Thematische Bibliographien / Painting, chinese – appreciation

Auswahl der wissenschaftlichen Literatur zum Thema „Painting, chinese – appreciation“

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Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Painting, chinese – appreciation"

Chen, Bingquan. „Classification of Artistic Styles of Chinese Art Paintings Based on the CNN Model“. Computational Intelligence and Neuroscience 2022 (30.08.2022): 1–7. http://dx.doi.org/10.1155/2022/4520913.

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People’s appreciation needs of Chinese paintings have gradually increased. The research on automatic classification and recognition of Chinese painting artistic style and its authors have great practical value. This study presents a Chinese painting classification algorithm with higher classification accuracy and better robustness. Using a convolutional neural network (CNN) to extract the features of Chinese painting, the image features of Chinese painting are extracted by fine-tuning the pretrained VGG-F model. The mutual information theory is introduced into embedded machine learning, so that the embedded principle is affected by feature selection and feature importance. An embedded classification algorithm based on mutual information is proposed, and Chinese painting is classified.

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Feng, Jiarui. „The Spirit of Freehand Brushwork in Chinese Oil Painting“. Pacific International Journal 6, Nr. 1 (31.03.2023): 56–60. http://dx.doi.org/10.55014/pij.v6i1.306.

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Freehand Brushwork is a unique artistic language in Chinese painting and calligraphy, celebrated for its ability to express emotion and spirit in the process of artistic creation. This paper aims to explore the spiritual connotation and artistic aesthetics of Freehand Brushwork oil paintings, and to examine the use of traditional Chinese Freehand Brushwork techniques in the expression of Western painting. By reconstructing the language of oil painting expression with traditional Chinese techniques, the paper seeks to investigate the Freehand Brushwork spirit of Chinese oil painting, which is deeply rooted in the Chinese idea of the 'unity of heaven and man' and 'respect for individuals'. The paper presents a critical analysis of the aesthetic and expressive features of Freehand Brushwork oil paintings, shedding light on the unique artistic characteristics of Chinese oil painting that distinguishes it from other painting styles. This paper contributes to the understanding and appreciation of Freehand Brushwork oil paintings and serves as a guide for artists seeking to master the Freehand Brushwork techniques in their artistic creations.

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Long, Dapeng, Preechawut Apirating und Pat Kotchapakdee. „The Creation of Loneliness in Contemporary Chinese Ink Painting - Revelation from Harald Sohlberg's Paintings“. International Journal of Religion 5, Nr. 7 (11.05.2024): 638–56. http://dx.doi.org/10.61707/yjptjm89.

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This research employs methods of iconography analysis to dissect the visual representation of loneliness in the paintings of Harald Sohlberg, aiming to inspire in the creation of loneliness within Contemporary Chinese ink painting. The article unfolds by delving into Sohlberg's painting style, cultural origins, and the profound meanings embedded within his works, subsequently exploring the revelations of Sohlberg's paintings for contemporary Chinese ink painting, and thereby elucidating the author's creation. By providing novel perspectives and methodologies, this paper contributes to the realm of cross-cultural research in the arts, demonstrating the existence of commonalities diverse backgrounds, cultures, and artistic genres, with the aspiration of fostering mutual understanding and exchange across different cultures and nations. Furthermore, this article serves to inspire painters in their creations and aids in enhancing the audience's appreciation and aesthetic sensibilities towards painting.

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NI, NI. „A Study on the Measures for the Archival Protection of the Intangible Cultural Heritage - "Chinese Painting Pigment Making Technique"“. Pacific International Journal 6, Nr. 1 (31.03.2023): 33–36. http://dx.doi.org/10.55014/pij.v6i1.300.

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Chinese painting pigments are essential for creating Chinese paintings and are an integral part of Chinese national culture, as they embody the spirit of Chinese painting. The technique of making Chinese painting pigments was included in the third batch of the National Intangible Cultural Heritage List by the State Council in 2011, emphasizing the significance of Chinese traditional culture. However, as a "living" culture, it is susceptible to change or extinction due to various factors such as inheritance, the social environment, and conservation measures. The art of making Chinese painting pigments is a unique art form that is primarily passed down orally. However, due to the increasing scarcity of raw materials and the decreasing number of artisan heirs, this art form is facing a challenging dilemma. In light of the current situation of Chinese painting pigment making techniques, this paper proposes several feasible solutions for archival protection. One solution is to use the regional characteristics of Chinese painting pigment making for publicity. This strategy would involve promoting the unique aspects of Chinese painting pigment making in various regions to increase awareness and appreciation of the art form. Another solution is to build an archival talent team for Chinese painting pigment technique. This approach would involve identifying and training a group of experts in Chinese painting pigment making to ensure the continued preservation and development of the art form. Finally, building an online resource for Chinese painting pigment making technique would make the information accessible to a wider audience and facilitate the dissemination of knowledge about this art form.

