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Artykuły w czasopismach na temat „Chinese traditional art substrates”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 lutego 2022

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1

Liu, Fangchen, Ling Li, Jian Chen, Ying Wu, Yongbing Cao, and Ping Zhong. "A Network Pharmacology to Explore the Mechanism of Calculus Bovis in the Treatment of Ischemic Stroke." BioMed Research International 2021 (March 10, 2021): 1–20. http://dx.doi.org/10.1155/2021/6611018.

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Background. Calculus Bovis is a valuable Chinese medicine, which is widely used in the clinical treatment of ischemic stroke. The present study is aimed at investigating its target and the mechanism involved in ischemic stroke treatment by network pharmacology. Methods. Effective compounds of Calculus Bovis were collected using methods of network pharmacology and using the Bioinformatics Analysis Tool for Molecular Mechanism of Traditional Chinese Medicine (BATMAN-TCM) and the Traditional Chinese Medicine Systems Pharmacology Database and Analysis Platform (TCMSP). Potential compound targets w

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Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 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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Weijia, Dong. "On the Innovative Art of Chinese Traditional Painting." Fine Art Version 2, no. 3 (2020): 66–72. http://dx.doi.org/10.35534/fav.0203012c.

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Shen, Xianghua, and Eun Kyung Park. "Fashion Design Applying Traditional Chinese Paper-Cut Art." Journal of The Korean Society of Fashion Design 15, no. 3 (September 30, 2015): 87–100. http://dx.doi.org/10.18652/2015.15.3.6.

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Wang, Ze-Liang, and Eun-Mi Choi. "Production of Art Makeup & Nail Art Design Using Chinese Traditional Geometry Patterns." Korean Society of Beauty and Art 18, no. 2 (June 30, 2017): 283–92. http://dx.doi.org/10.18693/jksba.2017.18.2.283.

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Zavyalova, Anna. "“Spring Palace Paintings” in Chinese Traditional Painting." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 414–24. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-414-424.

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The article considers the erotic genre of traditional Chinese art, chun gong hua (‘spring palace paintings’), which was developed in painting. The study uses comparative - historical, cultural and historical methods, as well as methods of systematization, analysis and synthesis. The author traces the formation and evolution of the genre, reveals its specific features. The paper analyzes the system of artistic images of the works of chun gong hua, reveals that they are based on the ideas of Taoism, which are visualized through painting, which made it possible to reveal a second, meaningful plan

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Xu, Miao-Miao. "Art Design for a Mobile Phone Using Chinese Traditional Elements." Journal of the HCI Society of Korea 3, no. 1 (May 31, 2008): 39. http://dx.doi.org/10.17210/jhsk.2008.05.3.1.39.

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Wang, Xiang. "Exploration of Chinese Traditional Furniture Art Form in Practical Teaching." IOP Conference Series: Materials Science and Engineering 573 (August 2, 2019): 012083. http://dx.doi.org/10.1088/1757-899x/573/1/012083.

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Zhou WuZhong and Chen Xiaoyan. "A SURVEY OF ROCKERY ART HISTORY IN TRADITIONAL CHINESE GARDENS." Acta Horticulturae, no. 881 (November 2010): 287–94. http://dx.doi.org/10.17660/actahortic.2010.881.38.

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田, 佳妮. "On the Development of Chinese Traditional Symbols in Contemporary Art." Art Research Letters 07, no. 04 (2018): 72–76. http://dx.doi.org/10.12677/arl.2018.74009.

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Mingzi, Zhang. "Hieroglyphics in the Traditional Chinese Art: Functions and Aesthetic Meaning." Manuskript, no. 5 (March 2021): 1028–34. http://dx.doi.org/10.30853/mns210158.

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Tang, Xi Ya, Chen Zhong, and Lin Wu. "The Research of Column Base Culture in Chinese Traditional Architectures." Advanced Materials Research 1065-1069 (December 2014): 2661–68. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2661.

