Thematische Bibliographien / Chinese artists

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Auswahl der wissenschaftlichen Literatur zum Thema „Chinese artists“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. August 2024

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Zeitschriftenartikel zum Thema "Chinese artists"

Zhao, Shuai. „Philosophical Foundations of Contemporary Chinese Neorealism“. Общество: философия, история, культура, Nr. 2 (21.02.2024): 93–98. http://dx.doi.org/10.24158/fik.2024.2.12.

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Chinese new realism painting is formed under the interaction of western philosophy and Chinese native phi-losophy. Philosophical and cultural theories have had a significant impact on artists’ understanding of real-world problems and the way they conceive art. For some contemporary Chinese artists, philosophical and cul-tural theories have become an integral part of their professional outlook. Neorealist artists depict objective reali-ty according to their feelings, emotions and spiritual values. This paper points out three philosophical concepts that influence Neo-Realism philosophy: symbol philosophy, value philosophy and life philosophy. These philo-sophical schools have influenced the most important conceptual attributes of creation and reflected the particu-larity of neo-realists’ cognition of the world. The particularity of the philosophical and cultural interpretation of the new realist artist’s creation lies in the artist’s high subjectivity, criticism and individualization. It is this philo-sophical premise that opens up a broad space for free creation, showing the subjective understanding of reali-ty, reflecting the inner world of the individual and the interpretation of reality in the works.

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Meng, Qian. „The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei“. Arts Studies and Criticism 3, Nr. 2 (06.07.2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.

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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.

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Chai, Fangyuan, Kaiping Peng und Feng Yu. „Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks“. Social Behavior and Personality: an international journal 44, Nr. 4 (18.05.2016): 541–54. http://dx.doi.org/10.2224/sbp.2016.44.4.541.

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There are few studies in which the focus is on cognitive determinants of artwork bidding. Using a micro approach, we explored factors that may influence bidders' offering from a psychological perspective. The 157 participants rated 25 paintings on the price they were willing to offer for works by famous Chinese artists executed in the traditional Chinese style and variants of the same works by a modern Chinese artist working in adaptations of the style of famous Western artists. Results showed that for both the Chinese and Western-style paintings in 3 price anchoring and 3 price nonanchoring conditions, 3 factors affected the bidding for the artworks: positive attraction, artistic quality, and cognitive stimulation. Of these factors positive attraction and artistic quality were the primary influences. In each condition, positive attraction was always the positive predictor of the bidders' offering, emphasizing the importance of the artwork's aesthetic value. In contrast, artistic quality deterred participants from bidding. In addition, whether or not there was a reference-point price made a difference in the traditional Chinese group of artworks. Bidders wished to offer a higher price only if the price had been high for the previous example of this artist's work that had sold.

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Zhang, Yue. „Governing Art Districts: State Control and Cultural Production in Contemporary China“. China Quarterly 219 (24.07.2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.

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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.

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Kyan, Winston. „The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora“. Journal of Contemporary Chinese Art 9, Nr. 1 (01.07.2022): 157–75. http://dx.doi.org/10.1386/jcca_00060_1.

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This article discusses the work of Yan Xing, who has established an international career as a Chinese diaspora artist. This transnational identity, however, raises certain questions, including how Yan Xing’s work changed from when he lived in China to when he became a US resident in 2015, and how these changes differ from the globalized art of earlier diasporic Chinese artists. Accordingly, this article first argues that overt references in Yan Xing’s earlier work to sex and sexuality shift to an exploration of desire, truth and fiction in his later work that aligns with discourses on queer diasporas and minor theories. Secondly, this article argues that the new generation of Chinese diaspora artists live and work in a different political climate from the earlier generation of Chinese diaspora artists; the new generation works in an art world in which they are not exoticized objects, but actively participates in the making of a global visual language.

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Clunas, Craig. „Chinese Art and Chinese Artists in France (1924-1925)“. Arts asiatiques 44, Nr. 1 (1989): 100–106. http://dx.doi.org/10.3406/arasi.1989.1262.

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Pan, Gaojie. „Art practices of the Chinese women diaspora: On cultural identity and gender modernity“. Journal of Contemporary Chinese Art 9, Nr. 1 (01.07.2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.

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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.

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Cui, Zhenye. „Collision and Challenge: Influences of Sociocultural Contexts in Early 20th Century China on Storm Society Artists Exploration and Practice of Western Modern Art“. Communications in Humanities Research 4, Nr. 1 (17.05.2023): 596–602. http://dx.doi.org/10.54254/2753-7064/4/20220896.