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Tian, Tian, und Feng Nan. „A Multitask Convolutional Neural Network for Artwork Appreciation“. Mobile Information Systems 2022 (14.04.2022): 1–8. http://dx.doi.org/10.1155/2022/8804711.

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The computational aesthetics of pictorial art is an important part of human artistic creation, and the computational aesthetics of pictorial art images is a computationally computable human aesthetic process using machines, which has important applications and scientific significance in the automated analysis of large-scale paintings and the computational modeling of perception by machines. To this end, this paper proposes a multitask convolutional neural network model for emotion and rating of artworks. (1) An artwork appreciation dataset consisting of fifty Chinese paintings and fifty Western oil paintings was created, and twenty subjects were recruited to score the art appreciation of one hundred artworks in the dataset, covering both painting aesthetic evaluation and painting emotion evaluation. (2) Based on the artwork art appreciation dataset, an AlexNet-based convolutional neural network model is proposed to utilize the powerful feature extraction and classification capabilities of neural networks to complete artwork art appreciation, and an oversampling method and multitask learning method are used to improve the overall recognition accuracy. (3) Compared with the combination of traditional manual features + machine learning algorithms, the end-to-end multitask convolutional neural network proposed in this paper has the highest accuracy rate of 74.57%/71.43%/74.12%.

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Jiaqing, You. „Aesthetic Appreciation of Landscape Oil Painting and Traditional Chinese Landscape Painting“. Fine Art Version 2, Nr. 3 (2020): 61–65. http://dx.doi.org/10.35534/fav.0203011c.

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Bian, Jianying, und Xiaoying Shen. „Sentiment Analysis of Chinese Paintings Based on Lightweight Convolutional Neural Network“. Wireless Communications and Mobile Computing 2021 (09.08.2021): 1–8. http://dx.doi.org/10.1155/2021/6097295.

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Chinese painting is one of the representatives of our country’s outstanding traditional culture, and it embodies the long history and intellectual wisdom of the Chinese nation. In the paper, we combine the artistic characteristics of Chinese paintings and use an optimized SqueezeNet model to study the sentiment analysis of Chinese paintings. To make full use of the advantages of lightweight convolutional neural networks, we make two optimizations based on SqueezeNet. On the one hand, expand the model width to obtain more effective Chinese painting sentiment features for classification tasks, thereby improving the classification accuracy of the model. On the other hand, introduce the idea of residual network to prevent gradient disappearance and gradient explosion in the training process, thereby enhancing the model’s generalization ability. To verify the effectiveness of the optimized SqueezeNet model used in the sentiment analysis of Chinese paintings, four kinds of sentiment classifications were carried out on the multitheme Chinese paintings downloaded on the Internet. The results of comparative experiments show that the optimized SqueezeNet model used in this paper can improve the accuracy of classification and has better generalization ability. Finally, the research results of this paper can be applied to the protection of traditional culture, the appreciation of traditional Chinese painting, and art education and training, which is conducive to the inheritance and innovation of the national quintessence and promotes the prosperity and development of traditional art and culture.

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陳惠琴. „The aesthetic appreciation and guidance of Chinese painting theories“. JOURNAL OF CHINESE STUDIES ll, Nr. 21 (März 2007): 29–40. http://dx.doi.org/10.26585/chlab.2007..21.003.

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Zhao, Shichao, David Kirk, Simon Bowen und Peter Wright. „Enhancing the Appreciation of Traditional Chinese Painting Using Interactive Technology“. Multimodal Technologies and Interaction 2, Nr. 2 (16.04.2018): 16. http://dx.doi.org/10.3390/mti2020016.

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Turner, Matthew. „Classical Chinese Landscape Painting and the Aesthetic Appreciation of Nature“. Journal of Aesthetic Education 43, Nr. 1 (2009): 106–21. http://dx.doi.org/10.1353/jae.0.0033.

