanding of time and temporality that deepens negotiations of the discriminatory universalism of the modern Western model of time. Tao was after the feeling of time. His paintings reveal intervals beneath the full moon, a sense of suspended animation, an anticipatory breath. T

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Forrester, Shannon. "Painting from the Other Side: Tracing the Reparative Turn in Contemporary Practice." Art/Research International: A Transdisciplinary Journal 5, no. 1 (2020): 116–47. http://dx.doi.org/10.18432/ari29486.

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Painting from the Other Side, is the curatorial project section of a larger interdisciplinary practice-led research project titled Embodying the Reparative Turn: Seeking Agency through Studio Practice in Individual and Collective Contexts that investigates the potential of the reparative turn in painting, aesthetics, narrative, and curation to subvert, evade, and exit from dynamics of exclusion linked to homophobia, misogyny, and racism. It considers how systemic cultural agents propagating exclusion deploy inequity to obstruct human flourishing, then explores how they are subverted through di

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Matsumura, Kimiko. "The Death of Painting and Its Afterlife in Morimura Yasumasa’s Portrait (Futago)." Arts 12, no. 5 (2023): 196. http://dx.doi.org/10.3390/arts12050196.

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This essay performs a close reading of Morimura’s Portrait (Futago) to establish how the artist’s multi-media approach echoes 1980s declarations about the end of painting while also proposing alternatives for its historical and material afterlife. In many ways, the artist’s performances make the crises brought on by the emerging global economy visual, and as such pointed to a number of slow deaths: of painting, of capitalism, of Japanese tradition. But the images do not merely document the demise. Instead, they present a scenario in which multiplicities define contemporary being. By considerin

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Mou, Yanlin. "The Innovative Development of Russian Modern Oil Painting under the Background of Internet of Things and Artificial Intelligence." Security and Communication Networks 2022 (May 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/6110129.

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Contemporary Russian oil paintings have realized the inheritance and development of classical paintings. Although it is deeply influenced by European and American oil painting creations, it is commendable that it did not fully follow the creative framework of Western works, but realized the image of absorbing the essence of it and then integrating it into Eastern literature and art, and finally formed the integration of Chinese and Western oil paintings in Russian oil painting with a unique creative style. With the continuous development of science and technology, mankind has put forward highe

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.

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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.

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Yin, Xiaoke. "A Comparative Study on the Spatial Consciousness of Traditional Paintings in the East and the West." Journal of Contemporary Educational Research 5, no. 7 (2021): 45–50. http://dx.doi.org/10.26689/jcer.v5i7.2354.

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This article compares and analyzes the development history, ideological culture, and philosophical concepts of traditional paintings, landscape paintings, and still life paintings in the East and the West. The essence of painting is a form of visual consciousness. There is a unique way of processing and expressing spatial consciousness in different images, regions, and humanistic spirits of Eastern and Western paintings. The difference in spatial awareness promotes mutual learning, guidance, and promotion between the Chinese and Western art which have different historical backgrounds, aestheti

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Yoon, Yeobeom. "Western painting technique and Colonialism." KOREA SOCIETY FOR SCIENCE OF EASTERN ART 56 (August 30, 2022): 303–23. http://dx.doi.org/10.19078/ea.2022.56.12.

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Winther-Tamaki, Bert. "洋画 Yōga/The Western Painting, National Painting, and Global Painting of Japan". Review of Japanese Culture and Society 25, № 1 (2013): 127–36. http://dx.doi.org/10.1353/roj.2013.0005.

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XUAN, JUNLIN. "Chinese Painting: Exploration and Comparison." International Journal of Arts and Humanities Studies 3, no. 2 (2023): 47–51. http://dx.doi.org/10.32996/ijahs.2023.3.2.6.

