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Gotowe bibliografie tematyczne / Chinese Painting and calligraphy / Artykuły w czasopismach

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Artykuły w czasopismach na temat „Chinese Painting and calligraphy”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2025

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1

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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4

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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5

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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6

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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8

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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9

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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10

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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11

Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.

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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.

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12

Zhang, Peng. "Exploring the Role of Sichuan Institute of Nationalities in the Innovation and Inheritance of Chinese Painting and Calligraphy." Journal of Higher Education Teaching 1, no. 3 (2024): 193–99. http://dx.doi.org/10.62517/jhet.202415332.

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This study aims to explore the role of ethnic colleges and universities, especially the Sichuan College of Nationalities, in the innovation and inheritance of Chinese painting and calligraphy. By analyzing its practice of calligraphy and painting education, this paper explores how to integrate traditional art and ethnic cultural elements in the modern education system, and thus promote the diversified development and contemporary presentation of Chinese calligraphy and painting art. The study finds that Sichuan College of Nationalities has effectively promoted the art of Chinese painting and c

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13

Rorex, Robert Albright, Wen C. Fong, Richard Vinograd, and R. Stewart Johnston. "Chinese Painting, Calligraphy, and Gardens." Art Journal 52, no. 4 (1993): 98. http://dx.doi.org/10.2307/777642.

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14

Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.p.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their development

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15

Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.

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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their development

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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

Bai, Lili, Heung Kou, and Zi Kong. "Application of Spectroscopy Technology in Nanomaterials in Identification of Chinese Paintings." Journal of Nanomaterials 2022 (May 27, 2022): 1–10. http://dx.doi.org/10.1155/2022/9393188.

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The authenticity of calligraphy and painting is an important knowledge in the collection and research of Chinese painting and calligraphy. The identification of folk painting and calligraphy is usually conducted by experts and scholars engaged in cultural relics, archaeology, painting and calligraphy, and ancient buildings. Relying only on the identification of experience and literature and history, there are certain limitations, and it is difficult to form convincing. Spectroscopic technology mainly uses the characteristic spectral lines of molecules or atoms to judge the chemical composition

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18

Song, Yang. "A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty." Region - Educational Research and Reviews 3, no. 2 (2021): 5. http://dx.doi.org/10.32629/rerr.v3i2.294.

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In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, ca

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19

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

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

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20

Chen, Ziyuan. "Chinese Calligraphy: An Ancient Art in the Modern Era." SHS Web of Conferences 159 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315902003.

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Chinese calligraphy is an ancient character writing art. It germinated in the Shang Dynasty, reached its peak in the Tang Dynasty, and did not form a new calligraphy style for more than one thousand years. There are many similarities between Chinese calligraphy and western painting, including similarities in abstraction and symbolism. When the country went through the modernization of the 20th century, the western influence gradually increased, and the Chinese calligraphy art gradually formed new art forms such as hard pen calligraphy. At the same time, calligraphy art has also inspired and in

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21

Chen, Tian Ding. "Chinese Calligraphy Brush Stroke Interactive Model with Ink Diffusion Style." Advanced Materials Research 108-111 (May 2010): 507–12. http://dx.doi.org/10.4028/www.scientific.net/amr.108-111.507.

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This paper presents an interactive method of using ink diffusion, and gradually approaching simulation brush character with style of Chinese painting and calligraphy. Try to use materials based on the Chinese ink painting: ink and rice paper, according to their characteristics to build the diffusion rules to simulate text ink. Although the initial can show the phenomenon of ink rendering, they can only show diffusion of the ink with black lines, Can not rendering a complete ink diffusion behavior, it is difficult to form a sense of artistic calligraphy. It proposes Interactive model to amend t

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22

Jing, Tang. "INTERPRETATION OF CHINESE PAINTING IN THE XIEYI STYLE." Arts education and science 2, no. 31 (2022): 116–21. http://dx.doi.org/10.36871/hon.202202015.

