Thematische Bibliographien / Chinese traditional art substrates

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Chinese traditional art substrates“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 1. Februar 2022

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Zeitschriftenartikel zum Thema "Chinese traditional art substrates"

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Liu, Fangchen, Ling Li, Jian Chen, Ying Wu, Yongbing Cao und Ping Zhong. „A Network Pharmacology to Explore the Mechanism of Calculus Bovis in the Treatment of Ischemic Stroke“. BioMed Research International 2021 (10.03.2021): 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 were searched in the TCMSP and SwissTargetPrediction databases. Ischemic stroke-related disease targets were searched in the Drugbank, DisGeNet, OMIM, and TTD databases. These two types of targets were uploaded to the STRING database, and a network of their interaction (PPI) was built with its characteristics calculated, aiming to reveal a number of key targets. Hub genes were selected using a plug-in of the Cytoscape software, and Gene Ontology (GO) biological processes and pathway enrichment analyses of Kyoto Encyclopedia of Genes and Genomes (KEGG) were conducted using the clusterProfiler package of R language. Results. Among 12 compounds, deoxycorticosterone, methyl cholate, and biliverdin were potentially effective components. A total of 344 Calculus Bovis compound targets and 590 ischemic stroke targets were found with 92 overlapping targets, including hub genes such as TP53, AKT, PIK2CA, MAPK3, MMP9, and MMP2. Biological functions of Calculus Bovis are associated with protein hydrolyzation, phosphorylation of serine/threonine residues of protein substrates, peptide bond hydrolyzation of peptides and proteins, hydrolyzation of intracellular second messengers, antioxidation and reduction, RNA transcription, and other biological processes. Conclusion. Calculus Bovis may play a role in ischemic stroke by activating PI3K-AKT and MAPK signaling pathways, which are involved in regulating inflammatory response, cell apoptosis, and proliferation.
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Luo, Jianxin. „Chinese Painting and Traditional Chinese Culture“. International Journal for Innovation Education and Research 3, Nr. 5 (31.05.2015): 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, Nr. 3 (2020): 66–72. http://dx.doi.org/10.35534/fav.0203012c.

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Shen, Xianghua, und Eun Kyung Park. „Fashion Design Applying Traditional Chinese Paper-Cut Art“. Journal of The Korean Society of Fashion Design 15, Nr. 3 (30.09.2015): 87–100. http://dx.doi.org/10.18652/2015.15.3.6.

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Wang, Ze-Liang, und Eun-Mi Choi. „Production of Art Makeup & Nail Art Design Using Chinese Traditional Geometry Patterns“. Korean Society of Beauty and Art 18, Nr. 2 (30.06.2017): 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, Nr. 1-2 (19.03.2021): 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 of paintings filled with metaphors and allegories. Particular attention is paid to the characterization of expressive means, specific techniques and visual techniques of the genre. The study shows that due to the richness of images, artistic and expressive means and techniques, juxtaposition of the conditional and the real, double transformation of nature, the first impression of seemingly pornographic images of naked bodies and erotic scenes is subdued. The high artistry of the ‘spring palace paintings’ allows us to attribute them to the unique works of Chinese traditional art.
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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, Nr. 1 (31.05.2008): 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 (02.08.2019): 012083. http://dx.doi.org/10.1088/1757-899x/573/1/012083.

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Zhou WuZhong und Chen Xiaoyan. „A SURVEY OF ROCKERY ART HISTORY IN TRADITIONAL CHINESE GARDENS“. Acta Horticulturae, Nr. 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, Nr. 04 (2018): 72–76. http://dx.doi.org/10.12677/arl.2018.74009.

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Dissertationen zum Thema "Chinese traditional art substrates"

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Ho, King Tong. „The poetics of making a new cross-cultural aesthetics of art making in digital art through the creative integration of Western digital ink jet printmaking technology with Chinese traditional art substrates : this exegesis is submitted to AUT University in partial fulfillment of the degree of Doctor of Philosophy“. Click here to access this resource online, 2007. http://hdl.handle.net/10292/333.

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Lai, Siu-lun Francis, und 黎兆麟. „Vanishing puppets: the demise of a Chinese traditional art form“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31972445.

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Lai, Siu-lun Francis. „Vanishing puppets : the demise of a Chinese traditional art form /“. Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24534407.

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Kim, Mina. „Pan Tianshou (1897-1971): Rediscovering Traditional Chinese Painting in the Twentieth Century“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469004754.

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Kuo, Joice. „Promoting a culture of contemporary and traditional Chinese Theater Art in Taipei“. College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3302.

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Thesis (M. Arch.) -- University of Maryland, College Park, 2005.
Thesis research directed by: School of Architecture, Planning and Preservation Architecture . Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Li, Gaoli. „The innovative expression of Chinese traditional culture and art in contemporary architectural design“. Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667528.

