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Thematische Bibliographien / Chinese traditional art substrates / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Chinese traditional art substrates“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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1

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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10

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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11

Mingzi, Zhang. „Hieroglyphics in the Traditional Chinese Art: Functions and Aesthetic Meaning“. Manuskript, Nr. 5 (März 2021): 1028–34. http://dx.doi.org/10.30853/mns210158.

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

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As the traditional construction of stress components, column bases became a typical representative of the perfect unity of Chinese traditional architectural structure component and art component with its rich shapes and vivid carving. For thousands of years, column bases bearing the essence of Chinese traditional culture and religion in the form of objects, and it also showing the exquisite building techniques of Chinese architects in visual form of art. The evolution of pillar bases is not only the epitome of the development of Chinese traditional architectural decorative art, but also the indispensable bright spots of Chinese traditional architectural art. The column base, commonly known as “Sang Pan” or “column base stock”, which is the foundation under the column. It is a significant component under the column in wooden structure which could increase the stressed area, prevent moisture, keep smoothing as well as prevent the column from moving or sinking and strengthen the pressure. The column base was come into being for demand of enginery in ancient architechtures and had experienced the progress from hiding underground to cropping out. The changes of the column base’s position had made visual changes to the single straight column, with the function of load-bearing and decoration at the same time. For thousands of years, column bases bearing the essence of Chinese traditional culture and religion in the form of objects, and it also showing the exquisite building techniques of Chinese architects in visual form of art. The evolution of pillar bases is not only the epitome of the development of Chinese traditional architectural decorative art, but also the indispensable bright spots of Chinese traditional architectural art. The column base gradually become a perfect field where artists could display their skills and it gave artisans much possibility in its shape and decoration. 【１】Therefore, the column base has become the focal point of traditional architechture culture scholars because its decorative function is more than structural demand.

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

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

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

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

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Martynova, N. V., und D. R. Slipeckaya. „THE PHENOMENON OF TRADITIONAL CHINESE ORNAMENTAL ART “JIANZHI”: TRADITIONS AND NOWADAYS“. ASJ. 1, Nr. 37 (11.06.2020): 12–17. http://dx.doi.org/10.31618/asj.2707-9864.2020.1.37.5.

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The article considers the phenomenon ofChinese ornamental art, called “jianzhi”. Well-being in symbols of this art, Chinese paper-cutting, comes from ornamental figures, and they, in turn, reflect national mythological and religious ideas, life style and reality. It is a universal language of national mentality. Ancient Chinese with special attitude created paper compositions, because they believedthat it is an amulet. That’s why their semantics is so different and deep to take the paper-cutting works, also famous as “paper-lace” as national pride, which continue its development nowadays.All this allows claiming that this unique type of folk art, continuing the active development in various forms in the modern world, became recognizable "logo" of China.

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Li, Xiaobo, Zhongjuan Tian, Ye Wang, Guowen Ye und Zhen Ye. „Heterogeneous Cloud Storage Based Platform of Chinese Traditional Folk Art Resources“. International Journal of Multimedia and Ubiquitous Engineering 12, Nr. 5 (31.05.2017): 91–100. http://dx.doi.org/10.14257/ijmue.2017.12.5.08.

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Qiu, R. Z. „Medicine - The Art of Humaneness: On Ethics of Traditional Chinese Medicine“. Journal of Medicine and Philosophy 13, Nr. 3 (01.08.1988): 277–99. http://dx.doi.org/10.1093/jmp/13.3.277.

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Shi, Yan, Fangtian Ying, Xuan Chen, Zhigeng Pan und Jinhui Yu. „Restoration of traditional Chinese shadow play-Piying art from tangible interaction“. Computer Animation and Virtual Worlds 25, Nr. 1 (31.07.2013): 33–43. http://dx.doi.org/10.1002/cav.1530.

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Bingyu, Li, und Jongwon Choi. „The Combination of Chinese Traditional Pentatonic Rhythm and New Media Art“. TECHART: Journal of Arts and Imaging Science 8, Nr. 3 (31.08.2021): 1–5. http://dx.doi.org/10.15323/techart.2021.8.8.3.1.