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Dissertationen zum Thema "Painting, chinese – appreciation"

Chen, Hsiu-Hsiung. „The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan“. FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2131.

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For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations. Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed. The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education.

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Fournier, Anik Micheline. „Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.

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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.

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Huang, Michelle Ying Ling. „The reception of Chinese painting in Britain, circa 1880-1920 : with special reference to Laurence Binyon“. Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1020.

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The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.

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Lin, Chia-Ching, und 林佳靜. „The Instructional Design of Multimedia Courseware for Appreciation in Chinese Painting“. Thesis, 2001. http://ndltd.ncl.edu.tw/handle/86947160449386868633.

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碩士
淡江大學
教育科技學系
89
Art is the treasury of culture. Painting represents artists'''' perspective of life in their generation. Traditional painting is one of the media to realize the past. Therefore, to appreciate and comprehend traditional painting will lead us to the old values and to the identity of our culture. However, traditional aesthetic theories are hard for modern people to comprehended. To meet the needs of art appreciation materials in Chinese traditional painting, and to transfer old knowledge to a new form, which could be easily learned by people nowadays, motivates me mostly. The thesis is about how to apply instructional design of multimedia courseware to promote the appreciation of Chinese painting. All procedures are referred to the Instructional System Design (ISD) and proceeded under experts'''' advices. The final product includes detailed storyboards for the courseware and suggestions to future developers and researchers. According to literature reviews and interviews with experts, levels of art appreciation and properties of Chinese traditional painting are merged into instructional contents. Furthermore, the situated cognition was adopted as the main instructional strategy. To apply situated cognition in multimedia courseware of Art appreciation, there are three main issues should be managed. The first issue is the construction of situation, the second one is the setting of role-playing and missions, and the third one is the step-by-step guidance of learning content. To handle the three issue smoothly, the situation of a Chinese painting exhibition in an Art Museum was used. The learner''''s mission is, under the detailed explanations of the museum director, to hang the twelve classic paintings on the exhibition hall properly. Via interesting activities and reasonable situation, learners are expected to appreciate Chinese traditional painting and enjoy it. Traditional paintings are of great cultural and aesthetic value, and represent the invaluable humane spirit. Only enthusiastically nurturing students'''' art literacy in humane course is to cherish those precious cultural assets. I hope this thesis is a beginning, a beginning to stimulate more following attentions and researches.

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Bücher zum Thema "Painting, chinese – appreciation"

Lai, T. C. Understanding Chinese painting. New York: Schocken Books, 1985.

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Gu jin bai jia guo hua ming zuo xin shang: Gujin baijia guohua mingzuo xinshang. Shanghai: Xue lin chu ban she, 2000.

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Meng, Gu. Chuan shen yu hui yi: Cong Zhongguo hua kan Zhongguo ren yan zhong di zi ran he zi ran zhong di zi wo. 8. Aufl. Beijing: Guo ji wen hua chu ban gong si, 1989.

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Chinese landscape painting as Western art history. Hong Kong: Hong Kong University Press, 2010.

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Mei shu xin shang. Chengdu: Sichuan ren min chu ban she, 1986.

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Yingxian, Chen, Hrsg. Qing Ming shang he tu shi er jing yuan zuo dao shang. Xianggang: Shang wu yin shu guan (Xianggang) you xian gong si, 2010.

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Ruan, Jingjing, und Li Zhao. Zui mei Zhongguo hua 100 fu. 8. Aufl. Xianggang: Xianggang zhong he, 2018.

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Xian Qin zhi Tang Wu dai hui hua yi shu jian shang. Xi'an Shi: Shanxi ren min mei shu chu ban she, 2011.

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Kkok han pŏn pogo sip'ŭn Chungguk yet kŭrim: Chungguk hoehwa myŏngp'um 30-sŏn. Kyŏnggi-do Koyang-si: Logo P'ollisŭ, 2017.

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Wang, Huimin. Zhongguo jin xian dai hui hua yi shu jian shang. Xi'an: Shanxi ren min mei shu chu ban she, 2011.

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Buchteile zum Thema "Painting, chinese – appreciation"

Tian, Di, und Ji Xiao Zhang. „The Influence of the Concept of Virtual-Actual Coexistence in Taoist Aesthetics on Traditional Chinese Painting and Landscape Art“. In Proceedings of the 2022 International Conference on Science Education and Art Appreciation (SEAA 2022), 248–55. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-05-3_32.