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As the traditional construction of stress components, column bases became a typical representative of the perfect unity of Chinese traditional architectural structure component and art component with its rich shapes and vivid carving. For thousands of years, column bases bearing the essence of Chinese traditional culture and religion in the form of objects, and it also showing the exquisite building techniques of Chinese architects in visual form of art. The evolution of pillar bases is not only the epitome of the development of Chinese traditional architectural decorative art, but also the in

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Dong, Zheng Lei. "On the Application of Traditional Elements in Modern Environmental Art Design." Applied Mechanics and Materials 357-360 (August 2013): 396–99. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.396.

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The traditional Chinese elements, which are the embodiments of Chinese culture, should be naturally applied into modern environmental art design. And the residents psychological needs should be put in the first place in the design process because their natural emotions are closely related to the national culture. So during the design process, designers are required to absorb the essence of traditional Chinese elements and to bring forth new ideas in order to make the environmental art design consistent with the development of Chinese traditional culture.

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Tang, Xi Ya. "Decorative Arts of Gates Detail Components in Chinese Traditional Architecture." Advanced Materials Research 860-863 (December 2013): 1237–43. http://dx.doi.org/10.4028/www.scientific.net/amr.860-863.1237.

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Gate decoration art is one of Chinese traditional architecture decoration. It not only has own structure form and material form of building passageway against with that of other nations in the world, but so is a cultural background miniature of Chinese nation, and it is a material carrier of folk culture and decorative pattern. Decorative arts of gates detail components in Chinese traditional architecture have contained abundant aesthetic value and cultural connotation, all of this endowed gate decoration art with secret oriental color.

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Martynova, N. V., and D. R. Slipeckaya. "THE PHENOMENON OF TRADITIONAL CHINESE ORNAMENTAL ART “JIANZHI”: TRADITIONS AND NOWADAYS." ASJ. 1, no. 37 (June 11, 2020): 12–17. http://dx.doi.org/10.31618/asj.2707-9864.2020.1.37.5.

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The article considers the phenomenon ofChinese ornamental art, called “jianzhi”. Well-being in symbols of this art, Chinese paper-cutting, comes from ornamental figures, and they, in turn, reflect national mythological and religious ideas, life style and reality. It is a universal language of national mentality. Ancient Chinese with special attitude created paper compositions, because they believedthat it is an amulet. That’s why their semantics is so different and deep to take the paper-cutting works, also famous as “paper-lace” as national pride, which continue its development nowadays.All t

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Li, Xiaobo, Zhongjuan Tian, Ye Wang, Guowen Ye, and Zhen Ye. "Heterogeneous Cloud Storage Based Platform of Chinese Traditional Folk Art Resources." International Journal of Multimedia and Ubiquitous Engineering 12, no. 5 (May 31, 2017): 91–100. http://dx.doi.org/10.14257/ijmue.2017.12.5.08.

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Qiu, R. Z. "Medicine - The Art of Humaneness: On Ethics of Traditional Chinese Medicine." Journal of Medicine and Philosophy 13, no. 3 (August 1, 1988): 277–99. http://dx.doi.org/10.1093/jmp/13.3.277.

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Shi, Yan, Fangtian Ying, Xuan Chen, Zhigeng Pan, and Jinhui Yu. "Restoration of traditional Chinese shadow play-Piying art from tangible interaction." Computer Animation and Virtual Worlds 25, no. 1 (July 31, 2013): 33–43. http://dx.doi.org/10.1002/cav.1530.

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Bingyu, Li, and Jongwon Choi. "The Combination of Chinese Traditional Pentatonic Rhythm and New Media Art." TECHART: Journal of Arts and Imaging Science 8, no. 3 (August 31, 2021): 1–5. http://dx.doi.org/10.15323/techart.2021.8.8.3.1.

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Tkachenko, Kirill. "On creating specialized botanical gardens of traditional Chinese medicinal plants." HORTUS BOTANICUS 14, no. 14 (January 2019): 156–63. http://dx.doi.org/10.15393/j4.art.2019.6084.