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The core of Chinese painting in the Xieyi style is to convey an idea in a free form, Xieyi paintings have the beauty of poetry, calligraphy and prints. It uses a colour method based on black and white imagery and the concept of linear modelling with brush and ink. It differs from Western painting in its methods of perspective, which transcend the limitations of time and space. The spirit of Xieyi is a reflection of real life, but refined and sublimated through imagination, ultimately completing the process of creating artistic images. Having great innovative and creative force and inheriting t

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23

Pan, Hong Bin. "Computer Simulation and Implementation in Chinese Calligraphy Dry Brush." Applied Mechanics and Materials 543-547 (March 2014): 1689–93. http://dx.doi.org/10.4028/www.scientific.net/amm.543-547.1689.

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It is a new important research and applied field to create art by using computer technology. This article is primarily targeted to introduce a method which applies relevant theories and technology of Graphics and Image Processing, combined with the relevant skills and technique of Chinese painting and calligraphy to make a primary study on the simulation in writing strokes of Chinese withered pen calligraphy in the Digital Pen Simulated System of Painting and Calligraphy, and provides a pen pressure-sensitive mathematic model for the writing brush based on the mechanics principle. And also, we

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24

Shi, Yulong, and D. Tsetsegdelger. "Research on the Intervention and Integration of Calligraphy Aesthetics in Oil Painting Creation." International Journal of Literature and Art Innovation 1, no. 1 (2024): 25–31. http://dx.doi.org/10.70088/tkxj1c79.

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From the comparative perspective of Eastern and Western art, this paper discusses and analyzes the unique aesthetic characteristics of Oriental calligraphy. We will focus on the use of brush skills in calligraphy, the clever arrangement of cloth and the layout of calligraphy art, all of which are crucial elements in Eastern calligraphy. Through the detailed analysis of these typical aesthetic characteristics, we will further combine with the current situation of Chinese oil painting creation in the new era and explore how to extract the beauty of form in calligraphy and apply it to oil paintin

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Zhan, Zhi, and Rosjana Chandhasa. "Searching for Chinese Song Dynasty fans related to cultural dimensions." Journal of Ecohumanism 3, no. 3 (2024): 192–211. http://dx.doi.org/10.62754/joe.v3i3.3408.

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This study examines the formation of fan culture in China during the Song Dynasty, focusing on the cultural expressions inherent in fan making. With the aim of exploring the fan culture of the Song Dynasty, qualitative research methods and descriptive analysis were employed. The cultural dimensions under investigation include connotations, beliefs, lifestyles, aesthetics, materials, and craftsmanship. To conduct this investigation, the researcher visited the Guangdong Provincial Museum and the Guangdong Provincial Arts and Crafts Mall, where a variety of fans were studied and analyzed for thei

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Gu, Chun Hua. "Research on Brocade - Silk Material for Mounting Traditional Chinese Calligraphy and Painting." Advanced Materials Research 1048 (October 2014): 52–56. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.52.

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Aiming at the typical fabric style and pattern features of silk material for mounting traditional Chinese calligraphy and painting, this paper starts from brocades mainly used in mounting traditional Chinese calligraphy and painting, as well as analyzes the features, varieties and pattern types of brocade (material used for mounting). Through the research, the author discovers that two types of brocades are used more frequently in mounting, namely brocade of middle-sized pattern and brocade of small-sized pattern, while pattern types mainly include geometric motifs, plant motifs and fauna moti

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27

Yiting, Zhao. "FEATURES OF THE ARTISTIC EVOLUTION OF CHINESE GRAPHICS FROM ANTIQUITY TO THE QING ERA." Scientific and analytical journal Burganov House. The space of culture 21, no. 1 (2025): 34–41. https://doi.org/10.36340/2071-6818-2025-21-1-34-41.

