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Gotowe bibliografie tematyczne / Chinese Painting and calligraphy / Rozprawy doktorskie

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Rozprawy doktorskie na temat „Chinese Painting and calligraphy”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

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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3

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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5

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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9

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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10

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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11

Müller-Yao, Marguerite Hui [Verfasser]. "The influence of Chinese calligraphy on Western Informel painting : 中國書法藝術對西洋繪畫的影響 / Marguerite Hui Müller-Yao". Bonn : Universitäts- und Landesbibliothek Bonn, 2015. http://d-nb.info/1154556336/34.

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12

Qin, Zhao-Kai. "The Influence of Oriental Art and Ideas on Robert Motherwell's Work: An Investigation of Certain Affinities Between His Work and Chinese and Japanese Calligraphy and Ink Painting." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/166.

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This study is an examination of the influence of Oriental (specifically Chinese and Japanese) art and ideas on Robert Motherwell's work. To a certain extent, it is also an effort to balance previous interpretations that have mainly focused on the influence of Surrealists, Mondrian, and Picasso and to shed new light on the understanding of Motherwell's art. Consideration is given to the historical background of Motherwell's interest in Oriental art and ideas as well as the relation between this interest and his major artistic concerns. Among other things, the thesis investigates the influence o

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13

Edelholm, Nike. "Exploring Spaces of Not Knowing : an Artist View." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7000.

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The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art pr

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14

李為. "An intelligent evaluation system of Chinese calligraphy." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2099646.

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15

Ding, Lian Chao. "Generating Chinese calligraphy masterpiece from tablet versions." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3950577.

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16

Mok, Kar Leung Harold. "Zhao Mengjian and Southern Song calligraphy." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357396.

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17

Lei, Sio Cheong. "The study on a Chinese calligraphy font generation." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636246.

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18

Goh, Yi Sheng Lau Tin-Man. "Guidelines to develop product forms from Chinese calligraphy." Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Fall/Thesis/GOH_YI_27.pdf.

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Xu, Dongjie. "Harmonious screen interface design principles from Chinese calligraphy." Thesis, University of Central Lancashire, 2010. http://clok.uclan.ac.uk/1521/.

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Harmony is a major theme in Chinese culture. It is reflected in many forms, e.g. painting and garden design. However, calligraphy gives a straight forward insight into harmony in two dimensions. The main hypothesis was that the principles for building a harmonious calligraphic character could be converted from holistic to deductive and computable ones. These could then be applied to the design of harmonious screen interfaces, which would give visual pleasure. The first aim was to investigate and discover the quantifiable features of harmony in Chinese regular script calligraphy. Calligraphy ha

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20

Ng, Yuk-lan, and 吳玉蘭. "Sesshu and Chinese academic painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hdl.handle.net/10722/210304.

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Ng, Yuk-lan. "Sesshu and Chinese academic painting." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20565653.

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22

劉澤光 and Zeguang Liu. "A study of Kang Youwei's (1859-1927) Guang yizhou shuangji." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894161.

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23

Wei, Chen. "Volumetric cloud generation using a Chinese brush calligraphy style." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13034.

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Includes bibliographical references.<br>Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address thi

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24

Maraun, Timothy Fritz. "Tension in 18th century Chinese painting." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.

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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but so

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25

Shao, Yiyang, of Western Sydney Nepean University, Faculty of Visual and Performing Arts, and Department of Art History and Criticism. "Major trends in contemporary Chinese painting." THESIS_FVPA_SD_Shao_Y.xml, 1996. http://handle.uws.edu.au:8081/1959.7/531.

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Three major trends are evident in Chinese ink painting: academic reformism, modernism and neo-traditionalism. While reformists are calling for stylistic freedom and a return to humanism, modernists seek the adoption of Western modes of thought and practice to develop and reform Chinese tradition. The new literati painting which has seen a resurgence of innovative theory and technique of an indigenous Chinese painting tradition distinguishes neo-traditionalism. Many scholars believe that developments in Chinese painting represent a decline in the history of Chinese art but, in this authors’ opi

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Yiyang, Shao. "Major trends in contemporary Chinese painting /." View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125119/index.html.