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Tkachenko, Kirill. „On creating specialized botanical gardens of traditional Chinese medicinal plants“. HORTUS BOTANICUS 14, Nr. 14 (Januar 2019): 156–63. http://dx.doi.org/10.15393/j4.art.2019.6084.

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21

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

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Chinese Architecture has a long history, which makes Chinese buildings more than shelters. Chinese traditional windows are just like buildings, having more meaningful contents. They have very high cultural and artistic significance. However, nowadays, when the word “window” is mentioned, most people regard it as a structure used for letting in the natural light. Chinese traditional windows are gradually replaced by modern windows, especially after the 1980s, for traditional windows are somehow not satisfied with the demands of modern life. After the reform and opening, China has learned the technology of modern windows made of aluminum alloy from Europe, the United States, Japan, and other developed countries. As a result, the cultural connation of Chinese traditional windows art in landscape architecture is disappearing. To inherit traditional Chinese windows in landscape architecture, Chinese architects need to update traditional Chinese windows by using modern materials, techniques, and methods. The first part of this article discusses the main physical elements of traditional Chinese windows of landscape architecture. The second part of this article discusses the cultural connotation of Chinese traditional windows art of landscape architecture. The last part of this article discusses how to use new materials and technology to retain and update some parts of traditional windows that are of great significance in Chinese traditional windows art of landscape architecture. And there are three main approaches. Firstly, use WPC to replace traditional wood, which has better properties and keeps the feelings and cultural connation brought by wood. Secondly, use fewer materials and simple shapes to simplify traditional windows bars to make them suitable for modern life. Thirdly, rethink the design of windows and design the windows and the landscape as a whole. In the future, the new Chinese windows of landscape architecture will be popular all over the country again.

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Poškaitė, Loreta. „Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics“. Art History & Criticism 16, Nr. 1 (01.12.2020): 145–58. http://dx.doi.org/10.2478/mik-2020-0011.

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SummaryThe uniqueness of Chinese traditional art and aesthetics is often presented by the popular Chinese saying “art is manifestation of Dao”, which could mean manifestation of truth or authenticity, since Dao 道 in Classical Daoism was understood as authentic being and a source of authenticity. However, the meaning of authenticity/truth (zhen 真 ) in Chinese aesthetics and theories of art seems less discussed, and far more complicated, than the term Dao. This article argues that zhen is no less important for understanding the nature of artistic creativity and expression in Chinese arts and their theories in the historical perspective, and the issue of likeness in art in particular. It demonstrates how this term is related to the evaluation of the work of art, the artist’s expression and self-expression, and his/her relation to the “object” represented in art; in other words, with representation, imagination and morality, which is evident in such compounds as “drawing truthfulness” (xie zhen 写真), and “to create the truth” (chuang zhen 創真). The article deals with the conceptual and historical analysis of the term zhen, aiming to survey the differences and changes of its meaning in theories of painting, literature and “aesthetics of things” (antiquarianism), and to reveal the relations between its philosophical and aesthetic interpretations, especially evident in the Ming dynasty.

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Temme, J. Elbert V., und Carline A. C. Gieszen. „Contrast Effects and Social Desirability in Art Appreciation“. Empirical Studies of the Arts 13, Nr. 2 (Juli 1995): 171–81. http://dx.doi.org/10.2190/7eha-jdc4-uvbj-h1rv.

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In a number of experiments the effects of presenting different categories of art in contrasting order were explored. In the first experiment traditional and abstract paintings and Chinese calligraphy were used as stimuli, each type was contrasted with the other two, which led to shifts in appreciation as well as in perceived complexity. Two more experiments were performed. In one of these experiments fragments of traditional and modern classical music were presented. The same effect was found as when traditional and abstract paintings were contrasted: enhancement of the appreciation of traditional music but no decrease in the appreciation of modern music. It seems that when art is concerned only positive contrast effects are obtained. A possible explanation could be that it is considered socially undesirable to admit a lesser appreciation of modern than of traditional art. To test this hypothesis, socially ‘neutral’ stimuli, Chinese ideographs, differing in aesthetic quality, were contrasted. This yielded the expected positive as well as negative effects.

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Hung, Keung, und Jean M. Ippolito. „Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics“. Leonardo 53, Nr. 1 (Februar 2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.

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

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Robertson, Iain. „The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art“. Arts 9, Nr. 4 (25.11.2020): 121. http://dx.doi.org/10.3390/arts9040121.

