Dissertationen zum Thema „Chinese traditional art substrates“
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1
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.
2
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.
3
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.
4
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.
5
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.
Annotation:
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.
6
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.
Annotation:
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.
7
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.
8
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.
Annotation:
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 contemporaryMaster of Arts (Hons)
9
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.
Annotation:
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.
10
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.
Annotation:
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.
11
Wu, Chi Jiun, und 吳啟君. „A Study of Digital Art from Traditional Chinese Painting Conceptualism“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/87495459354154532733.
Annotation:
碩士實踐大學
時尚與媒體設計研究所
99
Following the advancement of technology, digital media has filled in all aspects of life. Through the technology of digitalization, human interaction and information transfer has become more convenient and efficient than ever. As a result, digital image art is also expanding. Digital image art does have its meaning and value in this era, but in terms of cultural content there is still rooms for further development. In this creation experiment, I tried to dig in the internal thinking logic of traditional Chinese ink panting, and using that as the starting point to use the technology of digital media to create and demonstrate art. I tried to implement the cultural content into digital media works to strengthen the depth of my work and hope this will bring a new perspective for the other viewers. The content structure and main points are as the following: First chapter will be the introduction, to summarize the research motives and goal, and briefly talks about the meaning and development of digital art. Second chapter will be the observation of digital art, from the digitalization of traditional ink painting to the case study analysis of the combination of digital art and ink painting. Third chapter tries to use the traditional Chinese art natural perspective, the philosophical angle to discuss the unique perspective of Chinese ink painting, and the cultural content needed in modern digital technology to analyze the traditional art transformation method from the physical technology aspect. Fourth chapter will be the creation experience. Through the analysis in the previous chapter and from the creation process, goal and from, we can re-examine and organize the cogitation in the process of the development of in this experiment. Moreover we will explain the series of work from this experiment development; there will be divided into three parts: creation motive, shape, and presentation. Fifth chapter will be the conclusion. Combine the personal revelation the writer derives from this creation experiment and the future direction of continual creation development.
12
Lai, Wan-Ju, und 賴琬茹. „Create Research of Chinese Traditional Paper-Cut Art into the Modern Lighting“. Thesis, 2010. http://ndltd.ncl.edu.tw/handle/82189980426458999267.
Annotation:
碩士銘傳大學
設計創作研究所碩士班
98
In recent years, interior lighting needs from the earlier period, gradually turned into a good tool. In this modern time is paying attention to aesthetic feeling and function, lights not only in order to light, but also offer added value in decoration and artistic quality. It even exists for culture. The Chinese style lights are the best example, because the folk art is the foundation of national culture. It shows the culture has a long history. This research bases on cultural heritage data and survey to explore the evolution of lighting design, types, uses, materials and related skills of paper-cut lighting. In addition that, explores the development, kinds, techniques, and innovative application of Chinese traditional paper-cut art. According to the questionnaire data be used as a reference basis. Then, according to create part to carry on a second stage survey. To understand the acceptance of my work and the reason of liking. This design makes different design skill from the lighting market. The main elements of paper-cut are lucky flowers and animals. There are six series, including DIY, paper ball, folded paper cutting, continuous paper cutting, semi-solid and dual-use floor lamp. Express the cultural meaning of the lighting through different paper cutting skill. I hope that identify the unique meaning of paper-cut art by this research, and break a stereotype about home lighting design. The innovation replaces a tradition, the paper cutting inherits culture. Integrate the traditional technical skill into the life, and try to find new meaning for the paper-cut in this quickly changing time.
13
Tseng, Ting-Kai, und 曾庭楷. „When Traditional Chinese Folk Art''s Image Encounter With Contemporary Ink painting“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/yzpva7.
Annotation:
碩士國立臺北藝術大學
美術學系美術創作碩士班
100
This thesis aims to explore the relations between conventional ‘Folk Paintings’ and the author’s practices of recent years. The first chapter introduces the research motives and intentions, and the following one spells out how the so-called folk paintings‘came into being.’Subsequently, I will investigate into the transformation in the role of folk paintings under the changes in outside circumstances. This part begins with the comparison between ‘folk paintings’and ‘literati paintings,’in order to trace how the former have flourished in and developed into its unique style of Taiwan, which is an island country. What follow are two notions: ‘images of the folk painting’and ‘the creative potential in contemporary art’that illustrate the significant role played by folk paintings in the development of contemporary art. In the last part, I will turn to the creating ideas and propositions I raise in previous chapters and reflect on my personal process of creation, where the influence of folk paintings can be found. The research bases on two series of my works: Thanks for Your Glasses and Polyethylene Charm, and thereby the existing sense of self is revealed.