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This essay engages with the topic of Chinese modern artists introduction and adaptation of Western modern art. This essay conducts its analysis on a modern artist group named the Storm Society (JuelanShe) active in 1920s and 1930s China. Inspired by a social art historical approach, this essay places its focus on the sociocultural contexts specifically present during the active years of Storm Society artists. Three factors are identified to be influential challenges in these artists efforts of exploring and introducing Western modern art to China: Cultural conservatism, inhospitable social environment, and Japanese Invasion in World War II. On the level of academic study about Chinese modern art, this essay highlights the importance to take into account specific cultural and social contexts in analysis of its history.

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Kruglova, Maria S. „Trash-art in China and Korea: Struggle for the Cultural Heritage — the Case of Porcelain“. Oriental Courier, Nr. 4 (2022): 117. http://dx.doi.org/10.18254/s268684310023833-4.

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The article discusses examples of trash art created by contemporary Chinese and Korean artists. In view of the environmental and social agenda, contemporary artists often use materials once used for completely different purposes. Chinese and Korean artists are no exception here. The author considers examples of the broken porcelain used to create new art objects created in China and Korea. Beijing-based artist Li Xiaofeng creates wearable dresses from broken porcelain from the Song, Ming, and Qing dynasties, and works with new broken porcelain to create designs with fashion houses such as Lacoste and Alexander McQueen. Korean ceramist Yee Soo Kyung takes broken porcelain to create oddly shaped vases and sculptures using the traditional Japanese kintsugi restoration method. Recycled China creates art panels and functional flowerpots from scrap Jingdezhen porcelain and aluminum. Lei Xue works in a different plane of trash art. The artist creates products from new materials, imitating garbage, for example, crumpled tin cans. At the same time, the author paints his products with patterns traditional for Chinese porcelain. Author concludes that, unlike Western artists concerned about environmental issues, Eastern ones are more often concentrated on the preservation of cultural heritage. They are trying to present old, crashed traditional art objects in a new, more attractive light for modern society needs, as well as to fit objects into the modern social agenda, more precisely, to make them “fashionable”.

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Canbolat, Ayse. „Over Thousands: Ai Weiwei and Antony Gormley in Ceramic Perspective“. New Trends and Issues Proceedings on Humanities and Social Sciences 4, Nr. 11 (28.12.2017): 214–21. http://dx.doi.org/10.18844/prosoc.v4i11.2877.

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Mass production that started with the Industrial Revolution, and the art movements that successively appeared with modernism and the psychological pressure of World Wars I and II affected the artist’s way of expression. This development process in art started with Dada, and was followed by Abstract Expressionism, Pop Art, Conceptual Art and Neorealism. During this period, the perception of uniqueness of an artwork was surpassed an an object or item from daily life started to be exhibited in art galleries. Artworks were made using an object in a composition, and this tendency started to be used by artists. Two artists who made their projects in ceramics are chosen in the research, and it is discussed why they used thousands of objects, and the conceptual perception of the work through the examples of ‘Sunflower Seeds’ by Chinese artist Ai Weiwei and ‘Field in the British Isles’ by English artist Antony Gormley. Keywords: Ceramic art, Ai Weiwei, Antony Gormley, installation, thousands.

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Dissertationen zum Thema "Chinese artists"

Zhou, Yan. „The centrality of culture in art the contemporary challenge to Chinese artists, particularly Wenda Gu /“. Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117046188.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xvii, 298 p.; also includes graphics (some col.) Includes bibliographical references (p. 211-217). Available online via OhioLINK's ETD Center

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Shen, Kuiyi Wu Changshuo. „Wu Changshi and the Shanghai art world in the late nineteenth and early twentieth centuries“. access full-text, 2000. http://libweb.cityu.edu.hk/cgi-bin/ezdb/umi-r.pl?9971636.pdf.

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Ma, Nancy. „Woman•Horse: Identifying Chinese Women Artists’ Attitudes Towards Feminism Through a Reclamation of Chinese Women’s History“. Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16568.