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Ching, Yeh Chi, and 葉季青. "Study of chinese ink method, calligraphy and painting art." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/23831894187201689635.

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碩士<br>臺北市立大學<br>中國語文學系<br>103<br>Ink method plays a very key role in Chinese painting and calligraphy art, to say the traditional Chinese painting and calligraphy art pen and ink by the product of the interaction effects. In calligraphy works using ink method wonderful infinity, through shades of shades of ink change and spatial arrangement, to create a sufficient number of famous masterpieces come for admiration, and in the use of ink painting method is being played the most. The following article from the perspective conduct a systematic analysis and integration, to explore the mysteries of

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Huang, Mei-Chen, and 黃美甄. "Development of a Remote-Gesture-Control Chinese Painting and Calligraphy Program." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/29176513747705005109.

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碩士<br>國立臺灣科技大學<br>工業管理系<br>97<br>This study developed a “Chinese painting and calligraphy Program” by incorporating a previous developed “3D target acquisition hand movement system” as an input device. The cursor of the program was controlled and the paintings as well as calligraphy were completed by a free hand movement in the 3D spaces. The system emphasis the merit that we are able to track both 3D hand positions and 3D hand speeds of users while they are performing painting and/or calligraphy. There are two interfaces for the program: main interface and painting interface. In addition to

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"Design and development of a robotic platform for Chinese painting and calligraphy." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074420.

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Footprint analysis of brush-pen is an important part of studying Chinese drawing and painting. The designed platform is capable to capture and analysis of the brush footprint in real-time. Transparent drawing plate and an underneath camera system are installed, together with projective rectification and video segmentation algorithms, analog footprint can be transformed to digital data. Both non-parametric and parametric modeling on the captured footprint data will be explored in this thesis. Dynamics and time-delay will also be studied. The results are demonstrated by producing a well-known Ch

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30

Ren, Jenny, and 任珍妮. "A Study of Algorithmic Composition-Based Sonification on Chinese Classical Poetry and Chinese Calligraphy Painting." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/47607161530964529014.

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碩士<br>國立交通大學<br>音樂研究所<br>97<br>Chinese characters are remarkable for their two forms of art — the classical poetry and the calligraphy painting. However, it is difficult for the visually impaired and people who are unfamiliar with Chinese to experience the beauty of the Chinese characters. In this study, two Sonification schemes, Tx2Ms and Im2Ms, are proposed to extract the melody between the lines, i.e., both the lines in verses and the lines in strokes. 　　In Tx2Ms, the movement of multi-dimensional musical elements such as durations, dynamics and interval relations are modeled by Markov Chai

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31

Yeh, Jen-Cheng, and 葉仁正. "Application of amylase for delaminating of the mounting Chinese painting and calligraphy." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/21491034404472727141.

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碩士<br>國立嘉義大學<br>森林暨自然資源研究所<br>94<br>Summary The traditional mounting papers and pictures were composed of plant fiber, painting pigment, frame material, starch paste, etc. However, during the long term exterior conservation and interior chemistry, the picture material was impaired in degradation. In the recovery procedures of the degradation pictures, the delaminating mechanism based on backing papers is the most difficult and important process. In order to inflate the paper fiber, the traditional delaminating technique soaked the mounting papers and pictures with much more water for a long ti

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Chou, Ta-Tsun, and 周大村. "Transmutation─Ta-Tsun Chou's Self-Account Through His Calligraphy and Chinese Painting Works." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/ftehzw.

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碩士<br>大葉大學<br>造形藝術學系碩士在職專班<br>95<br>ABSTRACT This paper aims to study that calligraphy art reflects emotions with the symbols of its lines. The purpose of calligraphy creation is to pursue the artistic conception characterized by the writing forms. The works appreciation is realized in the principle of “art first, quality second”, which can penetrate from ancient to modern times. In this sense, in order to appreciate calligraphy, we shall understand its connotation and spirit of calligraphy lines, walk on the way of “taking the past as the new ones, and broadening on the basis of regulated ru

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Su, Hsuan-Te, and 蘇玄德. "The Calligraphy and Painting in Chinese Water Ink: Hsuan-Te Su's Theory of Art." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/722rdm.