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Wang, Haojun. "Inheritance and Update of Chinese Traditional Windows in Landscape Architecture." E3S Web of Conferences 308 (2021): 02024. http://dx.doi.org/10.1051/e3sconf/202130802024.

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Chinese Architecture has a long history, which makes Chinese buildings more than shelters. Chinese traditional windows are just like buildings, having more meaningful contents. They have very high cultural and artistic significance. However, nowadays, when the word “window” is mentioned, most people regard it as a structure used for letting in the natural light. Chinese traditional windows are gradually replaced by modern windows, especially after the 1980s, for traditional windows are somehow not satisfied with the demands of modern life. After the reform and opening, China has learned the te

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Poškaitė, Loreta. "Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics". Art History & Criticism 16, № 1 (1 грудня 2020): 145–58. http://dx.doi.org/10.2478/mik-2020-0011.

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SummaryThe uniqueness of Chinese traditional art and aesthetics is often presented by the popular Chinese saying “art is manifestation of Dao”, which could mean manifestation of truth or authenticity, since Dao 道 in Classical Daoism was understood as authentic being and a source of authenticity. However, the meaning of authenticity/truth (zhen 真 ) in Chinese aesthetics and theories of art seems less discussed, and far more complicated, than the term Dao. This article argues that zhen is no less important for understanding the nature of artistic creativity and expression in Chinese arts and the

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

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

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Hung, Keung, and Jean M. Ippolito. "Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics." Leonardo 53, no. 1 (February 2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.

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The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.

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Robertson, Iain. "The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art." Arts 9, no. 4 (November 25, 2020): 121. http://dx.doi.org/10.3390/arts9040121.

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The purpose of this paper is to determine whether there is an incipient market in China strong enough to replace the global market for Chinese contemporary art. The (informal) market I have identified supports traditional methods of transaction and practice. It charts a course twixt slavish emulation of the past and unqualified acceptance of the present. To demonstrate the contemporary application of this trend, I introduce three case studies, which examine the attitude and behaviour of three Chinese artists active between 2005 and 2015. This period marks the transformation of China from an as

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WANG, Xuxiao. "Lucky Motifs in Chinese Folk Art: Interpreting Paper-cut from Chinese Shaanxi." Asian Studies 1, no. 2 (November 29, 2013): 125–43. http://dx.doi.org/10.4312/as.2013.1.2.125-143.

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Paper-cut is not simply a form of traditional Chinese folk art. Lucky motifs developed in paper-cut certainly acquired profound cultural connotations. As paper-cut is a time-honoured skill across the nation, interpreting those motifs requires cultural receptiveness and anthropological sensitivity. The author of this article analyzes examples of paper-cut from Northern Shaanxi, China, to identify the cohesive motifs and explore the auspiciousness of the specific concepts of Fu, Lu, Shou, Xi. The paper-cut of Northern Shaanxi is an ideal representative of the craft as a whole because of the rela

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Ma, Haili. "Traditional opera consumption as the new game of distinction for the Chinese middle class." International Journal of Cultural Studies 22, no. 3 (March 14, 2018): 400–416. http://dx.doi.org/10.1177/1367877918759711.

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Utilizing theories of Becker’s art worlds, Veblen’s conspicuous consumption and Bourdieu’s capital forms, this article critically examines the formation of a new art world of the traditional Chinese opera Kunqu, with university students turned middle class as identified consumers. It argues that the art world has been developed through the innovation of artists working within the tight ideological control of the market. Only artists who support party-state ideological evolution, allowing access to ‘central bank’ capital in the forms of university curriculum, opera house resources and land use,

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Qi, Hao, Juan Li, and Qiao Mei Zhang. "Study on the Jingdezhen Ceramic Materials." Applied Mechanics and Materials 329 (June 2013): 96–100. http://dx.doi.org/10.4028/www.scientific.net/amm.329.96.