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As a Chinese woman who was once oppressed, and may still be, this thesis project is my initiative to reclaim dignity for those who were oppressed and honour those who helped improve women’s status in Chinese history. Linda Nochlin asking, ‘Why have there been no great women artists?’ inspired me to question Why have there been no great Chinese feminist artists? Simultaneously, Gerda Lerner’s argument on the ‘absence of Women’s History’ motivated me to reclaim Chinese women’s history. This thesis attempts to answer my question through an exploration of women’s contributions to Chinese history. This thesis explores women’s abilities prior to their oppression in the patriarchal order of China’s past. It portrays women’s thousand-year struggle against the patriarchal backdrop, wherein Chinese women and female artists inherited the traits projected onto them. I highlight the gender inequality experienced by contemporary Chinese female artists in the global art world, and their self-identified struggle to be named as ‘feminist artist,’ revealing Chinese women are still submissive to men in ‘Post-Patriarchy.’ In my attempt to examine gender equality issues, many scholars’ and artists’ works are utilized, including Bao Jialin, Ch’ü T’ung-Tsu, Amelia Jones, Li Youning, Li Xueqin, Liang Qichao, Lu Xun, Sally E. Merry, Laura Mulvey, Elizabeth A. Sackler, Sally J. Scholz, Wang Ermin, Wong Hon-lap, Xu Hong, Yuan Ke, and Zhuangzi. The artworks of Judy Chicago, Chen Qingqing, Tao Aimin, and Yin Xiuzhen are also discussed, exploring the similarities they share with me in reclaiming women’s history through artmaking. In addition, the feminist works of Lin Tianmiao and Cui Xiuwen, as well as my own work, are examined to show how contemporary Chinese female artists reject the label of ‘feminist.’ My artwork History can be forgotten and falsified; the purpose of my artwork is to refresh and leave a lasting memory of Chinese women’s suffering and experiences of oppression. Following the flow of my research, my installation work Woman•Horse, 2014–16, mourns the souls of Chinese women lost to history. It contains ten ceramic sculptural works. Each individual piece includes a narrative that describes the lives of and challenges faced by Chinese women from the formation of the cosmos to the present day. The long white strips (signifying footbinding bandages) and red threads hanging down amidst the sculptures embody the long-term oppression of Chinese women and a trace of history. This work has been exhibited at Sydney College of the Arts in September 2016.

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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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Perkins, Morgan. „Reviewing traditions : an anthropological analysis of contemporary Chinese art worlds“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365526.

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Chiu, Melissa, University of Western Sydney, of Arts Education and Social Sciences College und Centre for Cultural Research. „Transexperience and Chinese experimental art, 1990-2000“. THESIS_CAESS_CCR_Chiu_M.xml, 2003. http://handle.uws.edu.au:8081/1959.7/677.

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This dissertation focuses on Chinese artists who migrated to the West (Australia, the United States, and France )during the late eighties and early nineties. Throughout the thesis, it is argued that transexperience encourages a more fluid perception of the relationship to the homeland, not only positing it in the past but also in the present. The structure of the dissertation, devised in terms of locations, is relevant to the author's argument that the site of settlement is a significant determinant in the development of artistic expressions of overseas Chinese artists. A brief conclusion explores some of the most recent developments in the relationship between overseas Chinese artists and their homeland as seen in more frequent travel back, the exhibition of their work (which would have been impossible only a few years ago), and official invitations to represent China in international exhibitions.
Doctor of Philosophy (PhD)

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Leung, Mei-yin, und 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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Zhang, Shibin. „A Comparison between Chinese and Western Women Artists' Work in the Late 1980s and Early 1990s“. Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508738.

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Wong, Hoi-yan. „Centre for HK Cantonese Opera Artist's Association“. Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.

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David, Elise. „Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.

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Bücher zum Thema "Chinese artists"

Lucy, Lim, und Chinese Culture Center of San Francisco., Hrsg. Six contemporary Chinese women artists. [San Francisco]: Chinese Culture Foundation of San Francisco, 1991.

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Faccenda, Luca. La città proibita: Artisti cinesi contemporanei = The forbidden city : contemporary Chinese artists. Firenze: Giunti, 1999.

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Ciampi, Mario. Artists in China. London: Verba Volant, 2007.

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Zhenqing, Gu, Hrsg. Chinese artists: Texts and interviews : Chinese contemporary art awards 2004. [Zhongguo]: Timezone 8 limited, 2005.

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Sarah, Champion, und Chinese Arts Centre, Hrsg. Vital: International live artists of Chinese descent. [Manchester, England?]: Chinese Arts Center, 2008.

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Sarah, Champion, und Chinese Arts Centre, Hrsg. Vital: International live artists of Chinese descent. [Manchester, England?]: Chinese Arts Center, 2008.

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Luo, Xianyue. Watercolor: Paintings by Zhejiang artists. Paramus, New Jersey: Homa & Sekey Books, 2014.

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Museum of Photographic Arts (San Diego, Calif.), Hrsg. Out of the shadows: Contemporary Chinese photography. San Diego: Museum of Photographic Arts, Becky Moores Center for Visual Learning, 2020.

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Smith, Weidner Marsha, und Indianapolis Museum of Art, Hrsg. Views from Jade Terrace: Chinese women artists, 1300-1912. Indianapolis, Ind: Indianapolis Museum of Art, 1988.