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Recent improvements in contemporary Chinese society will not only be reflected by new economic models, cultural products, scientific and technological achievements and aesthetic values, but also manifest in diverse unconventional new methods of architectural design. In the twentieth century, one of the main issues in architectural debate was to find a new synthesis between modernity and national tradition. However, outcomes were often reduced to borrowing some formal features from the past to uncritically combine with the ubiquitous international style and other trends. It was only at the end of the century that some authors in China began to work on a deeper connection with traditional cultural values. Their projects keep the essence of all times specific national character in a work which, however, undoubtedly belongs to our present time. This research picks selected pioneering cases to study how design and art in contemporary Chinese society develops and innovates departing from the deeply set ideologies of traditional Chinese national culture. The relations between architecture and society, architecture and man, architecture and environment, architecture and history and architecture and culture will be analyzed through the study of present-time Chinese architects’ with successful attempts at contributing unique architectural alternatives for contemporary China: Leoh Ming Pei, winner of the Pritzker Architecture Prize in 1983, Cui Kai, prestigious member of the Chinese Academy of Engineering and Wang Shu, winner of the Pritzker Architecture Prize in 2012 and others. As the main goal of the present research, it will be emphasized that it is possible nowadays to pave new ways of architectural design which are capable of fulfilling requirements and functional needs in modern times, but are simultaneously, truly, meaningfully in connection to the country’s highly appreciated ancient values. These were expressed in diverse manifestations of Chinese culture and art through the different historical periods, mainly in architecture, city design, gardening and painting. By combining modern architectural languages and design methods with the traditional Chinese aesthetic and culture, these masters have created an architectural pattern marked with Chinese cultural features, which not only present a historical continuity with the best traditional examples, but also provides a new perspective for gaining a better understanding of the old culture as well as draws attention to the true spirit of their work. This work tackles this question from a quite wide perspective which includes aspects from history, politics, philosophy, religion, landscape, garden design, poetry, connection to nature, light, space, materials and building techniques. The research was developed simultaneously to another one in the same research unit which focuses exclusively on -and so goes deeper into- one of the most relevant concepts of this approach: Chinese traditional painting and architectural poetics in present day architecture and design. Both researches complement each other so opening a field -a new and fertile one- for further exploration, practice and research. Through the balance of the adoption of their own intuitions, the conscious utilization of new building materials, and the respect for Chinese history and culture, these designers have been constantly developing and improving creative ideas and aesthetic notions, and carried an unremitting practice in the creation of an all-encompassing, past, present and future Chinese architectural space. They have started the engine of a new contemporary design which is deeply committed to geographical, natural, cultural and historical context, in opposition to the globally dominant formalism that is currently repetitively sweeping across China and the rest of the world.
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Tang, Yanfang. „Mind and manifestation : the intuitive art (Miaowu) of traditional Chinese poetry and poetics /“. The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487848531365196.

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

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Three major trends are evident in Chinese ink painting: academic reformism, modernism and neo-traditionalism. While reformists are calling for stylistic freedom and a return to humanism, modernists seek the adoption of Western modes of thought and practice to develop and reform Chinese tradition. The new literati painting which has seen a resurgence of innovative theory and technique of an indigenous Chinese painting tradition distinguishes neo-traditionalism. Many scholars believe that developments in Chinese painting represent a decline in the history of Chinese art but, in this authors’ opinion, this has been a period of transformation in aesthetic conception and expression. Chinese ink painting, which is still the dominant stream in twentieth century Chinese art and a continuation of its development, can be seen in the work of many contemporary artists. It is more than likely that the pluralism in contemporary Chinese art discussed in this thesis will continue although the forms it takes will to some extent be determined by political and economic factors. It is unlikely that contemporary Chinese art will totally reject the established cultural and aesthetic systems and establish a new one, based on the Western system. The traditions of Chinese culture remain strong, and it appears much more probable that an internal ‘re-shaping’ of both indigenous and imported elements will result in an artistic tradition that remains distinctively ‘Chinese’ as well as contemporary
Master of Arts (Hons)
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Zhang, Yimeng. „Chinese drawing, architectural poetics : traditional painting as a semantic representation of modern architectural design“. Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667320.