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碩士<br>國立臺灣師範大學<br>美術學系<br>104<br>This dissertation explores the multifacetedness and innovation potential in “modern Chinese water ink painting” and incorporatesthe “traditional Chinese water ink painting” into the modern era. This dissertation includes three major parts: 1. Explore the core conceptof traditional Chinese water ink painting: “the combination of painting and calligraphy”, and study the painting and calligraphic features of Southern School. Moreover, “strength in line strokes” has dominated the traditional Chinese water ink painting for thousands of years. However, this conc

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Wei, Yu-En, та 魏猷恩. "A Study of Chinese Painting and Calligraphy Aesthetics of “Cho(拙)” and “Lao(老)"". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/50152143363069991320.

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碩士<br>明道大學<br>國學研究所<br>98<br>Chinese painting and calligraphy aesthetics is deeply influenced by the traditional culture and culture is formed by history. The aesthetics of Chinese painting and calligraphy, therefore, has been nourished by the history and the culture. “Cho” and “Lao” are the unique aesthetics in Chinese painting and calligraphy art. They are not only the criteria to comment art work but also the ultimate ideas of painting and calligraphy creation. The tools used in ink and wash painting and calligraphy are identical, and the techniques can be adopted in each field, therefore,

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Siao, Yu-jhen, and 蕭羽珍. "A Research on the Relations between Chinese Calligraphy and Painting by the Philosophy of art." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/03071573695233391065.

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碩士<br>南華大學<br>哲學與生命教育學系<br>101<br>In this paper I would like to discuss the relationship between calligraphy and Chinese painting mainly by the angel of philosophy of art. In order to this aim I try to understand the spirit of art from Zhuangzi and the Chinese aesthetic and philosophy of art. The relation of calligraphy with painting is thought in two ways, that is, there are big difference between both, or closed relation. In this paper I hold that there is a closed relation, and the reason is that the opposite of viewpoint sees calligraphy as nothing but a tool, namely a system of symbol, an

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CHENG, FONG-RONG, and 袁陳鳳榮. "A study of Chinese Calligraphy and Painting and of the Practice of The Aesthetics Industry." Thesis, 2016. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22104NTTU5233003%22.&searchmode=basic.

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碩士<br>國立臺東大學<br>進修部美術產業發展碩專(夜間班)<br>104<br>This research focuses on the study of Chinese calligraphy and Chinese paintings: the combination of calligraphy and painting is a combined art unique to china, in which the words used as tool for conveying meaning also display beauty in its structure and form. This art which had symbolized culture in the past has, in today’s society which values practicality, lost its hallowed status but with its special artistic expression has none the less retained its people’s love and respect. Furthermore, it has recently attracted increasing followers in the lea

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Fa, Chang –. Chan, and 張春發. "The Study of Combination between Chinese calligraphy Ink Paintings." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/82398868381777346001.

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碩士<br>國立臺灣藝術大學<br>造形藝術研究所<br>96<br>This dissertation aims to compound two art styles including calligraphy and paintings, as both are the Chinese traditional cultural core spirits and to integrate the vitality of ancient words and modern ideology creativity through discussing and analyzing literature, comparison of paintings and some ideas from lives’ experiences. Create various works by using abstract stipples shape to present the overall creative style of modeling construction. By using the elements of combination of traditional calligraphies including seal and cursive styles are transited i

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Wu, Zhang Lian, and 吳長璉. "A study on The Book of Mounting and the Practice of Mounting Chinese Painting and Calligraphy." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/s75xbs.

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碩士<br>國立臺南大學<br>國語文學系碩士班<br>104<br>The book of mounting is the first book that explored the history of Chinese painting and calligraphy mounting for nearly one thousand years. It discussed the phenomenon that painting collectors and mounters generally lack correct concept of mounting in Wuzhong area in the late period of Ming dynasty, which resulted in the damage and destroy of painting and calligraphy. And it discussed the correction to the phenomenon. The content of the book focused on mounting formats including hanging scrolls, handscrolls, and album leaves. It explained the main point of e

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Ya-HuiChiang and 江雅慧. "The Study on How Kang You-Wei’s Calligraphy and Chinese Painting Theory Transfer to Modern Style." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/32bjfh.