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Mak, Sonia. 'Round the clock: Chinese American artists working in Los Angeles. Monterey Park, CA: Vincent Price Art Museum, East Los Angeles College, 2012.

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Buchteile zum Thema "Chinese artists"

Ding, Min. „Company Type 5: Artists“. In Rethinking Chinese Cultural Identity, 183–84. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-9961-9_40.

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Clark, Paul. „Artists, Cadres, and Audiences“. In A Companion to Chinese Cinema, 42–56. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch3.

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Tang, Ling-Yun. „Post-70s Artists and the Search for the Self in China“. In Chinese Modernity and the Individual Psyche, 19–41. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137268969_2.

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Kennedy-Schtyk, Beccy. „Outside Chinatown: Shifting Factors and Considerations of Chinese British Artists“. In Imaging Migration in Post-War Britain, 79–122. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429289941-3.

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Dhiman, Satinder. „Chinese and Greek Artists and the Restoration of an Old Palace“. In Stories to Tell Your Students, 148–49. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230370432_66.

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Man, Eva Kit Wah. „The Notion of “Orientalism” in the Modernization Movement of Chinese Painting of Hong Kong Artists in 1960s: The Case of Hon Chi-Fun“. In Chinese Contemporary Art Series, 57–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_8.

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Wu, Kan, und Dechao Li. „When Chinese Martial Artists Meet Western Heroes: A Stylometric Comparison of Translated Wuxia Fiction and Western Heroic Literature“. In Understanding and Translating Chinese Martial Arts, 91–115. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8425-9_6.

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Zhirong, Zhu. „Artistic representation of Chinese art“. In Philosophy of Chinese Art, 188–253. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003204688-5.

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Chen, Shanshan. „Artistic Representation of Chinese Landscapes“. In Art, Science, and Diplomacy: A Study of the Visual Images of the Macartney Embassy to China, 1793, 107–46. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-1160-8_5.

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Yichuan, Wang. „Winning the hearts of the people with artistic masterpieces: An artistic aesthetic tradition of Chinese Marxism“. In Contemporary Chinese Marxism, 5–12. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003384984-2.

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Konferenzberichte zum Thema "Chinese artists"

Gu, T. „FEATURES OF THE WORK OF CHINESE ARTISTS EMIGRANTS“. In IV International Conference ”Science and society - Methods and problems of practical application". Prague: Premier Publishing s.r.o., 2018. http://dx.doi.org/10.29013/iv-conf-canada-4-12-15.

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Sorokina, K. S., und A. V. Karpov. „CONTEMPORARY CHINESE ART ON THE GLOBAL ART MARKET: RANKING ANALYSIS OF LEADING CHINESE ARTISTS“. In Художник и менеджер в пространстве современного арт-рынка. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868874_30.

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Sorokina, K. S. „ACTUALIZATION OF ARTISTIC HERITAGE AS THE AUTHOR'S MARKET STRATEGY (on the example of modern chinese artists)“. In Художник и менеджер в пространстве современного арт-рынка. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868874_27.

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Vinogradova, Tatiana. „A HALF BOTTLE OF VINEGAR OR ZHANG THE DRAUGHTSMAN’S LITERARY OPINIONS“. In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.12.

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“A half bottle of vinegar” is a Chinese idiom academician Vasily Alekseev characterized the artists of Chinese popular prints nianhua. As a rule, these artisans were half-educated people without full complex of classical Confucian knowledge. These people were the conductors of ideas and images of high culture to the broad masses of consumers of folk pictures. One of them “the Draughtsman” Zhang Haoru (章浩如, 1870–?) helped V. M. Alekseev to disassemble his enormous collection of popular prints. We have at our disposal many comments belong to the Zhang Hao-ru’s brush, preserved at the Archive of the Russian Academy of Sciences, St. Petersburg branch (Stock 820, inventory 1) and we can get an idea of his education level and literary preferences.

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Qi, Jingkun. „The Phenomenon of Chinese Female Print Artists’ Creative Activities in the 13th National Exhibition of Fine Arts“. In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.076.

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Wen, Xingyi, Wei Cui, Huiyan Chen, Fan Liu, Yulin Shao und Fang You. „Cross-border Integration and Innovation of Traditional Chinese Exercises and Digital Media Technology: The Case of Baduanjin“. In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004978.