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As an ancient creative medium in the traditional Chinese art, ceramic material has a long and glorious history, which is an important part of traditional Chinese cultural resources. Now re-examine the folk art, ceramic materials show understanding of the colorful ceramic material morphology expressive and unique charm of materials technology, the combination of art and technology, the unity of the folk art and ceramic materials. It has become an important issue. Millennium Jingdezhen, for example, this paper studies folk art show in the ceramic material.

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Lu, Bin. "An Analysis of the Value of Chinese Folk Traditional Culture in Art Design Education in Contemporary Colleges and Universities." Journal of Educational Theory and Management 1, no. 1 (October 16, 2017): 131. http://dx.doi.org/10.26549/jetm.v1i1.590.

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With the development and expansion of China's economy, people's artistic and cultural forms have also been significantly improved and developed. At the same time, the educational development of art design in colleges and universities has also become a common trend, for the shaping of the Chinese women's top of the artistic design concept has laid a good cornerstone. At the same time, the Chinese nation after five thousand years of development, the formation of the vast treasures of art and culture, in the origins of circulation is still endless, to the later Chinese children to provide valuabl

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Becker, Tania. "So Sorry––Never Sorry. Ai Weiwei’s Art between Tradition and Modernity." Asian Studies, no. 1 (December 1, 2011): 113–26. http://dx.doi.org/10.4312/as.2011.-15.1.113-126.

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Ai Weiwei’s 艾未未 (b. 1957) artistic expression revolves around his use of traditional Chinese techniques to create new designs and forms, shaping traditional materials into contemporary configurations. In the face of obstruction from state officials and local politicians, Ai Weiwei exposes himself to considerable personal risk in order to continue his activities as an artist and stay loyal to his convictions. This paper examines the roots of Ai Weiwei’s work in Chinese art history and looks at how the artist has deliberately adapted traditional motifs to bring about a sense of alienation. Ai We

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Tang, Jun, and Yu Lin Zeng. "Intelligent Traditional Chinese Hairstyle System in Computer Animation." Applied Mechanics and Materials 530-531 (February 2014): 915–18. http://dx.doi.org/10.4028/www.scientific.net/amm.530-531.915.

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Traditional Chinese hairstyle is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese hairstyle model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese hairstyle database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese hairstyle, this study develops an Intelligent Traditional Chinese Hairstyle System by MEL, which can display the condition of traditional Chinese hairstyle models i

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Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.

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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. S

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Chen, Wu Ying, and Tian Lu Fang. "Applications of Chinese National Culture in Interior Design." Applied Mechanics and Materials 209-211 (October 2012): 276–78. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.276.

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Chinese national culture is really broad and profound. Applying national culture and the designing concept to modern interior design will promote the combination of modern and traditional interior design style. This paper expounds the applications of Chinese traditional national culture in interior design, pointing at aspects like using the thought for reference, the use of traditional symbols as adornment element, reflecting the furnishing art with rich cultural connotation and so on.

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Sur, Heui Yeon. "Strategies for the Chinese Traditional Art Market in the 4th Industrial Revolution." Journal of Arts and Cultural Management 10, no. 2 (December 30, 2017): 59–77. http://dx.doi.org/10.15333/acm.2017.12.30.59.

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Wang, Shengpeng, Yangyang Hu, Wen Tan, Xu Wu, Ruie Chen, Jiliang Cao, Meiwan Chen, and Yitao Wang. "Compatibility art of traditional Chinese medicine: From the perspective of herb pairs." Journal of Ethnopharmacology 143, no. 2 (September 2012): 412–23. http://dx.doi.org/10.1016/j.jep.2012.07.033.

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Seviset, Somchai. "The Role of Chinese Art in Influencing Thai Traditional Cupboard Furniture Designs." Applied Mechanics and Materials 556-562 (May 2014): 6631–37. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6631.

