Journal articles on the topic 'Art, chinese – technique'
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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, no. 1 (March 31, 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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Wang, Yunshang. "The Chinese One-Stroke Technique in the Russian Art." Manuskript, no. 2 (February 2020): 184–88. http://dx.doi.org/10.30853/manuscript.2020.2.34.
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Zhang, Yan, and Long Di Cheng. "The Origin and Heritage of Kesi Technique." Advanced Materials Research 821-822 (September 2013): 382–86. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.382.
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Although Chinese Kesiorigin is being recognized in various ways at present, yet its history of textual research lasts at least more than two thousand years. Moreover, a change occurred in Song Dynasty that high-grade works of art of Kesi paintings and calligraphies emerged, which formed the peak of Chinese Kesi art. In Ming and Qing Dynasties, the Kesi in the south region of Yangtze River inherited the skill of that in the Southern Song Dynasty, but it gradually declined after the Republican Period. After new China was founded, Kesi developed vigorously in Suzhou, and it had already been enrolled to the National Non-material Cultural Heritage list. This paper aims to explain the origin, the mutation, and the inheritance carrying of Chinese Kesi, then make a summary concerning the regulation. Not only will a clear cognition be made based on the previous research, but also it might be usible for reference about the protection of non-material cultural heritage in the future.
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Wang, Jitai. "Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting." Человек и культура, no. 4 (April 2020): 1–20. http://dx.doi.org/10.25136/2409-8744.2020.4.32802.
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This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.
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Wang, Qu, and Haiyang Jia. "The Evolution of Piano Technique and Its Impact on Modern Chinese Piano Development: A Theoretical Exploration." Pacific International Journal 6, no. 3 (September 28, 2023): 111–14. http://dx.doi.org/10.55014/pij.v6i3.419.
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This paper explores the development of the piano in modern China, focusing on its role in Chinese music education, performance, and composition. With the introduction of Western music and culture, the piano gradually became an integral part of Chinese musical culture. The study investigates the factors influencing the development of the modern Chinese piano, including social history, cultural environment, and the music education system. The research employs a literature review methodology to analyze the evolution and changes in theories of modern Chinese piano development, as well as the significant theoretical perspectives and academic ideas associated with them. The study examines the historical background, cultural environment, piano performance techniques, teaching methods, and the contributions of Chinese piano composers and musicians. The findings highlight the importance of studying modern Chinese piano development theory for piano education and performance. The research aims to deepen the understanding and application of relevant theories, fostering innovation and improvement in piano art. Furthermore, the exploration of piano development theories promotes the preservation and transmission of Chinese music culture, enhances academic research, and facilitates international exchange in the field of Chinese music. The study concludes that the continuous study of technical theory is crucial for the development of the piano in China. The improvement of current technical theory serves as a catalyst for advancing Chinese piano art and strengthens the preservation and transmission of Chinese musical cultural heritage. The findings provide theoretical guidance for piano teaching and performance practice, contributing to the continuous advancement of piano art in China.
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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.
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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Цзяо, Л., and Ю. Гао. "Combining Chinese pronunciation and Bel Canto: a study of art and technology." Bulletin of Pedagogical Sciences, no. 4 (May 13, 2024): 215–19. http://dx.doi.org/10.62257/2687-1661-2024-4-215-219.
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в начале XX века в Китай пришла техника бельканто, внесшая значительные изменения в традиционное вокальное искусство. Это стало началом уникального синтеза восточных и западных вокальных традиций, который обогатил китайскую музыкальную культуру, но также представил новые вызовы, связанные с произношением и техникой исполнения. Данная статья посвящена анализу этого синтеза, изучая, как влияние бельканто способствовало развитию китайской вокальной практики и какие адаптации были необходимы для интеграции итальянской вокальной техники с особенностями китайского языка. Мы исследуем, как бельканто повлияло на методы обучения и исполнения в Китае, а также как китайские исполнители приняли и адаптировали эту технику для своего языкового и культурного контекста. Особое внимание уделено проблемам, связанным с произношением и артикуляцией, и методам, которые были разработаны для преодоления этих трудностей. Анализируется роль бельканто в формировании современного китайского вокального искусства, учитывая как технические, так и культурные аспекты этого взаимодействия. Основным методом исследования, принятым в данной работе, является метод документального анализа (bibliographic). at the beginning of the XX century, the bel canto technique came to China, which made significant changes to the traditional vocal art. This was the beginning of a unique synthesis of Eastern and Western vocal traditions, which enriched Chinese musical culture, but also presented new challenges related to pronunciation and performance technique. This article is devoted to the analysis of this synthesis, studying how the influence of bel canto contributed to the development of Chinese vocal practice and what adaptations were necessary to integrate Italian vocal technique with the peculiarities of the Chinese language. We explore how bel canto has influenced teaching and performance methods in China, as well as how Chinese performers have adopted and adapted this technique to their linguistic and cultural context. Special attention is paid to the problems associated with pronunciation and articulation, and the methods that have been developed to overcome these difficulties. The role of bel canto in the formation of modern Chinese vocal art is analyzed, taking into account both technical and cultural aspects of this interaction. The main research method adopted in this work is the method of documentary analysis (bibliographic).