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博士<br>國立成功大學<br>中國文學系<br>106<br>SUMMARY The main two texts of this study are Guang Yi Zhou Shuang Ji and Wanmu Caotang Canguha Mu. Both are Kang You-wei’s theory of Chinese calligraphy and painting. The 19th century was a turning point in Chinese society when the western civilization landed. Chinese calligraphy and painting face the problem of transformation. Kang You-wei who transformed the traditional theory of painting and calligraphy into a modern style. At the calligraphy level, Kang You-wei make ‘‘the philosophy of the form’’ as a theoretical basis；and the Tablet-Calligraphy theory as pr

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LAI, YI-TING, and 賴羿廷. ""When the black or white", virtual real or real virtual-Abstract painting by mixing Calligraphy, Chinese ink and Ceramic materials." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/t2p6h7.

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碩士<br>國立臺灣藝術大學<br>書畫系造形藝術碩士班<br>103<br>Abstract The title of the thesis: “When the Black or White”, Virtual Real or Real Virtual – Abstract Painting by Mixing Calligraphy, Chinese Ink and Ceramics Materials by the author Yi-ting Lai is a discourse on personal experimental creation in 2012-2015. With the personal perspectives of viewing nature’ vast skies, lamenting the impermanence of life, and realizing the pain of being separated in life and by death, the author employed the queries and remarks cited by oriental philosophy, the Lao-Zhuang (Laozi and Zhuangzi) school of thought, Zen (Buddhist

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CHEN, HSIU-YU, and 陳秀玉. "The Study on Customied Strategies for Integrating Chinese Painting and Calligraphy with Cultural and Creative Products-Case Study of Tai-Hwa Pottery." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2m4rg4.

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碩士<br>環球科技大學<br>中小企業經營策略管理研究所<br>104<br>Chinese history, society, culture and aesthetics have had a big impact on Chinese painting and calligraphy. Painting and calligraphy have in turn been deeply affected by Chinese philosophy, religion, humanities and politics for a very long time. The variation of calligraphy techniques is deeply attached to Chinese spiritual values. Therefore, there have been many different types of painting and calligraphy representing each dynasty. The cultural and creative industry has become the fourth wave of economic power, following the third wave of the informatio

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Pan, Yi Ling, and 潘怡伶. "A Research on Deterioration for Chinese Silk Painting Hanging Scroll with Case Study on the Calligraphy of a Early Qing Dynasty Artist - Wang Jie." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/88726235819217163850.

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碩士<br>國立臺南藝術大學<br>古物維護研究所<br>97<br>Hanging scrolls, also known as vertical scrolls, are one of the most commonly used traditional mounting styles in Chinese painting. They have the characteristics of being rolled up for storage and unrolled for display. As discussed in the book Records of Historical Famous Painting written by Zhang Yan-Yuan during the Tang Dynasty, a well-made hanging scroll enhances the beauty of a painting and can be hung, rolled up well, and stored for very long periods of time. However, these paintings can also become damaged during the process of storing them as hanging s

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Wang, Fei. "Of master Hongyi's last calligraphic work." Thèse, 2013. http://hdl.handle.net/1866/10436.

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Hongyi (1860-1942) est le maître de l’école bouddhiste appelée « Terre Pure » en Chine moderne. Dans l'histoire du bouddhisme chinois, il est le seul maître bouddhiste qui peut se classer parmi les plus grands calligraphes chinois. Dans l'histoire de la calligraphie chinoise, il est le premier moine-calligraphe qui allie sa foi bouddhiste avec son art calligraphique tout en appliquant des principes de la peinture occidentale à son travail de calligraphie. Son art serve bien sa croyance religieuse et n’est pas indépendent de celle-ci, ce qui est extraordinaire dans l’histoire calligraphique. Il

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"王世貞(1526-1590)藝術贊助的研究". Thesis, 2006. http://library.cuhk.edu.hk/record=b6074331.

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Chapter 1 reviews the background to the rise of art patronage studies and their development and its influence on studies of Chinese art history. It also provides alternative approaches to studying activities related to patronage and their influence and role in Chinese art history by criticising traditional analysis of Chinese art based on social and economic theories.<br>Chapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections.<br>Chapter 3 di

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Lin, Chun-Chen, and 林俊臣. "Analysis of Chinese Calligraphy -- People and Calligraphy." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/36786582589920662107.