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China has had her relations with Thailand for many centuries since the Sukhothai Period (A.D. 1250-1438) including trade contact, diplomatic relations set forth as per an abundance of documentary evidences, architectural works, and artistic object with significant artistic evidences of a long history of Thai-China relations. In Ayutthaya Period (A.D.1350-1767) which was corresponding to China’s Ming Dynasty (A.D. 1368-1644) there were Xi Yuan’s supporting written literature (A.D. 1565-1628). He was a Chinese historian who noted that China sent a large junk ship for trade to Ayutthaya fetching

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Feng, Yi, Zhaohui Wu, Xuezhong Zhou, Zhongmei Zhou, and Weiyu Fan. "Knowledge discovery in traditional Chinese medicine: State of the art and perspectives." Artificial Intelligence in Medicine 38, no. 3 (November 2006): 219–36. http://dx.doi.org/10.1016/j.artmed.2006.07.005.

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Tang, Jun, and Yan Meng. "Research and Implementation of Intelligent Traditional Chinese Headdress System in Computer Animation." Applied Mechanics and Materials 519-520 (February 2014): 473–76. http://dx.doi.org/10.4028/www.scientific.net/amm.519-520.473.

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Traditional Chinese headdress is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese headdress model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese headdresses database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese headdress, this study develops an intelligent Traditional Chinese Headdress system by MEL, which can import models into the scene and change attributes related wi

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Qin, Wenzhi. "The Contemporary Transformation of Art—Talking about the Imagery Sculpture." Review of Educational Theory 2, no. 3 (July 2, 2019): 11. http://dx.doi.org/10.30564/ret.v2i3.778.

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As the core feature of Chinese art, imagery runs through the whole process of art development. This paper discusses the inheritance and innovation of traditional imagery style, the content of sculpture art in the process of modernization, and puts forward personal understanding of the development, innovation and transformation of contemporary sculpture. The contemporary sculpture art is transforming from traditional mysterious imagery to clear and orderly style, this process is an innovation and transformation based on inheriting traditional art style.

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Yang, Xiu-Feng, and Wei Zheng. "A Study of the Development and Promotion of Chinese Opera Movie in Rural Areas: An Investigation and Reflection on Hunan Rural Movie of Local Opera Project in China." International Journal of English and Cultural Studies 3, no. 1 (May 11, 2020): 41. http://dx.doi.org/10.11114/ijecs.v3i1.4849.

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Chinese opera movie is a special form of art developed from the combination of traditional Chinese opera and cinematographic art. In the inheritance and development model represented by “Hunan Rural Movie of Local Opera Project”（also called “Hunan Local Opera Movie Project”）, Chinese public administrators, traditional opera artists and opera movie makers target rural areas, adhere to traditional opera culture, and explore new ways to develop and promote opera movie. They put effort into upholding orthodox opera and innovating for audience, conducting a beneficial practice of making traditional

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Yao, Liang, Zhe Jin, Chengsheng Mao, Yin Zhang, and Yuan Luo. "Traditional Chinese medicine clinical records classification with BERT and domain specific corpora." Journal of the American Medical Informatics Association 26, no. 12 (September 24, 2019): 1632–36. http://dx.doi.org/10.1093/jamia/ocz164.

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Abstract Traditional Chinese Medicine (TCM) has been developed for several thousand years and plays a significant role in health care for Chinese people. This paper studies the problem of classifying TCM clinical records into 5 main disease categories in TCM. We explored a number of state-of-the-art deep learning models and found that the recent Bidirectional Encoder Representations from Transformers can achieve better results than other deep learning models and other state-of-the-art methods. We further utilized an unlabeled clinical corpus to fine-tune the BERT language model before training

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Zhang, Yong. "A Brief Discussion about Effects of Chinese Traditional Culture on Contemporary Chinese Architectural Design." Applied Mechanics and Materials 507 (January 2014): 83–86. http://dx.doi.org/10.4028/www.scientific.net/amm.507.83.