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DİNÇ, NESLİHAN DİLŞAD. "TRADITIONAL PAPER CUTTING ART AND ITS REFLECTIONS ON CONTEMPORARY ART: THE EXAMPLE OF CHRISTINE KIM." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 795–808. http://dx.doi.org/10.7456/11203100/016.
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Paper cutting is a traditional art form of China, the history of which goes back many centuries. This art form has been shaped by being influenced by the social, cultural and economic structure of the people. While different techniques have been used in the past, new methods and techniques are also being used in parallel with the development of technology today. To be synthesized of traditional techniques with contemporary art practices has become a very popular approach. Toronto-based artist Christine Kim interprets her discourses in the context of contemporary art while preserving tradition by uses this technique. In particular, the artist, who is seeking to establish abstract and concrete connections between portrait art and traditional paper-cutting, shows that she also has an original attitude with his compositional fictions. In this research, which uses the document analysis and interviews author with artist, the paper cutting technique will be expressed in the context of the concept and working style, and the works of Christine Kim, who has produced important works in this field, will be evaluated with examples. Starting with a brief overview of the Chinese tradition of paper cutting, the article will move along an axis where Kim's work is analyzed and evaluated and how this original art practice has gone from randomness to stabilization. It is considered that the study will be useful to those who aim to produce works in this field and to educators who are looking for new techniques and methods in art education. For this reason, it is considered that there is not a lot of resources in the field of paper cutting art in the Turkish literature make our work important.
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Ли, Ю. "The Genre of Seascape in the Guohua Technique (An Example of Song Mingyan’s Art)." Nasledie Vekov, no. 2(34) (June 30, 2023): 115–24. http://dx.doi.org/10.36343/sb.2023.34.2.009.
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Статья посвящена анализу художественных особенностей морских пейзажей китайского художника Сун Минъюаня – основателя данного жанра в национальной живописи – и их эволюции по мере профессионального становления художника и изменения его эстетических предпочтений. Базу исследования составили работы китайских и российских искусствоведов, изучавших творчество китайского мастера в период с середины 1980-х гг. по начало XXI в. Художник стал первопроходцем в использовании художественных средств выразительного языка гохуа, который ранее считался не способным передать в полной мере всю силу и мощь величественной, порой яростной морской стихии. На примере творчества Сун Минъюаня и его серии картин «Ода морю» определяются возможности и перспективы использования традиционной техники гохуа для создания морских пейзажей, осмысляется процесс ее эволюции в начале XXI столетия, а также выделяются специфические черты китайской версии марины в контексте общемирового художественного процесса. The study examines the emergence of the seascape genre in Chinese art on the example of the works of its main representative, the marine painter Song Mingyuan. The author analyzes the artistic features of his seascapes and their evolution as the artist develops professionally and his aesthetic preferences change. The materials of the study were research of art historians on the works of the Chinese master from the mid-1980s to the early 21st century. The research methods are artistic and stylistic analysis and the iconography of Song Mingyuan’s sea paintings at different stages of his creative life, and the study of documentary materials. The author consistently studies Song Mingyuan’s early works made in the guohua technique and then those created under the influence of his acquaintance with the principles of Western oil painting. Further, the author analyzes the mechanism of the “birth” of the artist’s specific manner in creating maritime paintings through the synthesis of Chinese and Western traditions. The analysis begins with Song Mingyuan’s first work, Unrest at Sea (1986), which already shows the artist’s special attitude to the sea element and manifests hiss search for a new language of artistic expression. Particular attention is paid to the 1980s – the time of the official formation of the “school of the seascape”, when the artist skillfully combines Chinese and Western features, applied innovation in terms of technique and motives, and showed various artistic styles. After acquaintance with oil painting in the 1990s, Song Mingyuan uses color much more boldly and departs from the compositional scheme characteristic of his early works – a combination of rock and sea elements; he increasingly turns to the image of boundless waves and sky. In 2002, Song Mingyuan founds the Sea Stone painting school. During that period, the artist tends to depict coastal waters, but then returns to the sea element again. His image of water becomes more dynamic, complex in color, which is typical for se-i painting. On the example of his works, the artist showed other Chinese painters unique methods and techniques that formed the basis of his authorial system of artistic expression, which absorbed the traditional techniques of Chinese national painting in combination with Western expressive techniques. His students (Zhao Xiyun, Deng Zijing, Lin Qian, and others) now devote their watercolors and oil paintings to the sea and navigation, which reflects the heyday of China’s maritime power.