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This thesis is partly an attempt to explore the potential of pre-modern Chinese painting, on its distinctive formats and schemes to achieve spatial depth and time duration, as a way to interpret and design architecture. By a survey on changing modes of Chinese traditional landscape and cityscape paintings in different scales, the poetic language of painting will be gradually explored. Beyond pictorial techniques, language is concerned with an ideological level of understanding and experience. Thus, it signposts a wider significance of architectural representation – as a verbal medium to express narrative and critic semantics besides visual effects. In this thesis, we will also see how traditional painting remains a base in the ideating process of several contemporary Chinese architects, so to avoid a mere uncritical imitation of international models. A subtle fusion of contemporaneity with cultural identity afforded by the presence of taken concepts from traditional painting, allows this architecture to increase its meaning and dimension. Lastly, understanding such processes of ideation can possibly provide us assistance in the intuitive formulation of ways to enrich Western architecture. Particularly, establishing poetic connections to our cultural traditions can be a useful strategy to prevent Western architecture's frequent falls into empty excesses of utilitarianism, iconicism or simple banality.
Esta tesis en parte intenta explorar la capacidad de la pintura china pre-moderna en sus peculiares formatos y esquemas para lograr expresar la profundidad del espacio y la duración del tiempo, como una manera de interpretar y diseñar arquitectura contemporánea. Mediante un estudio de la pintura tradicional de temática paisajística y urbana, y a diferentes escalas, se analizará el lenguaje poético de la pintura china. Más allá de las técnicas pictóricas, este lenguaje se sitúa en un nivel ideológico de comprensión y experiencia; expresa, por tanto, una gama de significados más amplia que la mera representación arquitectónica, actúa como lo haría un medio verbal para expresar una semántica de tipo crítico y narrativo, además de los consiguientes efectos visuales. En esta tesis, también veremos cómo la pintura tradicional sigue siendo la base del proceso de creación de ideas de varios arquitectos chinos contemporáneos para evitar así una mera imitación acrítica de modelos internacionales. Una fusión sutil de la contemporaneidad con la identidad cultural proporcionada por la presencia de conceptos de la pintura tradicional permite a esta arquitectura ganar nuevas capas de significado y dimensión. Por último, comprender tales procesos de ideación puede brindarnos ayuda en la formulación intuitiva de formas de enriquecer la arquitectura occidental. En particular, establecer conexiones poéticas con nuestras tradiciones culturales puede ser una estrategia útil para prevenir las frecuentes caídas de la arquitectura occidental en los excesos vacíos del utilitarismo, el iconicismo o la simple banalidad.
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WEI, PEI-LING, und 魏珮玲. „A Feasibility Study on Teaching Mandarin Chinese via Traditional Chinese Knot Art“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/z34age.

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碩士
國立臺北大學
古典文獻與民俗藝術研究所民俗藝術組
100
While studying the Mandarin Chinese language the gradual accumulation and internalization of the culture is inevitable. This thesis intends to examine current teaching theories in practice in folk arts classes conducted in Mandarin Chinese and in a practical setting, particularly teaching theorem and methods. This paper will focus in particular on the instruction of traditional Chinese knot arts in an overseas folk arts class and the feasibility of the integration of the arts and the instruction of Mandarin Chinese. This paper will rely primarily on surveys and has been categorized to best represent the interaction between the learners and teachers of Mandarin Chinese, their interests in the arts, and expectations. The goal is to research the feasibility of the integration of traditional Chinese arts into courses for non-heritage learners of Mandarin Chinese as defined by ACTFL. Through this research we hope to learn whether or not the integration of traditional Chinese knot art into the Mandarin Chinese curriculum will better assist the learning of the language. This paper also hopes in addition of assisting overseas Chinese students in becoming familiar with their ethnic culture but following the learning goals of the 5Cs. This paper has been divided into 6 chapters. The first chapter will discuss motivation and background of this study as well as the goals and research methods. The second chapter will review related research and the third chapter will discuss the survey results of the learners and teachers. The fourth chapter will discuss the feasibility of teaching Mandarin Chinese via traditional Chinese knot art. The fifth chapter will discuss the future prospects and curriculum design for the integration of traditional Chinese knot art and teaching Mandarin as a second language. The sixth chapter will offer conclusions and suggestions on the integration of the traditional Chinese knot art and teaching Mandarin as a second language.
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Bücher zum Thema "Chinese traditional art substrates"

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1964-, SanGregory Paul, Healey Derek 1936-, Chen Chin-Chin 1964-, Huang Zi 1904-1938, Li Qingzhu, Huang Youdi 1912-2010, Li Yinghai und Liu Wenjin, Hrsg. Traditional and modern Chinese art songs. Geneseo, N.Y: Leyerle, 2009.

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Shen, Peter. The traditional art of Chinese fortune reading. Selangor Darul Ehsan, Malaysia: Pelanduk Publications, 1998.

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The iconography of Chinese Buddhism in traditional China. Leiden: Brill, 1986.

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Paul, Duda, Hrsg. Traditional Chinese toggles: Counterweights and charms. Singapore: Editions Didier Millet, 2011.

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Zou jin Zhongguo chuan tong yi shu: Approaching traditional Chinese art. Beijing: Hua yu jiao xue chu ban she, 2001.