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Chinese graphics employs a variety of materials and production techniques that are incompatible with the European tradition. Firstly, these are materials, specifically, coloured and black ink, that are diluted with water. Furthermore, xylography, the oldest method of printed graphics, originated in China. The history of graphic art can also be attributed to the development of stone carving for the creation of seals with calligraphic and figurative motifs, which started in the second century AD when paper was introduced and began to spread in China. Moreover, calligraphy served as the foundatio

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28

Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.

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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China&apos;s traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi&apos;s creativity is considered the culmination of the embod

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Yang, Guangyu. "imagery and abstraction trend of Chinese contemporary oil painting." Linguistics and Culture Review 5, S2 (2021): 454–71. http://dx.doi.org/10.21744/lingcure.v5ns2.1383.

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The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the ex

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Feng, Shuang. "Development of Chinese Calligraphy: Historical and Cultural Aspect." Общество: философия, история, культура, no. 8 (August 23, 2023): 217–21. http://dx.doi.org/10.24158/fik.2023.8.32.

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The culture of each nation is distinctive and is based on the unique worldview of a particular ethnic group. Chi-nese calligraphy is one of the significant manifestations of Chinese national tradition. The aim of the present study is to investigate it in the historical and cultural aspect due to the author’s desire to emphasize the speci-ficity of Chinese national art and its historical conditionality in the context of globalizing modernity. Based on Eastern worldview practices, the art of hieroglyphic writing in China is a symbiosis of painting and philosophy. It is emphasized that having ori

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Changzhi, Wu. "FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE." Municipal economy of cities 4, no. 164 (2021): 58–64. http://dx.doi.org/10.33042/2522-1809-2021-4-164-58-64.

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The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who

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Gao, Hongchen. "The Value and a Preliminary Study of the Integration of Traditional Chinese Painting and Calligraphy & Modern and Contemporary Art in Primary School Art Teaching." International Education Studies 12, no. 6 (2019): 75. http://dx.doi.org/10.5539/ies.v12n6p75.

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Finding a unique way to help students better accept between traditional Chinese Painting and Modern and Contemporary Art is an increasing concern in primary school art teaching. The purpose of this study is to investigate fine art education field according to analyze the current situation of Chinese traditional painting and calligraphy together with Modern and Contemporary Art in the art curriculum of primary schools: shallow embedded curriculum, shortage of Class Hours and relatively simple teaching method. Based on the key competence of the disciplines, it discusses the value of integrating

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Silbergeld, Jerome. "Chinese Painting Studies in the West: A State-of-the-Field Article." Journal of Asian Studies 46, no. 4 (1987): 849–97. http://dx.doi.org/10.2307/2057105.

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The contemporary study of Chinese painting history varies considerably according to cultural locus, be it mainland China, Taiwan, Hong Kong, Japan, or the West, making broad generalization about the state of the field quite difficult. Where the intellectual and social context of traditional East Asian culture remains most intact, the study of painting has perpetuated the concerns and modes of the thousandplus years of traditional historiography, yet this has become increasingly rare. In the People's Republic, innovation has come largely through Marxist influence, bringing a focus on social asp

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Belozerova, Vera G. "Analysis of the Scroll “Ba Bridge in the Snow”: The Results of the Creative Journey of Shen Zhou (1427–1509)." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 186–203. http://dx.doi.org/10.21638/spbu15.2021.202.

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Shen Zhou is the founder of the Wumen-Pai movement, which was prominent in southern China in the XV–XVI centuries. Shen Zhou became famous as a poet, painter, and calligrapher. In the article, the late stage of his creative work is investigated by the example of the vertical scroll “Ba bridge in the snow”. The technique of monochrome writing and the composition of the winter landscape are analyzed. The article examines the influence of biographical and social factors, Confucian teachings and Taoist practices on Shen Zhou’s painting. A comprehensive study of the scroll makes it possible to reve

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Ren, Wei, and Na Cao. "Traditional Conservation and Storage Methods for Ancient Chinese Painting and Calligraphy on Silk Manuscripts." Arts 10, no. 2 (2021): 34. http://dx.doi.org/10.3390/arts10020034.