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The purpose of this paper is to determine whether there is an incipient market in China strong enough to replace the global market for Chinese contemporary art. The (informal) market I have identified supports traditional methods of transaction and practice. It charts a course twixt slavish emulation of the past and unqualified acceptance of the present. To demonstrate the contemporary application of this trend, I introduce three case studies, which examine the attitude and behaviour of three Chinese artists active between 2005 and 2015. This period marks the transformation of China from an aspirant economic power to a self-confident advocate of Chinese values. The premise of this paper is that the China market today is moving towards a harmonious ideal rooted in Chinese thought. In the nineteenth-century art movement known as the Shanghai School, I have found a precedent for the evolutionary transformation of Chinese art from the traditional to the modern. This study will reveal how the Shanghai School market might be an exemplar for today’s Chinese contemporary art market. I will refer to this historical model to show how conventional methods of creation, distribution and consumption can effectively be modernised. Another effort to culturally transform China was attempted a generation later in the southern city of Guangzhou. The movement, known as the Lingnan School, attempted to fuse Western-style realism with Chinese techniques and media. I argue that these two early attempts to amalgamate the traditional with the modern failed to metamorphose into a consolidated Chinese contemporary art market model. They have, instead, resulted in the co-existence of two corrupted models; the one, a diffident fusion of the past and the modern world, and the other a concerted alliance of nationalism and globalism.

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WANG, Xuxiao. „Lucky Motifs in Chinese Folk Art: Interpreting Paper-cut from Chinese Shaanxi“. Asian Studies 1, Nr. 2 (29.11.2013): 125–43. http://dx.doi.org/10.4312/as.2013.1.2.125-143.

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Paper-cut is not simply a form of traditional Chinese folk art. Lucky motifs developed in paper-cut certainly acquired profound cultural connotations. As paper-cut is a time-honoured skill across the nation, interpreting those motifs requires cultural receptiveness and anthropological sensitivity. The author of this article analyzes examples of paper-cut from Northern Shaanxi, China, to identify the cohesive motifs and explore the auspiciousness of the specific concepts of Fu, Lu, Shou, Xi. The paper-cut of Northern Shaanxi is an ideal representative of the craft as a whole because of the relative stability of this region in history, in terms of both art and culture. Furthermore, its straightforward style provides a clear demonstration of motifs regarding folk understanding of expectations for life.

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Ma, Haili. „Traditional opera consumption as the new game of distinction for the Chinese middle class“. International Journal of Cultural Studies 22, Nr. 3 (14.03.2018): 400–416. http://dx.doi.org/10.1177/1367877918759711.

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Utilizing theories of Becker’s art worlds, Veblen’s conspicuous consumption and Bourdieu’s capital forms, this article critically examines the formation of a new art world of the traditional Chinese opera Kunqu, with university students turned middle class as identified consumers. It argues that the art world has been developed through the innovation of artists working within the tight ideological control of the market. Only artists who support party-state ideological evolution, allowing access to ‘central bank’ capital in the forms of university curriculum, opera house resources and land use, may continue to experiment and innovate before a new audience taste is nurtured and a new art world is developed. This article suggests that the rise of Kunqu reflects the political castration of the new millennium Chinese middle class, with their value and identity resting on a fantasized historical leisure class distinction and associated conspicuous consumption. The establishment of a new Kunqu art world exemplifies the characteristics of the Chinese art market, which is developed under party-state ‘central bank’ monopoly, for continued Chinese Communist Party (CCP) ideological evolution and legitimacy.

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

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

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Lu, Bin. „An Analysis of the Value of Chinese Folk Traditional Culture in Art Design Education in Contemporary Colleges and Universities“. Journal of Educational Theory and Management 1, Nr. 1 (16.10.2017): 131. http://dx.doi.org/10.26549/jetm.v1i1.590.

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With the development and expansion of China's economy, people's artistic and cultural forms have also been significantly improved and developed. At the same time, the educational development of art design in colleges and universities has also become a common trend, for the shaping of the Chinese women's top of the artistic design concept has laid a good cornerstone. At the same time, the Chinese nation after five thousand years of development, the formation of the vast treasures of art and culture, in the origins of circulation is still endless, to the later Chinese children to provide valuable artistic learning resources. The fusion of Chinese folk art culture in the art design education of colleges and universities has a crucial influence on broadening students 'artistic vision, cultivating students' artistic innovation thinking and inheriting Chinese traditional folk art culture. Through the combination of folk art and modern art, the art education of colleges and universities has very far - reaching foresight significance.