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博士<br>國立中興大學<br>中國文學系所<br>103<br>This paper focuses on the problematic consciousness of how to rebuild the relationship model between people and calligraphy nowadays, and seeks various possibilities to de-velop modern calligraphy research and calligraphy implementation inside the context of cross-culture study. This research reduces modern calligraphy into two directions of de-velopment including cultural calligraphy and art calligraphy. The foundation of cultural calligraphy highlights the tactile writing while the art calligraphy uses the bodily feeling caused by tactile feeling to surpass t

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Tang, Li-Chiao, and 唐麗嬌. "Chinese Calligraphy flavors- Tang, Li - Chiao 's discussion on the Creation of Chinese Calligraphy." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/95971170381283957253.

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碩士<br>華梵大學<br>美術學系碩士班<br>105<br>"Culture and Creative Industry" is a combination of culture industry and creative industry. This research takes the combination of Calligraphy and Handmade Cultural-Creation as a research theme, and creates on different materials such as cloth, wood, porcelain, metal and plastic. The research contains the creations creating under the theme that use collage, printing and dying, and transfer printing to combine with Calligraphy's characteristics and techniques learning from the class during 2015 to 2017 studying in master's degree. This research start from analyzi

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LU, YU-TING, and 呂玉婷. "" Integrate Calligraphy with Painting" Information Media into the Primary 3rd Grade Calligraphy Creative Teaching." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/759pt5.

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碩士<br>中華大學<br>資訊管理學系<br>106<br>The main purpose of this research is to explore the concept of “painting into calligraphy”. By using the Chinese painting imagery, using information media to incorporate the calligraphy creative teaching activities of the primary school ,and through the use of self-edited calligraphy materials and courses, use action research methods to explore the third grade of primary school students. Calligraphy creative teaching activities, student learning effectiveness and interest enhancement. The research findings are summarized as follows: 1.The innovative calligraphy t

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Chen, Shiou-Liang, and 陳秀良. "The Study of Syu Yun’s Calligraphy and Ink-painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/72544219979845085049.

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碩士<br>明道大學<br>國學研究所<br>99<br>Since Taiwan is located far away in sea, Sino culture was developed more lately there. After Shen Guangwun came to Taiwan during the late Ming dynasty, and started local education, then poetry and literature in Taiwan began to bloom. With the growth of population, the development of culture and education, the emphasis of examinations, the improvement of economics and politics, calligraphy and paintings became prosperous. Between Tongjhih and Guangsyu period, calligraphers and painters in provinces like Jhe, Min, and Yue along the seashore had all strived to enter T

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HUANG, LI-FEN, and 黃麗芬. "The Research on Shen Yao-Tsu’s Calligraphy and Painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/44392921456512077717.

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碩士<br>華梵大學<br>美術學系碩士班<br>105<br>The art of painting has its origins far back in China’s long history. After thousands of years of enrichment, revolution, and development, from these models created the variety of styles we have today, be they plain and primitive, bold and vigorous, delicate and regular, or flowing and beautiful. The freehand style of Chinese painting is now commonly used by Taiwanese painters─Shen Yao-Tsu─an artist who was born and grew up in an environment that promoted calligraphy and painting─Zhaoan County, Fujian Province, and who received painting instruction from his clan

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Tseng, Pei-Hua, and 曾珮華. "The Research of Shi lu's Painting and Calligraphy Arts." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/01399280991436627289.

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碩士<br>國立臺灣藝術大學<br>書畫藝術學系<br>101<br>Shi Lu(1919-1982)is an excellence artist. Shi Lu extremely emphasis sketch, sketch is the basis of paintings, he argue that painter should be preceded by thorough life to understand the nature and object of knowledge before sketching, by asking questions and answer to finding subject. Sketch as thinking process, to explore the new subject when we sketching. From Shi Lu’s aesthetics theory, this research to explore relation of social and his personality. Thus, this research focuses on his life background, and developed his art knowledge. Moreover through his

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