14
Wu, Pei-Ying, und 巫佩穎. „A Study of Paper Art Construction Creation: Auspicious Patterns Applied on Traditional Chinese Festivals“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/20136871804599694767.
Annotation:
碩士銘傳大學
商業設計學系碩士班
100
As grown up in the native Chinese culture, traditional art elements are applied all around in our daily life, for example, the carving and painting of beams and columns, the traditional patterns on tableware or even toys for kids. Furthermore, the Oriental culture gradually has effect on trends of Western country in recent years, therefore, we should value more of our traditional culture and arts. Paper art, Chinese auspicious patterns, and traditional festivals are regarded as important carriers of Chinese traditional culture. Firstly, the study will analyze the characteristics of Western and Eastern paper art; secondly, realize auspicious patterns’ origin and how it carry meanings, finally, illustrate the origin of traditional festivals and how auspicious patterns applied on it. In the study, the works will be presented by paper art with the elements of auspicious patterns regarding traditional festivals, then develop creative commercial products. Tradition and innovation should be able to work together for not only preserve but also pass down the culture to the next generations, and then it can really live in part of our lives.
15
Chi-Hung, Cheng, und 鄭啟宏. „The Appliance of the Chinese-Traditional-Art-Space Theory in the Process of Self-Music Composition“. Thesis, 1994. http://ndltd.ncl.edu.tw/handle/99307651096500711838.
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„Flowers Bloom and Fall: Representation of The Vimalakirti Sutra In Traditional Chinese Painting“. Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.14449.
Annotation:
abstract: The Vimalakirti Sutra is one of the classics of early Indian Mahayana Buddhism. The sutra narrates that Vimalakirti, an enlightened layman, once made it appear as if he were sick so that he could demonstrate the Law of Mahayana Buddhism to various figures coming to inquire about his illness. This dissertation studies representations of The Vimalakirti Sutra in Chinese painting from the fourth to the nineteenth centuries to explore how visualizations of the same text could vary in different periods of time in light of specific artistic, social and religious contexts. In this project, about forty artists who have been recorded representing the sutra in traditional Chinese art criticism and catalogues are identified and discussed in a single study for the first time. A parallel study of recorded paintings and some extant ones of the same period includes six aspects: text content represented, mode of representation, iconography, geographical location, format, and identity of the painter. This systematic examination reveals that two main representational modes have formed in the Six Dynasties period (220-589): depictions of the Great Layman as a single image created by Gu Kaizhi, and narrative illustrations of the sutra initiated by Yuan Qian and his teacher Lu Tanwei. The latter mode, which became more popular than the former in the Tang Dynasty (618-907), experienced adaptation from handscroll to panoramic mural. It is also during this period that a minor scenario, the Heavenly Maiden Scattering Flowers, became a necessary vignette for representation of the sutra. Since the Song Dynasty (960-1279), the Heavenly Maiden Scattering Flowers gradually became an independent theme. This author investigates the thematic shift caused by various factors. These include the transformation of later Chinese narrative painting and the prevalence of shinu hua 仕女畫, painting of beauties, in later Chinese painting. There is also a change in the role of the Heavenly Maiden from one of many maidens to the only and necessary partner of Vimalakirti. Ultimately, the image of the Heavenly Maiden evolves from a Buddhist heavenly being to a Daoist fairy and later to a symbol representing auspicious meanings.Dissertation/Thesis
Ph.D. Art History 2011
17
Chang, Chi-Wen, und 張繼文. „Chinese Floral Arts in Taiwan：A Creative Point of View from Traditional Floral Arrangement to the New Style and Feature of Chinese Floral Art“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/9tq87t.