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Becker, Tania. „So Sorry––Never Sorry. Ai Weiwei’s Art between Tradition and Modernity“. Asian Studies, Nr. 1 (01.12.2011): 113–26. http://dx.doi.org/10.4312/as.2011.-15.1.113-126.

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

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

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Traditional Chinese hairstyle is an important part of the traditional Chinese culture, which provides rich material for computer animation. The creation process of traditional Chinese hairstyle model in computer animation is complex working and time-consuming. This study establishes the traditional Chinese hairstyle database, which covers from Tang Dynasty to Qing Dynasty. According to the characteristics of the traditional Chinese hairstyle, this study develops an Intelligent Traditional Chinese Hairstyle System by MEL, which can display the condition of traditional Chinese hairstyle models in real time and change attributes related with models efficiently. The system is the combination among computer technology, animation art and traditional Chinese culture. It will improve the efficiency and quality in the computer animation creation.

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Budaeva, T. B. „Svetlana A. Serova on Life, Science and Chinese Traditional Theater“. Journal of the Institute of Oriental Studies RAS, Nr. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.

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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.

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

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

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Sur, Heui Yeon. „Strategies for the Chinese Traditional Art Market in the 4th Industrial Revolution“. Journal of Arts and Cultural Management 10, Nr. 2 (30.12.2017): 59–77. http://dx.doi.org/10.15333/acm.2017.12.30.59.

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Wang, Shengpeng, Yangyang Hu, Wen Tan, Xu Wu, Ruie Chen, Jiliang Cao, Meiwan Chen und Yitao Wang. „Compatibility art of traditional Chinese medicine: From the perspective of herb pairs“. Journal of Ethnopharmacology 143, Nr. 2 (September 2012): 412–23. http://dx.doi.org/10.1016/j.jep.2012.07.033.

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

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China has had her relations with Thailand for many centuries since the Sukhothai Period (A.D. 1250-1438) including trade contact, diplomatic relations set forth as per an abundance of documentary evidences, architectural works, and artistic object with significant artistic evidences of a long history of Thai-China relations. In Ayutthaya Period (A.D.1350-1767) which was corresponding to China’s Ming Dynasty (A.D. 1368-1644) there were Xi Yuan’s supporting written literature (A.D. 1565-1628). He was a Chinese historian who noted that China sent a large junk ship for trade to Ayutthaya fetching goods of silk, and chinaware from China for sale to Siam Court. Thai Traditional Cupboard Furniture in the past also had an interesting mix of Chinese art. Chinese artwork which appeared in the Thai Traditional Cupboard Furniture made from hardwood with surrounding decoration around it were created during the period of A.D. 18-19. From a number of Thai ancient cupboard furniture exhibited in the Phra Nakhon National Museum (the Largest National Museum in Bangkok Metropolis). This case study will explain the inspiration of Chinese art which the Thai craftsmen applied on the design to decorate the cupboard.

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Feng, Yi, Zhaohui Wu, Xuezhong Zhou, Zhongmei Zhou und Weiyu Fan. „Knowledge discovery in traditional Chinese medicine: State of the art and perspectives“. Artificial Intelligence in Medicine 38, Nr. 3 (November 2006): 219–36. http://dx.doi.org/10.1016/j.artmed.2006.07.005.

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

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

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Qin, Wenzhi. „The Contemporary Transformation of Art—Talking about the Imagery Sculpture“. Review of Educational Theory 2, Nr. 3 (02.07.2019): 11. http://dx.doi.org/10.30564/ret.v2i3.778.

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

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Yang, Xiu-Feng, und Wei Zheng. „A Study of the Development and Promotion of Chinese Opera Movie in Rural Areas: An Investigation and Reflection on Hunan Rural Movie of Local Opera Project in China“. International Journal of English and Cultural Studies 3, Nr. 1 (11.05.2020): 41. http://dx.doi.org/10.11114/ijecs.v3i1.4849.