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Chen, Yushun, und Qian Zhao. „Evaluation Method of Online Teaching Effect of Chinese Painting Art Appreciation Course in Colleges and Universities Based on Machine Learning Model“. In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 19–34. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51468-5_2.

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Jianping, Gao. „The Aesthetics of Nature and the Environment“. In Comparative Everyday Aesthetics. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463723367_ch04.

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The study of environmental and ecological aesthetics in China only began in the 21st century. But environmental aesthetics has a long history including the design of Chinese gardens and the practice and the evaluation of ancient Chinese landscape paintings. Comparing the aesthetic discourses on nature in China and in Europe, this essay lists Western discourses on the beauty of creation, of the sublime, and of the picturesque. Chinese discourses of the beauty of the nature have undergone a discursive development, which has formed a transformation of the discipline of aesthetics. From the appreciation of the beauty of nature in ancient times to contemporary ecological and environmental aesthetics, discourses in both cultures demonstrate similarities and differences. Understanding contemporary schools of Chinese aesthetics, from subjectivism to the materialists, shows that an historical analysis has positive implications for our understanding of the aesthetics of nature in both eastern and western cultures.

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Humphrey, Caroline. „Chiefly and Shamanist Landscapes in Mongolia“. In The Anthropology of Landscape, 135–62. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198278801.003.0007.

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Abstract The Western idea of ‘the landscape’ arises from objectification and is closely related to practices such as painting, map-making, song, and poetry. The secular, appreciative gaze is certainly not unknown among the Mongols. But it was historically intermittent and was inspired by non-Mongol kinds of representation, such as Manchu maps, Chinese and Russian landscape painting, or the ‘genre’ scenes in Tibetan religious paintings. In Mongolian culture itself landscapes are more in the nature of practices designed to have results: it is not contemplation of the land (gazar) that is important but interaction with it, as something with energies far greater than the human. The Mongols do not take over any terrain in the vicinity and transform it into something that is their own. Instead, they move within a space and environment where some kind of pastoral life is possible and ‘in-habit’ it. That is to say, they let it pervade them and their herds, influencing where they settle, when they move, and what kinds of animals they keep. However, this is not a pre-reflective or spontaneous existence, but one recognizing human choice and agencies, which are conceived as interrelated with and subordinate to the agencies attributed to entities in the land. Thus the Mongols choose to avoid forests and narrow ravines, preferring wide-open steppes, where the land is before them in a limitless expanse. But the most featureless plain has its gentle curves, or bushes, or marshy patches, and even such entities are credited with powers of some kind. I shall use the word ‘landscape’ to designate the ways in which these energies are envisaged, or, to put this another way, to describe the concepts by which social agencies constitute the physical world.

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Konferenzberichte zum Thema "Painting, chinese – appreciation"

Yu, Dehua. „MR and Sensors Application in the Folding Experience Exhibition of Chinese Traditional Furniture“. In Human Systems Engineering and Design (IHSED 2021) Future Trends and Applications. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe1001108.

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The study focuses on the digital and mixed interaction of Chinese traditional furniture in Chinese ancient painting, in which Chinese traditional furniture would be displayed in its ancient real using environment. The virtual character in the painting can interact and communicate with people with the help of MR, sensor and motion capture technology. A game process similar to removing the blind box will be developed to guide people to the fix and unfix process of folding table, fix up for tea tasting, painting, calligraphy and antique appreciation, from which people can know more about the different structure of different tables and even aesthetics, technology, craft and culture at that time. Different people would choose different tables with different shapes, structure, material and craft, which would add interest.

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Long, Dingning, und Rongrong Chen. „Individual Visual Working Memory Capacity Affects Aesthetic Appreciation of Chinese Ink Painting“. In VINCI 2023: The 16th International Symposium on Visual Information Communication and Interaction. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3615522.3615532.

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Jin, Xin. „Crossing Landscape and Architecture: Embodiment of A-Perspectival Space in Wang Shu’s Oblique Drawings“. In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5027psugw.

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.

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Kong, Ling. „The Value of Traditional Chinese Painting Appreciation Course of College and University in the Context of Visual Culture“. In 2018 Symposium on Health and Education (SOHE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sohe-18.2018.20.

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