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Xiaolin, Xie. "Musical, Cultural and Historical Aspects of Adding a Middle Pedal to Piano Sounds by Russian and Chinese Composers." OOO "Zhurnal "Voprosy Istorii" 2021, no. 12-3 (December 1, 2021): 143–50. http://dx.doi.org/10.31166/voprosyistorii202112statyi97.
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The article is devoted to a historical review of the musical and cultural aspects of Russian and Chinese composers’ usage of the middle pedal in the piano-playing process. In the piano music of Russian and Chinese composers-musicians, the importance and significance of the pedal as a means of producing expressiveness are exposed. The technique of pedal subtleties, which was used by Russian and Chinese pianists at different times in the development of the piano art, gives special emphasis. The similarities and differences in stylistics, principles, and pedaling techniques in the process of playing the piano in modern Russia and China are discussed.
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Zhao, Wei. "An Analysis of the Influence of Ancient Chinese Frescoes on Modern Traditional Chinese Realistic Painting." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 189. http://dx.doi.org/10.32629/asc.v3i2.914.
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Ancient Chinese fresco painting has a long history and is one of the important art forms of traditional Chinese painting. As a traditional genre of painting in China, traditional Chinese realistic painting has always adhered to the spirit of the times. This paper examines the relationship between ancient Chinese fresco painting and modern Chinese realistic painting, summarising the artistic characteristics of ancient Chinese fresco painting from three perspectives: composition, materials, technique and style, and exploring the inheritance and development of modern Chinese realistic painting on ancient Chinese fresco painting.
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Chung, Nguyễn Quang, and Quách Phan Phương Nhân. "Developing the Capacity in Learning Sino - Nom for Students in Vietnamese Language and Literature Teacher Education at Hung Vuong University through Calliry Writing Activities." Scholars International Journal of Linguistics and Literature 7, no. 04 (April 29, 2024): 109–13. http://dx.doi.org/10.36348/sijll.2024.v07i04.002.
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Practicing calligraphy helps learners master the art of writing Chinese characters. By practicing calligraphy, students will better understand the characteristics of Chinese characters and how to arrange those strokes into messages in text. This will help develop the ability to write Chinese characters more fluently and beautifully. Improving creativity and aesthetics, calligraphy is an art that combines art and technique. When practicing calligraphy, you will have to cultivate your creativity, find balance and aesthetics in each line. This can help improve the ability to organize ideas and express meaning in writing Sino-Nom texts. Originating from the need to study Nom character at Hung Vuong University. In the framework of the article, we focus on: Calligraphy in the practice of writing Nom character texts of students majoring in Literature pedagogy at Hung Vuong University.
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Wang, He. "The Status, Causes, Problems and Prospects of Application of Stainless Steel Materials in Chinese Urban Sculptures." Applied Mechanics and Materials 357-360 (August 2013): 641–45. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.641.
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From 1980s, stainless steel has been widely used as a kind of sculpture material in China, because there is a large need of quickly constructed, huge-sized modern sculptures during rapid urbanization. But the problems of excessive popularization of art crafts and disappreciation of art emerged. Only through the comprehensive function of improving supervision, promoting art and technique level as well as popularizing social art education, will stainless steel development be ensured in future Chinese urban sculptures.
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Zhou, Zhensheng. "Image Thinking and Modeling of Chinese Painting." Scientific and Social Research 6, no. 3 (March 30, 2024): 242–47. http://dx.doi.org/10.26689/ssr.v6i3.6435.
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As the essence of Chinese traditional culture, Chinese painting is distinguished from other paintings by its unique art form and expression technique. Among them, image thinking and image modeling are the soul of Chinese painting, which is an important way to express the artist’s unique feelings and thoughts, and also the source of the unique charm of Chinese paintings. Therefore, this paper mainly explores the image thinking and modeling of Chinese painting, and its importance, and analyzes the application of image thinking and modeling in Chinese painting.