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

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Yao, Liang, Zhe Jin, Chengsheng Mao, Yin Zhang und Yuan Luo. „Traditional Chinese medicine clinical records classification with BERT and domain specific corpora“. Journal of the American Medical Informatics Association 26, Nr. 12 (24.09.2019): 1632–36. http://dx.doi.org/10.1093/jamia/ocz164.

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Abstract Traditional Chinese Medicine (TCM) has been developed for several thousand years and plays a significant role in health care for Chinese people. This paper studies the problem of classifying TCM clinical records into 5 main disease categories in TCM. We explored a number of state-of-the-art deep learning models and found that the recent Bidirectional Encoder Representations from Transformers can achieve better results than other deep learning models and other state-of-the-art methods. We further utilized an unlabeled clinical corpus to fine-tune the BERT language model before training the text classifier. The method only uses Chinese characters in clinical text as input without preprocessing or feature engineering. We evaluated deep learning models and traditional text classifiers on a benchmark data set. Our method achieves a state-of-the-art accuracy 89.39% ± 0.35%, Macro F1 score 88.64% ± 0.40% and Micro F1 score 89.39% ± 0.35%. We also visualized attention weights in our method, which can reveal indicative characters in clinical text.

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

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

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Chen, Chen. „Research on the Application of Chinese Traditional Elements in Contemporary Interior Design“. Lifelong Education 9, Nr. 6 (28.09.2020): 103. http://dx.doi.org/10.18282/le.v9i6.1312.

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

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Xie, Xiaolan. „Cultural Aesthetic Comparison of "Three Singing Methods"“. Frontiers in Business, Economics and Management 1, Nr. 2 (24.04.2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.

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

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Sernelj, Téa. „Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan“. Asian Studies 8, Nr. 1 (10.01.2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.

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Zhang, Biyun. „Research on Flower-and-bird Painting in Art Therapy of Depression“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 29 (17.12.2020): 79–84. http://dx.doi.org/10.33838/naoma.29.2020.79-84.

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

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

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

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LU, CHI CHANG, und PO HSIEN LIN. „A Product as a Poem: A Case Study of a Bird-shaped Teapot Design Based on Traditional Chinese Poetic Aesthetics“. Journal of Arts and Humanities 7, Nr. 3 (09.03.2018): 41. http://dx.doi.org/10.18533/journal.v7i3.1348.

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<p>The concept of emotional design has become the main focus in the current trend of perceptual consumption. After reviewing the historical development of art, we determined that traditional Chinese art emphasizes subjective expression and favor poetics. Poetics are image based, and personal feelings are used to analyze and understand external objects. These feelings are expressed implicitly through symbols or metaphors. Classical Chinese poetic aesthetic theory is based on nearly 2,000 years of history and, thus, comprises a myriad of valuable ideas. The creator of the bird-shaped teapot has extensive experience researching and creating Chinese art, and drew on these experiences and knowledge to craft the teapot. However, the purpose of the design was to achieve Donald A. Norman's reflective level of emotional design. In addition, the teapot was designed to exhibit traditional Oriental charm while conforming to modern style aesthetics while the design strategies were inspired by traditional Chinese aesthetics. Modern style aesthetics were introduced using a design strategy derived from the theories of Cezanne. The artist analyzed its design features and compared it with the research results of contemporary scholars, in pursuit of new understanding. Finally, a questionnaire was used to understand consumer feelings of poetic design and whether this strategy would be received well in the art and design market. The results of the case study indicate that a poetic design based on traditional Chinese artistic techniques can be implemented.</p>

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Jin, Chun-Ji, und Kyu-Jung Kim. „A Study on Traditional Art Expression in Chinese Myth Martial MMORPG Character Design“. Journal of Korea Game Society 13, Nr. 2 (20.04.2013): 119–30. http://dx.doi.org/10.7583/jkgs.2013.13.2.119.

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Jian, Muwei, Junyu Dong, Maoguo Gong, Hui Yu, Liqiang Nie, Yilong Yin und Kin-Man Lam. „Learning the Traditional Art of Chinese Calligraphy via Three-Dimensional Reconstruction and Assessment“. IEEE Transactions on Multimedia 22, Nr. 4 (April 2020): 970–79. http://dx.doi.org/10.1109/tmm.2019.2937187.

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