Gotowe bibliografie tematyczne / Chinese Painting and calligraphy

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Chinese Painting and calligraphy”

Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Chinese Painting and calligraphy"

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Zhang, Biyun. "Art on Chinese Xuan Paper." European Scientific e-Journal 1, no. 1 (2020): 67–91. https://doi.org/10.47451/art2020-09-001.

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The formal beauty of Chinese paintings mainly lies in the peculiar material, the special brush and ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter. The author reveals the features of ink effect, the unique painting pattern, the poetry, calligraphy, painting and seal cutting, the mounting style, the composition and the technique and style of the painter of beauty of Chinese paintings through making contact with Chinese Xuan paper and ink because Chinese ink painting, boast
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Zhong, Tian. "Research on Marketing Strategy of Chinese Painting and Calligraphy Art Based on Wireless Communication Network Resources." Security and Communication Networks 2022 (February 12, 2022): 1–9. http://dx.doi.org/10.1155/2022/7788645.

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China has a thousand years of cultural heritage, and its famous paintings and calligraphy works are all representatives of the works of art. Calligraphy and painting have changed from works of art to commodities. This is undoubtedly caused by the changes of the times and society. Calligraphy and painting have gradually formed in this process. The most basic feature that distinguishes the market from other markets is the difference in marketing strategies. Aiming at the current problems in the online marketing of Chinese paintings and calligraphy works, a marketing strategy for Chinese painting
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Filonenko, Nadezhda S., and Maria S. Tretyakova. "Calligraphy of Images: Artworks by Yukei Teshima." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 164–79. http://dx.doi.org/10.21638/spbu15.2022.108.

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Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this
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Liang, Yuan. "Feng Jianwu’s Painting Language and Its Relationship with Traditional Calligraphy and Painting." Highlights in Art and Design 9, no. 3 (2025): 25–29. https://doi.org/10.54097/qgg8x418.

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In the modern Chinese painting world, Feng Jianwu stands out as a highly accomplished and influential artist in the realm of Chinese calligraphy and painting creation in the Bashu region of the 20th century. However, research on him has been scarce, resulting in incomplete historical materials about this great painter and a limited understanding of him among the public. As a modern calligraphy and painting master from the Bashu region, Feng Jianwu’s unique understanding and insight into traditional Chinese painting, as well as his inheritance and exploration of Chinese calligraphy and painting
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Pravtcheva, Latchezara. "UNITY BETWEEN INK AND NATURE: CHINESE CALLIGRAPHY AND ITS INFLUENCE ON LANDSCAPE PAINTING." Diplomatic Economic and Cultural Relations between China and Central and Eastern European countries 10, no. 1 (2025): 352–59. https://doi.org/10.62635/b8dy-wmrd.

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This paper explores the profound interconnection between Chinese calligraphy and landscape painting, emphasizing their shared philosophical, aesthetic, and technical principles. Chinese calligraphy (shufa) is regarded as the pinnacle of visual arts in Chinese culture, embodying a balance of form and meaning that reflects Confucian, Taoist, and Buddhist values. Landscape painting (shanshui), which flourished during the Tang and Song dynasties, complements calligraphy by visually interpreting the harmony between humans and nature. Both art forms prioritize the unity of internal subjective emotio
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Mo, Zhiyong. "Chinese Calligraphy and Painting." Renascence 70, no. 4 (2018): 297–302. http://dx.doi.org/10.5840/renascence201870420.

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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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Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.

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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.
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Jin, Baopen, and Yakup Mohd Rafee. "The Challenges and Development Strategies of Contemporary Chinese Painting." Highlights in Art and Design 3, no. 1 (2023): 61–67. http://dx.doi.org/10.54097/hiaad.v3i1.9352.

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The purpose of this paper is to discuss the dilemmas and challenges of contemporary Chinese calligraphy painting in art creation and its development strategies. As an important part of traditional Chinese culture, Chinese painting has been widely recognized and praised by the world for its unique artistic style and cultural connotation. However, with the change of the times and the development of the society, Chinese calligraphy painting also faces many problems and challenges, such as the contradiction between tradition and innovation, the lack of calligraphy and painting techniques, and the
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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.