Annotation:
碩士國立臺北藝術大學
建築與文化資產研究所
100
The association of the oriental flower arrangement, often refers to “Japanese ikebana”. However, the Chinese flower arranging had much longer history and had a great influence on the arts of flower arrangement of Japan. After Japanese colonial rule, based on the revival of Chinese culture, the Chinese floral arts started again here in Taiwan and the Consortium Chinese Floral Arts Foundation established under the leadership of Professor Huang and the teachers who had practiced the form of Japanese flower arrangement identified themselves with Chinese culture. In the historical perspective, Consortium Chinese Floral Arts Foundation has set up and enlightend the Chinese floral origins in Taiwan. The creative aspect of the Chinese floral arts holds connotations of Pre–Change’s Yi Jing, Confucian, Buddhist,and Tao. In this foundation mentioned above, makes Chinese floral arts achieved the combination of multi-culture and modern spirit in Taiwan by offering the Japanese flower teaching model at the beginning ,meanwhile practice the bone structure of Chinese floral arrangement and recently the Western floral design and creative skills were also integrated. The Chinese floral arts was originated from China，but the techniques of Chinese floral arts was founded in Taiwan. Therefore, Chinese Cultural Renaissance Movement is to restore the passing traditional Chinese culture and in order to de-Japanization .In the early days, Chinese Floral Art recruited members of various systems of Japanese flower arrangement. However, there are some students from China have granted certificate to become Taiwan''s Chinese floral arts Teachers so far. Which results in arguments of Chinese floral arts development of Taiwan; especially related to self- identity of Chinese floral arts in Taiwan . The main research focused on the previous (1984-2012) album catalog of floral art exhibition by the Consortium Chinese Floral Arts Foundation. Applied Iconology to describe, analyze, organize and interpret the three-phase study to generalize the meaning and form of the Chinese floral arts. Deliberately avoided the issue of “china centrism” and "de-Chinalize" political identity, and escaped the idea of the “Chinese perspective” or “Taiwanese perspective”. Emphasized straightforward on “globalization” and “localization” and to think about Chinese floral of Taiwan in the future.
18
張益明. „The exploration and creation of the "art nouveau" deisgn taking traditional Chinese beauties and flying fairy as examples“. Thesis, 2005. http://ndltd.ncl.edu.tw/handle/89033181700334426769.
Annotation:
碩士國立臺灣師範大學
設計研究所在職進修碩士班
94
Abstract "Nouveau-Art" represents innovating style and aesthetic feeling. With a visual image of sentimental pureness, it brings the infinite visual enjoyment and spiritual pleasure. For hundreds of years, the spirit of " Nouveau -Art" has been fermenting in the minds of artist and has been leading the direction of world art. It features on reflecting people resisting out-of-date concept and identifying with the coming of new art era. Many artists have respectful and modest attitude toward it. The world in the future will be emphasizing life aestheticism. The aid of computer is inevitable in many traditional arts, and thus technology will be an important element on which human beings demand for living. A designer, must stay on the peak of the era, actively try to know new technology, and stay with the pace of the time, and therefore the art of design can last. Traditional portrait can represent the Chinese aesthetic spirit. It is closely linked to the background of the era and covers social value and national thoughts. Among traditional Chinese beauties, there were four main beauties, Chao Feiyen, Yang Gweifei, Diao Chan, Shi She, and the flying fairies in Dunhuang as well. To match contemporary tide, this creation bases on “Nouveau -Art” ,“Portraits of Traditonal Chinese Beauties,” and uses computer software as creating appliances, attempting to represent the skill and style of traditional Chinese painting with vector software. After the writer’s analysis, internalization and integration of related documents and works, the creator uses computer to counterfeit Chinese fine brushwork painting, fused the feature of “Nouveau -Art” with the convention of Portraits of Traditonal Chinese Beauties, and thus creates a new style. Taiwan needs to develop a culture of local characteristics. What the creator try is just a beginning. Design is infinite possibilities, and the combination of impossibilities. In the continuous trend of design, thought the braveness for innovation and the exploitation of new area will be a heavy responsibility that creators have to shoulder, and they will be a foundation of the eternal life of art as well.
19
Mei-Huei, Ho, und 何玫慧. „Interpretation of Similarities and Differences between Chinese Traditional Kunqu Opera and Chinese Singing Art Songs "Chun Xiao" and "Chang Xian Zi" as an example“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/76232163082193165029.
Annotation:
碩士國立臺灣藝術大學
中國音樂學系碩士班
100
Kunqu, also known as Kunju, Kun opera or Kunqu Opera, is one of the oldest extant forms of Chinese opera. It evolved from the Kunshan melody, and dominated Chinese theatre from the 16th to the 18th centuries. Kunqu has been 600 years of history. Chinese art songs, and today has developed a unique singing style and characteristics of Chinese culture, Voice, articulation, vocal techniques has reached a considerable level. On the use of the sound is mellower, more penetrating, the articulation is more smoothly. However, on the basis of Western bel canto, we also understood Chinese traditional art songs have a considerable impact to the development of the Chinese opera process. With the foundation of Western bel canto of singing with the unique traditional singing techniques, singing the Chinese art songs is more complete, more mature and more character. With the study on "Chun Xiao" and "Forever Lovers" two melodies, through the collected literature, music analysis etc., used in the Analysis of Chinese opera singing songs, singing of the features. The purpose of this study is to grasp to the interpretation on “Chun Xiao” and “Forever Lovers”, and look forward to continue to improve the performance of music, art, traditions.