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Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
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Zhang, Wanrong. "The Daoist Art of the Bedchamber of Male Homosexuality in Ming and Qing Literature." Religions 15, no. 7 (July 12, 2024): 841. http://dx.doi.org/10.3390/rel15070841.
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The Daoist art of the bedchamber (fangzhong shu 房中術) constitutes a form of cultivation practice with the objective of promoting health and longevity through sexual techniques, generally applied within heterosexual contexts. However, with the evolution of male homosexuality culture during the Ming and Qing dynasties, depictions of the art of the bedchamber related to male homosexuality emerged in the literature of that era. This art was imaginatively traced back to Laozi and his disciple Yin Xi 尹喜. The sources explained the beneficial outcomes of these techniques by referring to classical Chinese cosmology: underage males were considered to have yin energy in their bodies, a condition similar to that in females, aligning with the fundamental principles of the heterosexual art of the bedchamber. Serving as a religious interpretation of emerging cultural trends rather than representing a new cultivation technique, this fictive art legitimizes homosexual practices among males, particularly those adhering to Daoism.
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Wen, Shike, Dongzhi Xiao, and Shiwei Yang. "Research on the Symbolic Expression of Film Visual Art Directed by Chinese Director Zhang Yimou." Communications in Humanities Research 5, no. 1 (September 14, 2023): 238–44. http://dx.doi.org/10.54254/2753-7064/5/20230234.
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As the leader of the fifth generation of directors in China, Zhang Yimou leads Chinese films to the world in the new era. He is an outstanding representative of Asian films and a world-renowned film master. This paper takes visual art as the tool and mainly studies the symbolic expression of Zhang Yimous film. The research allow readers to access the Chinese classic film symbol and Zhang Yimous personal characteristic film symbol by analogy Zhangs several films. Through the online research on Douban and Zhihu, the author made a brief appreciation of the visual language features of Zhang Yimous two films To Live and Red Sorghum with the highest score and voice.The author makes some discussions on the composition characteristics, techniques and creation style of Zhang Yimou's films. On the one hand, the author believes that Zhang Yimou and his films are deeply influenced by the structure of traditional Chinese aesthetics. Zhangs film not only display grand Chinese aesthetics in the structure of the picture, but also intersperse many unique Chinese meanings in the film. From the creative technique, Zhang is good at using scenes to foil atmosphere and allude to the characters fate. On the other hand, Zhang Yimous typical male chauvinist creation style is reflected in many aspects of his film, such as female stereotypes, improper male gaze.
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Wu, Guanwen. "Mutual Influence of Woodcut Art of China and the USSR." Философия и культура, no. 9 (September 2022): 99–107. http://dx.doi.org/10.7256/2454-0757.2022.9.38851.
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The article discusses the features of interaction and mutual influence of the art of woodcut of China and the USSR. Chinese woodcut and Soviet engraving reveal the greatest mutual influence and rich genre palette in the middle of the XX century. Chinese woodcut gave a creative impulse, enriched the visual possibilities, brought new ideas to the Soviet art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, it seems relevant to identify common features of Chinese woodcut and Soviet engraving of the mid-20th century, as well as to identify differences in the development of this art form in the two countries. The article analyzes the works of famous woodcuts of two countries: Chen Yanqiao, Yang Han, Qi Baishi, V. A. Favorsky, A. A. Ushin. As a result of the analysis, the common features of Chinese woodcut and Soviet engraving of the mid-20th century were revealed, for example, similar plots and themes, as well as a special dynamic, lively and pulsating rhythm of the works. In addition, differences in the development of this type of art in both countries have been established, largely due to the preservation of their own national style by graphic artists. It is claimed that Soviet graphics contributed to the variety of Chinese woodcuts. In turn, Soviet artists adopted the subtleties of filigree technique from Chinese woodcuts.
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Kin, Olena, Tetyana Sobchenko, and Maryna Yakimova. "CURRENT PROBLEMS OF MODERNIZATION OF MUSIC EDUCATION OF THE PRC IN THE CONTEXT OF MODERN CHALLENGES." Scientific Journal of Khortytsia National Academy, no. 2023-9 (December 20, 2023): 24–31. http://dx.doi.org/10.51706/2707-3076-2023-9-2.