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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to Do
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Rozprawy doktorskie na temat "Chinese Painting and calligraphy"

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Shu, Jo-Lan. "Calligraphy as a developmental tool for Chinese painting /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1329.pdf.

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Shu, Jo Lan. "Calligraphy As A Developmental Tool For Chinese Painting." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/465.

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This report discusses the design, development, and evaluation of a Chinese painting instructional project. The project discussed in this report introduces the novel idea of developing specific calligraphy skills in order to improve Chinese painting skills within a restricted time period (1-3 hours). The results show differences that are statistically significant between the pre and post test paintings created by 23 subjects from both the high school and the university level. The results of the evaluations can be found in the results section of this report. This report consists of a literature
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Wong, Shan Elaine, and 黃山. "Flaring brush and ink: Chinese calligraphy and painting centre." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986870.

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Wong, Shan Elaine. "Flaring brush and ink : Chinese calligraphy and painting centre /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949834.

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Gao, Jianping. "The expressive act in Chinese art : from calligraphy to painting /." Uppsala : Uppsala University, 1996. http://catalogue.bnf.fr/ark:/12148/cb376704405.

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Lee, Alice Hui Fang. "The spirit of Chinese brush lines and its application to creativity in UK art and design education." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319231.

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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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Zhu, Sicong. "Poetic feeling in a thatched pavilion attributed to the Chinese Yuan artist Wu Zhen." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4983.

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In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.
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Davis, Walter B. "Wang Yiting and the Art of Sino-Japanese Exchange." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213111969.

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Książki na temat "Chinese Painting and calligraphy"

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Publishers, New Star. Chinese calligraphy and painting. New Star Publishers, 1995.

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Society for Spirit-Calligraphy and Painting of Orthodox School., ed. Spirit-calligraphy & painting. Society for Spirit-Calligraphy & Painting of Orthodox School, 1995.

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Cheng, Rui. Guide to Chinese painting & calligraphy. CYPI Press, 2014.

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Liu, Ssu-hou. Liu Ssu Hou shu hua =: Calligraphie, peinture = Calligraphy, painting. Éditions Galerie Espace, 1996.

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Lee, So Kam Ng. Brushstrokes: Styles and techniques of Chinese painting. Asian Art Museum of San Francisco, 1992.

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Ellsworth, Robert Hatfield. Later Chinese painting and calligraphy, 1800-1950. Random House, 1986.

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Oertling, Sewall Jerome. Painting and calligraphy in the Wu-tsa-tsu: Conservative aesthetics in seventeenth-century China. Center for Chinese Studies, University of Michigan, 1997.

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Koh, Mun Hong. Xu Mengfeng shu hua ji. chu ban Xu Mengfeng, 1998.

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Li, Yinghao. Bao zhi zi hua. Bo yi chu ban ji tuan you xian gong si, 1992.

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Gu, Wenbin. Guo yun lou shu hua ji, xu ji. Jiangsu gu ji chu ban she, 1999.

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Części książek na temat "Chinese Painting and calligraphy"

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Wang, Yonghao. "Standards and Norms for Calligraphy and Painting: Fenggu in Calligraphy." In Key Concepts in Chinese Thought and Culture. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-2401-7_2.

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Zhang, Xuefei. "A Research on Chinese Painting and Calligraphy Exhibitions." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022). Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_182.

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Lam, Ng Woon. "Comparison of Chinese Calligraphy and Ink Painting Brushes with Western Water-Media Painting Brushes." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015). Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_56.

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Ma, Jinglin. "Innovative Research on Image Processing Based on Replication of Chinese Painting and Calligraphy." In Advances in Graphic Communication, Printing and Packaging. Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-3663-8_44.

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Wang, Ziyan. "On the Space-Time View of the Desolate Beauty of Chinese Painting and Calligraphy Art." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022). Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_105.

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Yangsheng, Xu, and Chan Sin-wai. "Chinese Calligraphy." In The Routledge Encyclopedia of Traditional Chinese Culture. Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-8.