20
Lee, Hsiao-hui, und 李小蕙. „The Study on the Creation of the Pixel ART in Mosaics Decoration Pattern-Applications in Transfiguring Chinese traditional auspicious patterns“. Thesis, 2004. http://ndltd.ncl.edu.tw/handle/61394513173511518015.
Annotation:
碩士國立臺灣師範大學
設計研究所在職進修碩士班
92
A burst of PIXEL ART rises in the network in recent years, it starts to develop by computer ICON, showing picture as special style with aliasing. The plane based on four grid patterns as the fundamental unit, do a regular permutation, and then duplicate via the grid pattern to the graphic pattern. The composition of mosaic pattern is similar to the composition of the plane, based on grid pattern as minimum unit, do duplication and regular work to form a graphic pattern . The mosaic pattern is also called Mosaics. Its origination starts from Mesopotamia , have been in the record more than 7,000 years. Due to the durability of the stone mosaic material l, lots of works have been kept for us to appreciate. The application of the mosaic has been using till present time, and more skilled application uses to the present living environment, either indoor or outdoor, all have artistic work of the mosaic there. China traditional auspicious patterns spreads with customs with people at daily life, and reflecting people''s yearning for interest of life and pursuit. The idea applies the mosaic pattern and through the computer utilizes the manufacture method of PIXEL ART. The graphic making that will be created out further is on the marble mosaic, make the finished product, apply into the indoor space to increase the interest of life, and expect to achieve and have social and culture purposes. This research is divided into five chapters. The study starts off by the introduction to describe research background, motivation, purpose of the research, and states research approach, procedure, research range and restriction. The second Chapter based on literature review. Reviewing the definition, origination of mosaic and its distributed to spread, further discussing on probed into the material and application of different mosaics. To describe the development of the Chinese tradition design, its source, classification, symbolizing, and the interaction between mascot and auspicious pattern. To studies the relation between the origin of PIXEL ART and graphic of mosaic. The third Chapter focus on principle of transformation from the auspicious pattern turned into the mosaic pattern. Apply to the graphic of the mosaic in order to accord with the form of beauty on line, appearance and color, it is necessary to meet the terms of integrality, simple and modern. The fourth Chapter states creation idea, procedure of the studies, and analysis and comment of the works. Using the work to present the mosaics picture made out of marble mosaic, and relating work process. The fifth Chapter sums up a conclusion on work creation. To examine creating in mosaic and work of creation, make a criticism into the future development. In response to the present work studies, concludes with new future agenda for this creation project, its work development and following work approach.
21
LI, PIN-SYUAN, und 李品軒. „A Study of the String Decoration Art used in Modeling Mural Design - A case of Using the Chinese Traditional Mural“. Thesis, 2014. http://ndltd.ncl.edu.tw/handle/k9ac2z.
Annotation:
碩士樹德科技大學
應用設計研究所
103
The study is used the creation of installation art, Chinese traditional mural and Hakka printed cloth. It could aggregate the development of string decoration to do a compile and work done through real design test. We are a new design and experiment, and use in the creation of the string decoration. Including the use of the Hakka printed cloth, diamond and jewelry get into the Chinese traditional mural and local culture. So, the study has 4 important steps：literature review, understanding the development of string decoration and Chinese traditional mural and Hakka printed cloth, using the string decoration to the creation of Chinese traditional mural, and judge the feasibility of the string decoration using in the creation of Chinese traditional mural and Hakka printed cloth. According to the plasticity, originality and fashion of string decoration is more acceptable than beads and necklace. So, we use the string decoration to create and research the new style Chinese mural. We hope that the study will discover the connection of string decoration and mural. And according to continuing test and producing, we will make some different style murals. Finally, we can understand that combine the elements of body, sense and technique to create new style Chinese mural that using string decoration. We really make some big, beautiful and Chinese style creations. In the future, we can make come new study of mural and string decoration to improve the development of string decoration.