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Chinese painting is full of poetic, expressive power and rhythm, which is different from Western painting and could be unique in global art history and research. The poetic, expressive power and rhythm in Chinese painting have been unique in the global art world. Therefore, it should be evaluated correctly, thoroughly and accurately but not be included only as an example in the dominant Western art world. Doing comparisons between Chinese painting and Western painting is supposed to compare them with one another equally. Learning about the Chinese language and culture is also quite significant

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Gao, Xirong, Liza Mohammad Noh, and Zhongwei Huang. "Chinese Opera Character Painting Style Transfer: Using AI to Generate and Preserve Art." International Journal of Research and Innovation in Social Science VIII, IIIS (2024): 5724–31. https://doi.org/10.47772/ijriss.2024.803428s.

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Chinese Opera characters ink painting, a distinctive blend of Chinese color ink painting and traditional opera, reflects the rich aesthetic heritage of Chinese culture. The advent of Artificial Intelligence Generated Content (AIGC) technology presents new opportunities for preserving and innovating this traditional art form. While style transfer techniques have been widely applied to Western art, the freehand style of Chinese ink painting remains under-explored. This paper fills this gap by constructing datasets of Chinese Opera character paintings through field visits and web crawling. This p

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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.

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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts

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Jia, Dexu, and Sastra Laoakka. "Enhancing Realistic Art Literacy for Understanding Chinese Painting Traditions in Art Education." International Journal of Education and Literacy Studies 13, no. 2 (2025): 390–96. https://doi.org/10.7575/aiac.ijels.v.13n.2p.390.

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Traditional Chinese painting prioritizes expressive brushwork, compositional harmony, and symbolic representation, contrasting with Western realism, which emphasizes technical precision, shading, and perspective. This study examines the enhancement of realistic art literacy in fostering the understanding of Chinese painting traditions in art education. This study involved three key informants, ten casual informants, and general informants in an art education setting. Using a qualitative research approach, the study employed content analysis, semi-structured interviews, and classroom observatio

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Castilla, Manuel V. "The Cultural Heritage of Architectural Linear Perspective: The Mural Paintings in Nantang Church." Heritage 4, no. 3 (2021): 1773–85. http://dx.doi.org/10.3390/heritage4030099.

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This paper presents a contextual use of the innovative drawing techniques that involved architecture and painting in the Qing court during the first half of the eighteenth century. At this point architectural linear perspective in painting (quadratura) and stage design had become common fields of experimentation for the Chinese and Jesuit artists missionaries. In this conceptual context, Western quadratura was developed in China by Giovanni Gherardini. (1655–1729), and especially by Giuseppe Castiglione (1688–1766), who is remembered as an extraordinarily versatile architect–painter. The focus

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Walter, Elżbieta. "Rabindranatah Tagore – poeta czy malarz?" Art of the Orient 1, no. 1 (2012): 137–52. http://dx.doi.org/10.15804/aoto201208.

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Rabindranath Tagore (1861–1941), a poet, writer, novelist, playwright, composer, philosopher and educator, was the first Asian individual to win the Nobel Prize for literature in 1913 for his book Gitanjali. Although he did not receive any formal training in art, at a late stage of his life, when he was over sixty years old, he took up painting. He started by doodling on the pages of his poetry manuscripts. He left over two thousand paintings and drawing, deeply rooted in fantasy. He did not seem to follow a particular style or school of painting, neither eastern nor western. Tagore’s painting

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Han, Kyeongsoon, Sangjin Lee, and Hwasoo Lee. "Study of the Painting Methods of Mural Paintings in Ancient Tombs of Goguryeo Using Scanning Electron Microscope." Microscopy and Microanalysis 19, S5 (2013): 157–61. http://dx.doi.org/10.1017/s1431927613012555.

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AbstractDisputes on the painting methods of Goguryeo murals can mainly be categorized into whether the murals adapted eastern secco or western fresco; however, the murals have their own unique methods as well. There are different viewpoints among experts on interpreting the painting methods. This study involved the creation of research samples to discover the painting methods under dispute and may help discover the methods based on scanning electron microscopy energy-dispersive X-ray spectroscopy (SEM-EDX) studies. Goguryeo murals introduced pseudo-fresco rather than buon fresco methods. Unlik

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He, Yifei. "Contemporary painting, the ‘loop’ and the Chinese context." Journal of Contemporary Painting 7, no. 1 (2021): 199–223. http://dx.doi.org/10.1386/jcp_00026_1.