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Li, Yu. "Chinese calligraphy." In The Chinese Writing System in Asia. Routledge, 2019. http://dx.doi.org/10.4324/9780429345333-21.

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Bai, Qianshen. "Calligraphy." In A Companion to Chinese Art. John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch15.

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Peng, Jixiang, Zhu Yang, and Jianhua Gu. "Traditional Chinese Calligraphy." In Chinese Art Theory II. Routledge, 2025. https://doi.org/10.4324/9781003616405-2.

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Li, Yu. "A calligraphy workshop." In The Chinese Writing System in Asia. Routledge, 2019. http://dx.doi.org/10.4324/9780429345333-22.

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Streszczenia konferencji na temat "Chinese Painting and calligraphy"

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Li, Meixia. "The Application of IIIF in the Database of Traditional Chinese Paintings and Calligraphy." In 2024 8th Asian Conference on Artificial Intelligence Technology (ACAIT). IEEE, 2024. https://doi.org/10.1109/acait63902.2024.11021897.

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Chen, Meihan, and Xiafen Zhang. "Progressive Chinese calligraphy stroke extraction." In 2024 International Conference on Informatics Education and Computer Technology Applications (IECA). IEEE, 2024. http://dx.doi.org/10.1109/ieca62822.2024.00016.

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Zhu, Yueqin, and Yueming Zhu. "PagodaNet: Light Weight AI Model for Chinese Calligraphy Styles Recognition." In 2024 IEEE 4th International Conference on Software Engineering and Artificial Intelligence (SEAI). IEEE, 2024. http://dx.doi.org/10.1109/seai62072.2024.10674578.

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Yuan, Shaozu, Aijun Dai, Zhiling Yan, et al. "Learning to Generate Poetic Chinese Landscape Painting with Calligraphy." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.

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In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an
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Li, Kun. "Analysis on the Space Commonality of Chinese Calligraphy and Painting." In 2015 International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.25.

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Yang, Yaping. "The Origin of Calligraphy of Jian Theory and Chinese Painting." In 2nd International Conference on Economics and Management, Education, Humanities and Social Sciences (EMEHSS 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/emehss-18.2018.57.

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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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Ye Liang, Hong Bao, and Hong-Zhe Liu. "A simple method for classification of traditional Chinese Painting and Calligraphy images." In 2010 International Conference on Educational and Information Technology (ICEIT). IEEE, 2010. http://dx.doi.org/10.1109/iceit.2010.5608356.

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Li, Qiainyin. "Dreams of a Solo Traveller." In LINK 2024 Conference Proceedings. Tuwhera, 2024. https://doi.org/10.24135/link2024.v5i1.222.

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Dreams of a Solo Traveller constitutes a positive rethinking of the Chinese derogatory concept of 剩女(the Leftover Woman). Leftover Women is used to define unmarried, urban, professional single women over the age of 27. In this study, the term is used to describe women who, forsaking conventional expectations of marriage, consciously make alternative choices about their future. The research draws on personal experience and existing literature relating to familial and cultural expectations that many young, contemporary Chinese women must navigate. The discursive relationship between poetry and p
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Zeng, Zimu, Pengchang Zhang, Jia Wang, Xingjia Tang, and Xuebin Liu. "Chinese Character Font Classification in Calligraphy and Painting Works Based on Decision Fusion." In 2022 IEEE/WIC/ACM International Joint Conference on Web Intelligence and Intelligent Agent Technology (WI-IAT). IEEE, 2022. http://dx.doi.org/10.1109/wi-iat55865.2022.00117.

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Raporty organizacyjne na temat "Chinese Painting and calligraphy"

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Wei, Ming, Othman Bin Talib, Chua Yan Paw, Xiaoling Gui, and Xiaoyang Pan. The Power of Brushstrokes: How Chinese Calligraphy Transforms Learning – A Systematic Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, 2024. http://dx.doi.org/10.37766/inplasy2024.9.0058.

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Zhang, Ling, Brent Holland, and Eulanda Sanders. From Chinese Painting to Wearable Art: The Development of Wearable Art Design Process Model and Evaluation Methods for Wearable Art Designers. Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1755.

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