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This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the developmen

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刘, 思鲁. "Color Characteristics Analysis and Restoration for Chinese Painting and Calligraphy." Journal of Image and Signal Processing 12, no. 01 (2023): 9–20. http://dx.doi.org/10.12677/jisp.2023.121002.

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Chang, Yu Hsuan, Jiann Sheng Jiang, and Min Min Lin. "Application of Choquet Integral-Importance-Performance Analysis and TOPSIS Methods in Approaching the Preference Factors of Calligraphy and Seal Engraving Imagery." Journal of Contemporary Educational Research 8, no. 5 (2024): 276–88. http://dx.doi.org/10.26689/jcer.v8i5.7081.

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Classical Chinese characters, presented through calligraphy, seal engraving, or painting, can exhibit different aesthetics and essences of Chinese characters, making them the most important asset of the Chinese people. Calligraphy and seal engraving, as two closely related systems in traditional Chinese art, have developed through the ages. Due to changes in lifestyle and advancements in modern technology, their original functions of daily writing and verification have gradually diminished. Instead, they have increasingly played a significant role in commercial art. This study utilizes the Eva

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Zhu, Jia, and Zhonghua Pan. "A Brief Discussion on the Art Education of the Qing Imperial Family." Communications in Humanities Research 16, no. 1 (2023): 46–53. http://dx.doi.org/10.54254/2753-7064/16/20230083.

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Throughout the history of the Qing Dynasty, its rulers showed great enthusiasm for literary and artistic pursuits, leading to the emergence of numerous imperial family members with talent in painting and calligraphy. This phenomenon holds significant importance for dynasties governed by ethnic minorities, making it a subject worthy of study. In this paper, the author explores the educational institution for imperial princesthe "Shangshufang" (the Imperial Study) to understand the curriculum they studied. Furthermore, the focus shifts to the art education, as not all imperial princes were requi

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Huang, Xianfeng, Shangyou Wei, and Shangyu Zhu. "Study on Daylighting Optimization in the Exhibition Halls of Museums for Chinese Calligraphy and Painting Works." Energies 13, no. 1 (2020): 240. http://dx.doi.org/10.3390/en13010240.

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With respect to the light environment of the exhibition halls for Chinese calligraphy and painting works in the museums, the daylighting design in these display spaces have been studied, the key design factors, such as daylighting pattern, and arrangement of exhibits are examined and explored by field trips. Then, the display spaces are divided into diverse categories whose sky light environments are predicted by the demands of exhibits. Under changed daylighting situations, the daylight parameters, i.e., daylight factor (DF) and DF uniformity, discomfort glare index (DGI) and luminance distri

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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.

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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.

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I, Lo-fen. "Learning by Doing: Experience of Teaching Text and Image Studies Course at Stanford University." ERUDITE: Journal Of Chinese Studies And Education 1, no. 2 (2020): 77–88. http://dx.doi.org/10.37134/erudite.vol1.2.3.2020.

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‘Learning by doing,’ a pedagogical theory developed by American pragmatist John Dewey (1859-1952), has sent reverberations through educational systems in the 20th century. As a teacher, sticking to the ‘Learning by doing’ principle has proved to be highly productive in my educational practices. This paper puts emphasis on my experience of teaching ‘Text and Image Studies’ course at Stanford University. Such a research approach is currently theorised by myself, aiming at exploring the visual perception of texts and images. With detailed course plans, this paper provides three specific teaching

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Шишкова, Е. Г., К. Ф. Самосюк, А. О. Дивлеткильдеева, et al. "Restoration of 18th century Chinese album." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 254–69. http://dx.doi.org/10.46748/arteuras.2021.04.020.