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The scientific review article presents an analysis of the current problems of music education in the People's Republic of China, which are caused by the contradictions between the urgent need to preserve and multiply the national cultural potential and the requirements for the reorganization of the education system in accordance with the tasks of integration into the cultural and educational world space. The role of Chinese musical art in the historical, cultural and philosophical excursion is characterized. The main problems of music education in the People's Republic of China, which are determined by the music-pedagogical community, are presented. They are the following: orientation of Chinese music education on the training of performers, improvement of their technique; insufficient use of interdisciplinary connections with humanitarian disciplines to form a holistic view of musical art as a spiritual phenomenon; insufficient level of professional training of teachers of musical art; conservative approach in the organization and implementation of the educational process. The views of Chinese scientists, teachers, and art critics regarding the modernization of music education in the People's Republic of China are highlighted: updating and expanding the content of education by disciplines, topics of a national nature; the use of modern methods, techniques, organizational forms of training; raising the level of training of music teachers. The importance of building a national music school for the implementation of the state national cultural strategy is revealed. Among other important factors are solving the problems of national unification of the country, consolidation of the people, harmonization of relations in the society on the basis of cultural cohesion of the nation; elevation of the national identity of the Chinese nation. Prospective directions for the development of the national music school are outlined: updating the performing repertoire, supplementing the musical material studied in music lessons with examples of folk art; creating a historical and cultural context when teaching musical disciplines; promoting the spread of traditional Chinese music, its popularity and prestige in public consciousness; improvement of the process of teaching Chinese traditional music in educational institutions of all levels; defining and reconstructing the subjectivity of Chinese music, using the unique spiritual experience of national music.
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Neglinskaya, Marina Aleksandrovna. "“Gunpowder painting” of Cai Guo-Qiang: Chinese artistic tradition in the era of postmodernism." Культура и искусство, no. 2 (February 2020): 44–50. http://dx.doi.org/10.7256/2454-0625.2020.2.29690.
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The subject of this research is the art of Cai Guo-Qiang (born in 1957) – the modern Chinese painter who lives and works in China and the United States (New York). The object of this research is the storyline fireworks of Cai and his innovative technique of “gunpowder painting”. The first works of the painter were canvasses in oil painting, and by 1980’s he invented a new “gunpowder” technique, which was first applied in combination with oil on the canvas, and since 1990’s – with ink on the paper, as a version of modern traditional painting guo-hua. His works evolved from social realism to a distinct variation of modern expressionism, as demonstrated the first in Russia retrospective exhibition of the works of Cai Guo-Qiang that took place in the Phuskin State Museum of Fine Arts (“October”, Moscow, 2017). Authors of the exhibition catalogue justifiably note the “cosmopolitan mission” of his art, but leave out of account the traditional context. The proposed methodology, which integrates art and culturological analysis, allows seeing in the works of this prominent modern painter the version of mass art that retains mental and reverse connection with the Chinese tradition. The scientific novelty of the article is defined by the following conclusions: the art of Cai Guo-Qiang is addressed to the international audience, but concords with the traditional paradigm due to Buddhist mentality deeply rooted in the painter’s consciousness. The traditional aspect is his proclivity for harmonization of social environment. This mass art that possesses formal and substantive novelty is associated with the modern international artistic market, as well as market version of “Chinese style” (Chinoiserie) of the XVIII century.
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Li, Min, and Xiaoyan Zhang. "Research on the Application of Traditional Embroidery Technology in Modern Jewelry Creation." Journal of Arts and Humanities 6, no. 10 (October 23, 2017): 07. http://dx.doi.org/10.18533/journal.v6i10.1274.
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Tradition and modernity are the eternal topics of art, especially in the age of information.Efficient mechanical production methods to improve the traditional jewelry production process, which achieved the demand for mass production of jewelry.However, with the development of society and the progress of science and technology, many traditional arts and crafts are lost.From the traditional culture, this paper analyzes the work of embroidery jewelry by studying the traditional Chinese embroidery culture and technique, summarizes the traditional embroidery technology and modern jewelry design techniques combined approach to guide the creative practice.On the basis of studying the theoretical method of combining traditional embroidery technology with modern jewelry, this paper focuses on the application of traditional embroidery techniques in jewelry creation, inspire the potential of traditional craft, to provide reference for modern jewelry design rich Chinese characteristics and attract the attention of Chinese jewelry industry and inherit the traditional arts.
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Tarasov, Volodymyr, and Wang Weike. "Pictorial principles in the system of formal connections: the limits of representation in modern Chinese painting." Bulletin of Lviv National Academy of Arts 50, no. 50 (May 30, 2023): 54–67. http://dx.doi.org/10.37131/2524-0943-2023-50-1-8.