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In times of the global integration of economy and culture, the preservation of the value of national traditional culture and the variety of architectural culture is of great significance for the development of national culture. Design is supposed to be the perfect combination of technology and art, which cannot be separated from the cultural factors. Design is influenced and constrained by culture and in turn reflects the characters of culture of the time. Design of any age is closely related with the local culture. The traditional culture of nationality, regionalism and sociality not only aff

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Chen, Chen. "Research on the Application of Chinese Traditional Elements in Contemporary Interior Design." Lifelong Education 9, no. 6 (September 28, 2020): 103. http://dx.doi.org/10.18282/le.v9i6.1312.

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China has a long history of history and culture, and it has gathered a variety of cultural elements and symbols in the long history. The cultural connotation and spiritual heritage presented by traditional Chinese decorative elements provide a source and motivation for the innovative development of the modern decoration industry. Therefore, drawing on traditional elements to carry out innovative exploration of the art design has become an important outlet for the development of the industry. This article aims at exploring a sustainable development path for China’s art design field by analyzing

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Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (April 24, 2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.

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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the dif

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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and

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Zhang, Biyun. "Research on Flower-and-bird Painting in Art Therapy of Depression." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 79–84. http://dx.doi.org/10.33838/naoma.29.2020.79-84.

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Flower-and-bird painting (FABP) is one of the traditional branches of Chinese painting. Traditional Chinese FABP reflects Chinese national aesthetic ap-preciation of natural creatures. It can express the author's thoughts and feelings, re-flect the spirit of time and social life. In view of the low efficiency and unobvious results of the current language-psychological treatment of depression, this paper stu-dies the historical develop- ment and artistic characteristics of FABP, then considers the emotional disorders of patients with depression to analyze the ways and effects of using FABP in d

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Qian, Wei Qun, and Zhong Cui Zhu. "Facade Furnishings- Preliminary Study on the Art and Culture of the Chinese Doorknocker Decoration." Advanced Materials Research 472-475 (February 2012): 1551–54. http://dx.doi.org/10.4028/www.scientific.net/amr.472-475.1551.

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Most of Chinese folk houses have the “reserved” feature. As a partition of residences inside and outside, the door has a strong cultural flavor in decorative arts. The image of Chinese doorknocker in the door decoration highlights the imposing of “true”, “god”, “beauty” characters, and it becomes the carrier of traditional folk culture and “religious” culture. This door decoration implies an ancient and deep idea, and reflects the simple emotion of the public and it is the architectural heritage with the value of Chinese traditional culture.

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LU, CHI CHANG, and PO HSIEN LIN. "A Product as a Poem: A Case Study of a Bird-shaped Teapot Design Based on Traditional Chinese Poetic Aesthetics." Journal of Arts and Humanities 7, no. 3 (March 9, 2018): 41. http://dx.doi.org/10.18533/journal.v7i3.1348.

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<p>The concept of emotional design has become the main focus in the current trend of perceptual consumption. After reviewing the historical development of art, we determined that traditional Chinese art emphasizes subjective expression and favor poetics. Poetics are image based, and personal feelings are used to analyze and understand external objects. These feelings are expressed implicitly through symbols or metaphors. Classical Chinese poetic aesthetic theory is based on nearly 2,000 years of history and, thus, comprises a myriad of valuable ideas. The creator of the bird-shaped teapo

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Jin, Chun-Ji, and Kyu-Jung Kim. "A Study on Traditional Art Expression in Chinese Myth Martial MMORPG Character Design." Journal of Korea Game Society 13, no. 2 (April 20, 2013): 119–30. http://dx.doi.org/10.7583/jkgs.2013.13.2.119.

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Jian, Muwei, Junyu Dong, Maoguo Gong, Hui Yu, Liqiang Nie, Yilong Yin, and Kin-Man Lam. "Learning the Traditional Art of Chinese Calligraphy via Three-Dimensional Reconstruction and Assessment." IEEE Transactions on Multimedia 22, no. 4 (April 2020): 970–79. http://dx.doi.org/10.1109/tmm.2019.2937187.

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