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Цель данного исследования — познакомить специалистов, занимающихся изучением и реставрацией произведений китайской живописи, с опытом, полученным в Государственном Эрмитаже. В процессе изучения текстов «Альбома рисунков. Путешествие императора Цяньлуна на юг Китая» хранителем К.Ф. Самосюк была установлена дата его создания — 1751–1758 годы. Альбом с китайской живописью был исследован всесторонне: проведены физико-химические и биологические исследования, которые позволили определить методику его реставрации. В России мало информации о реставрации альбомов такого рода. Исследование и реставрация

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

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

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Sun, Qikai. "The Exploration of Su Shi’s Life Values." Studies in Linguistics and Literature 6, no. 2 (2022): p16. http://dx.doi.org/10.22158/sll.v6n2p16.

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Su Shi is a famous Chinese poet who is a household name and arguably one of the greatest exponents of Chinese poetry, as well as being highly accomplished in poetry, lyrics, prose, calligraphy and painting. Through the study of Su Shi, we can find out the unique thoughts of this great writer on the values of life, which are important for our understanding of the development of poetry and the social history of the Northern Song Dynasty.

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Mi, Xiao-Feng, Min Tang, and Jin-Xiang Dong. "Droplet: A virtual brush model to simulate Chinese calligraphy and painting." Journal of Computer Science and Technology 19, no. 3 (2004): 393–404. http://dx.doi.org/10.1007/bf02944909.

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Zhang, Xinyu. "Reflections on the Traditional Chinese Art of “Leaving Blank”." Frontiers in Humanities and Social Sciences 2, no. 10 (2022): 35–39. http://dx.doi.org/10.54691/fhss.v2i10.2375.

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The art of "leaving blank" has been deeply influenced by traditional Chinese culture, and at the same time, the art of "white space" has also influenced the creation of many works of art to a greater or lesser extent. This paper briefly describes and introduces the application of traditional Chinese "leaving blank" in calligraphy, Chinese painting, opera and music, and further considers the relationship between the art of "leaving blank" in various literary works and traditional Chinese culture, as well as how the traditional Chinese philosophical ideas contained in various literary works will

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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak, and Jarosław Rogóż. "A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)." Applied Sciences 13, no. 4 (2023): 2414. http://dx.doi.org/10.3390/app13042414.

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This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods sup

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Khomutovskiy, M. I. "THE MEANING AND SYMBOLISM OF ORCHIDS IN CHINESE CULTURE." Landscape architecture in the globalization era 1 (2023): 30–49. http://dx.doi.org/10.37770/2712-7656-1-30-49.

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The article provides data on the symbolic significance of the orchid in the culture of China, where it was given a special place. She has become a source of inspiration for many masters in the field of painting, calligraphy, and music. Thanks to Confucius, the orchid began to symbolize the nobility and steadfastness of a person's character. It was in China that the first methods of orchid cultivation were developed, which have been perfected for several centuries.

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Khomutovskiy, M. I. "THE MEANING AND SYMBOLISM OF ORCHIDS IN CHINESE CULTURE." LANDSCAPE ARCHITECTURE IN THE GLOBALIZATION ERA, no. 1 (2023): 30–49. http://dx.doi.org/10.37770/2712-7656-2023-1-30-49.

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The article provides data on the symbolic significance of the orchid in the culture of China, where it was given a special place. She has become a source of inspiration for many masters in the field of painting, calligraphy, and music. Thanks to Confucius, the orchid began to symbolize the nobility and steadfastness of a person's character. It was in China that the first methods of orchid cultivation were developed, which have been perfected for several centuries.

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Gao, Hui. "Research on All-round Education in Ancient Book Theory." Economic Society and Humanities 1, no. 3 (2024): 48–56. http://dx.doi.org/10.62381/e244309.

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Traditional Chinese literary and artistic criticism usually unifies moral standards and artistic standards. This criticism emphasizes the consistency of human and artistic style, closely combines art and life, and evaluates artistic works with moral standards as an important aspect of artistic standards. Like literature and art, calligraphy is closely related to morality. In ancient calligraphy criticism, the personality and morality of calligraphers are usually regarded as an important standard to judge the achievement of calligraphy. Therefore, there have been sayings such as "the book is th

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