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Abbate, Skya. The art of palpatory diagnosis in oriental medicine. Edinburgh: Churchill Livingstone, 2001.

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Wu, Guoding. China's rare flowers: Painted in traditional Chinese style. Beijing: Morning Glory Press, 1986.

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Zhongguo hua ji fa: Ji = : Traditional Chinese painting : technical skill. Fuzhou Shi: Fujian mei shu chu ban she, 2008.

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Dui yao: The art of combining Chinese medicinals. Boulder, CO: Blue Poppy Press, 1997.

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Childs-Johnson, Elizabeth. Lustrous, enduring and translucent: Jades from traditional China. New York: Weisbrod Chinese Art Ltd., 1999.

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Buchteile zum Thema "Chinese traditional art substrates"

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Hoi-chiu, Tang. „The Art of Chinese Painting“. In The Routledge Encyclopedia of Traditional Chinese Culture, 210–20. Abingdon, Oxon ; New York : Routledge, [2019]: Routledge, 2019. http://dx.doi.org/10.4324/9781315453491-12.

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Su, Yunqiao. „The Integration of New Media Art and Chinese Traditional Culture“. In Design, User Experience, and Usability: Users, Contexts and Case Studies, 524–34. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91806-8_41.

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Zeng, Fanren. „The Wisdom of Ecological Aesthetics in the Traditional Chinese Art of Painting“. In Introduction to Ecological Aesthetics, 195–204. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-8984-9_9.

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Tang, Fang. „Elementary Introduction to Traditional Chinese Plant Dyeing Art and Its Inheritance in Modern Times“. In Design, User Experience, and Usability: Designing Interactions, 96–109. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91803-7_8.

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Hui, Liu. „The Blend of Modern Graphic Design and the Culture and Art of Traditional Chinese Paper-Cut“. In Advances in Intelligent and Soft Computing, 263–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-29452-5_38.

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Li, Lingyu. „An Exploration on the Application of Chinese Traditional Art in the Chinese Culture Experience Hall of Colleges and Universities - A Case Study of Fuzhou University of International Studies and Trade“. In Advances in Intelligent Systems and Computing, 398–406. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7801-4_42.

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„Traditional Chinese Medicine and Pregnancy“. In The New Art and Science of Pregnancy and Childbirth, 143–48. CO-PUBLISHED WITH KK WOMEN'S AND CHILDREN'S HOSPITAL., 2008. http://dx.doi.org/10.1142/9789812779410_0026.

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„Traditional Chinese Medicine (TCM) and Confinement“. In The New Art and Science of Pregnancy and Childbirth, 301–4. CO-PUBLISHED WITH KK WOMEN'S AND CHILDREN'S HOSPITAL., 2008. http://dx.doi.org/10.1142/9789812779410_0053.

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„On Chinese Traditional Architectural Art and Eco-Culture“. In International Conference on Optimization Design (ICOD 2010), 223–26. ASME Press, 2010. http://dx.doi.org/10.1115/1.859582.paper51.

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„Vitality–Charm and the Development of Art“. In Study on Chinese Traditional Theory of Artistic Style, 345–91. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813279438_0007.

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Konferenzberichte zum Thema "Chinese traditional art substrates"

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„Analysis of Chinese Traditional Art Education Theory“. In 2017 International Conference on Frontiers in Educational Technologies and Management Sciences. Francis Academic Press, 2017. http://dx.doi.org/10.25236/fetms.2017.053.

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„The Medical Value of Traditional Chinese Garden Art“. In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.66.

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Wei Huang, Jinsheng Zhang und Yingxin Zhao. „On the mathematical aesthetic in traditional Chinese art“. In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375388.

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Zhang, Mei, Junsong Zhao, Yingzhen Zheng und Yan Tang. „Confidence of Chinese Traditional Art in Packaging Design“. In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.113.

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Li, Haiyan. „On Chinese Traditional Linguistics Philology or Linguistics“. In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.66.

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Wang, Pengfei. „Research on Chinese Traditional Cultural Elements into Modern Art Design“. In Proceedings of the 2017 5th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ieesasm-17.2018.29.

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Jin, Yan, und Zhi Cao. „The Application of traditional art color in Chinese Graphic Design“. In 3rd International Conference on Science and Social Research (ICSSR 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icssr-14.2014.188.

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Cheng, Ai, Qing Wu, Xiaomin Chen, Xinyue Liu, Yimei Feng, Miao Tan und Xiaofang Yu. „Comparative Study of Minimalist Art and Chinese Traditional Ink Painting“. In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.162.

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Sun, Hongjuan. „On the Beauty of Imagery of Chinese Traditional Animation“. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.117.

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Yu, Zhou. „On Li Dazhao’s Critical Inheritance of Chinese Traditional Culture“. In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.122.

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