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Baduanjin is an independent and complete set of traditional Chinese fitness techniques originating in the Northern Song Dynasty, known for its holistic health benefits rooted in ancient Chinese customs, and is enjoying renewed popularity around the globe. In this study, through the use of body sensing camera, dynamic capture and limb movement recognition following the movement of Baduanjin martial artists in space, the body sensing camera data is combined with Touch designer to realise a new form of digital interaction design for real-time interaction of visual images. The transformative impact of digital media on the preservation, dissemination and promotion of Baduanjin is explored. The multidimensional aspects of this cross-border integration are revealed, providing insights into cultural adaptation, technological innovation, and the health implications of using digital media to disseminate traditional Chinese practices such as Baduanjin. The findings of this study contribute to an understanding of the evolving landscape of traditional calisthenics in a digitally connected world, highlighting the opportunities and challenges inherent in the fusion of ancient traditions with modern technological advances.

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Shevchenko, Marianna. „Song Dynasty Gate Structure and Its Typology Reflected in the Paintings of Chinese Artists of 10th–13th Centuries“. In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.92.

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Varenov, A. V. „An Episode from the History of Southern Xiongnu and Han Empire Contacts as Reflected in the Southern Song Painting by Chen Juzhong“. In IV Международный научный форум "Наследие". SB RAS, 2023. http://dx.doi.org/10.25205/978-5-6049863-1-8-49-54.

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This paper briefly describes the biography of Han poetess Cai Yan (Cai Wenji). After the capture of Eastern Han capital city Luoyang by general Dong Zhuo’s troops in 192 AD she became a prisoner of Southern Xiongnu and 12 years later was redeemed by Cao Cao general. Cai Wenji was often a subject for artists of different periods. Southern Song painting “Wenji returns to Han” by Chen Juzhong was finished at the beginning of the XIII century. It expresses allegorically the hope of the author that Chinese territories captured by Jurchen will return to Song.

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Cheng Xie, Li, Chao Zheng, Xinhao Zhan, Yichen Zeng, Xinlei Zhang und Bingkun Qiu. „The application of digital art in experimental font design“. In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003436.

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The development of digital art has profoundly changed people's reading habits and also affected the design methods and visual presentation of fonts. Meanwhile, the application media, scenes, and fonts' communication modes have become more diverse. Since the development of font design, a font is no longer a two-dimensional symbol that can only be communicated through shape and language. More and more artists create and express words through digital art. At this time, the role of "character" has gone far beyond the communication of sound or ideographic information, but has become the carrier of presenting some new concepts and ideas. "Experimental font" focuses on the visual presentation of font and the exploration of "experimental" behavior itself. It is reflected in the creation of the font itself and includes "character" in various visual situations to explore the boundary of visual form and text meaning. The application of digital art in experimental fonts adds a dynamic dimension to the fonts, which not only enriches the visual perception, but also breaks through the limitations of space and material, and improves the interactive and experiential feeling of experimental fonts. This paper will discuss the above characteristics of experimental font design under digital art, and look forward to the development of Chinese experimental font design.

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Wang, Ying Miao, und Carolina Quintero Rodriguez. „The Aesthetic Factors Shaping Chinese Millennial Consumers' Purchase Intentions of Luxury Pyjamas: Implications for Future Design“. In 22th AUTEX World Textile Conference. Switzerland: Trans Tech Publications Ltd, 2024. http://dx.doi.org/10.4028/p-u2ezkj.

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The luxury fashion market is rapidly expanding worldwide, and the demand for designer pyjamas is on the rise. Pyjamas originated in South Asia as loose, lightweight trousers or two-piece suits for sleeping and lounging, and evolved into swishy palazzo-like pants and jumpsuit styles popular in Europe. Over time, pyjamas have undergone multiple functional and aesthetic changes while the luxury fashion goods purchasing power of Chinese millennials who were born in a rapidly evolving digital world has increased fast. However, limited academic research on luxury pyjamas and scarce information on this specific consumer group are available. This study examines the main aesthetic factors that influence Chinese millennial consumers' purchase intention of luxury pyjamas and specifically evaluates the importance of design elements such as artistry, colour, texture, fit, silhouette, innovation, and craftsmanship. An online survey was conducted with 124 Chinese participants via the Chinese social media platform WeChat to determine their aesthetic preferences for luxury pyjamas. The findings reveal that Chinese millennial consumers regard pyjamas as functional items and mainly wear them at home. Aesthetic considerations are the main purchase driver of sleepwear, with the visual texture of pyjamas as the most important aesthetic factor for Chinese millennial consumers, emphasizing the need for product developers to choose exquisite and appealing fabrics. Colour and artistic elements, such as colour collocation and pattern print, also have a significant impact on their purchase intention. This study provides valuable insights for luxury sleepwear developers seeking to enhance the aesthetic design aspects of their products to meet the needs and preferences of Chinese millennial luxury consumers.

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