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This article explores my own painting practice in relation to my pedagogical experience in both China and the United Kingdom, in order to see how traditional painting and the pedagogy of painting can be repurposed in forms of contemporary painting. Discussion in this article will be based on three examples of my expanded painting practice that engage with the notion of ‘the apparatus’ (Foucault) of painting in relation to the studio, as well as through different materials and mediums: painting, installation, performance, video and so on. The apparatus is, of course, not just about media but ab

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Fitryona, Nessya, Dwi Mutia Sari, Asra Ilal Khairi, and Firza Firza. "The Meaning of Text Visualization in Contemporary Paintings in West Sumatra." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 25, no. 1 (2024): 1. http://dx.doi.org/10.24036/komposisi.v25i1.126366.

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Within two decades in West Sumatra, some artists' paintings contain visualization of letters, numbers, sentences, which are sometimes arranged scattered, even upside down. This is unusual considering that contemporary painting has developed into more sophisticated forms. This research aims to explore the meaning of text visualization in contemporary paintings of artists in West Sumatra. This research uses descriptive qualitative method with Hans-Georg Gadamer's hermeneutic approach. The object of study was selected based on purpose sampling, namely the paintings of Syahrial, Yasrul Sami, Yon I

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Meng, Hao. "The Formation of Chinese Still Life Paintings in the Context of the Interaction of Western and Eastern Artistic Traditions." Человек и культура, no. 5 (May 2022): 48–61. http://dx.doi.org/10.25136/2409-8744.2022.5.38791.

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Chinese painting of flowers and birds and Western still life paintings are unique, but they have a certain similarity in the representation of objects of the material world. The artists who created them belonged to different cultures, but turned to similar motives, means of expression, as well as artistic materials and techniques of working with them. Gradually, their interaction intensified, which led to borrowings and changes in artistic concepts. The main problem of this study is the parallels in the evolution of the genre of still life paintings in Chinese and Western European painting fro

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Piters-Hofmann, Ludmila. "Sleeping Beauty." Experiment 23, no. 1 (2017): 45–54. http://dx.doi.org/10.1163/2211730x-12341299.

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Abstract At the beginning of the twentieth century, Viktor Vasnetsov (1848-1926) started his work on the cycle Poema semi skazok [The Poem of Seven Fairy Tales] (1900-26). This self-imposed task included seven monumental paintings depicting popular Russian folktales. Yet, among the representations of famous Russian fairy tale characters, there is a canvas that centers on the Spiashchaia tsarevna [Sleeping Tsarevna] (1900-26), a character originally from Western Europe. This article will focus on the depths of the impact of Western traditions on this seemingly Russian painting by first elaborat

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Lu, Ye, and Xiao Yi. "A study on the development of painting in Quanzhou in the period of the Republic of China under the context of regional culture." OOO "Zhurnal "Voprosy Istorii" 2023, no. 1-1 (2023): 210–27. http://dx.doi.org/10.31166/voprosyistorii202301statyi02.

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Throughout history, Quanzhou painting, on the basis of its interaction and intermingling with various foreign cultures and painting styles, has always been evolving and inventing under its local context, thus forming its own unique characteristics of development. During the period of the Republic of China, with the impact of new cultural ideologies, Western painting was introduced to Quanzhou. Yet compared with Chinese painting, which was enjoying a strong momentum of development in Quanzhou, Western painting encountered obvious obstacles in the process of spreading.

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Zhao, Yaling. "An analysis of the inspiration of cubist painting on contemporary graphic design." Highlights in Art and Design 2, no. 2 (2023): 62–65. http://dx.doi.org/10.54097/hiaad.v2i2.6163.

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Cubism is a movement and genre in the history of modern Western art and the most important movement in contemporary art. From Cézanne's three-dimensional vision to the practice of artists such as Picasso, the trend has been for everything to be three-dimensional. This was an exploration of so-called 'real' forms, symbolising a new way of being in a new era. There is an inseparable relationship between painting and design, which manifests itself in various forms in different fields of art.This paper contributes to an understanding of the historical background of Cubist painting, analyses and su

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