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The purpose of the article is the study of formal connections in the pictorial system of modern Chinese painting. The authors focus on the analysis of the types of form representation. This makes the question of finding correspondence between artistic forms and reality, which is generalized with the help of figurative author's artistic language, urgent. As a subject of research, the mentioned problem is relevant for modern art studies. The authors show that the concept of "formal language" attracts considerable attention in contemporary Chinese art studies. This proves the importance of the study of formal connections for the analysis of both traditional art practices and for innovative artistic searches. Form as a component of the language of modern painting is represented using pictorial principles, which in the context of the conceptual categories of Chinese art history can be summarized within two interrelated groups, namely: expression and aestheticization of form. The first group unites structural questions, which are mostly related in one way or another to the interpretation of the technical features of oil painting. Within the limits of the second group, the issues of figurative (or, according to the terminology used in Chinese art history – spiritual) foundations of the representation of the image are considered. The authors concluded that in modern Chinese oil painting, form as a pictorial principle relies on the imitative nature of artistic generalization. Form as a pictorial principle is connected with the possibility for the artist to "appropriate" certain aspects of reality, to make their generalization his own point of view on the world. Within modern Chinese painting, the imitative form has a reflexive status, which is confirmed by a number of transformations in the oil technique. In Chinese painting, this principle has a direct reference to traditional artistic practice.
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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2114.
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Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.
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Damayanti, Nuning Y. "PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 46–51. http://dx.doi.org/10.36456/jbn.vol3.no1.2114.
Full textAbstract:
Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.
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Wang, Xiaoyong. "Between the Religious Act and Art Commodity." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (May 15, 2019): 1–22. http://dx.doi.org/10.33137/relocations.v2i1.31674.
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Rebgong, located in Huangnan Tibetan Autonomous Prefecture in Qinghai, China, has become one of the most productive areas of Tibetan Thangka painting since the 1980s. Why has Rebgong, a place outside the Tibet Autonomous Region (TAR), become the stronghold of Thangka commercialization? How have Thangka Buddhist painters reacted to the commercialization of their work? I chose to focus on the changes in the past decades in the transmission and commercialization models of Rebgong Thangka. Based on my analysis of both Chinese and English textual sources as well as three weeks of fieldwork conducted in Rebgong, consisting of observation and interviews with key players such as local Thangka masters, students, government officials and dealers, I argue that the models of technique transmission and commercialization have both drastically changed over the past decades, despite the continuation of some features of traditional master-disciple transmission. To justify these changes and compensate for the traditions they betrayed, the key players employed several moral strategies and negotiated with the Buddhist community to maintain a balance between Thangka as a religious object and as a pure commodity. Meanwhile, the sales of Thangka are essentially dependent on its religious meaning. The project attempts to contribute to our understanding of the transformation of religious art alongside modernization, especially the marketization of the economy, and problematize the dichotomy of its religious function and commodity nature. Equally intriguing in this case is how changes in the realm of religious art fundamentally reshaped a specific place and the associated social relations of particular religious and ethnic natures in modern China.
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DOLGUSHINA, MARINA. "CROSS-CULTURAL CONNECTIONS IN BRIGHT SHENG'S OPERA THE SONG OF MAJNUN." Культурный код, no. 2023-1 (2023): 100–111. http://dx.doi.org/10.36945/2658-3852-2023-1-100-111.
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The article is devoted to the opera The Song of Majnun by Bright Sheng, the modern American composer of Chinese origin. This one-act opera was composed in 1992 and premiered in Chicago. In Russian musicology, this work is being studied for the first time. The authors analyze the history of the creation of the opera, the plot, composition, dramaturgy, and the specifics of the musical style. They pay special attention to the search for cross-cultural connections - the interaction of elements of Eastern (Persian, Chinese, Tibetan) and Western European cultures. The libretto of the opera is based on the plot of an ancient Persian legend. The composition of the opera was influenced by the art of the Persian book miniature of the 13th century. For the musical themes of the main characters Majnun and Laila, folk songs of ethnic Tibetans from the Chinese province of Qinghai were used. Many opera melodies are composed with the use of pentatonic scale. The orchestration uses techniques typical for Beijing Opera Orchestra. Conclusions are drawn about the peculiarities of combining elements of Chinese folklore and European composing technique of the 20th century. The importance of the opera The Song of Majnun for the further work of Bright Sheng is noted.
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LIU, Mingxuan. "REPRESENTATION OF THE CITY IN TRADITIONAL CHINESE GOHUA PAINTING: MOTIFS, TYPOLOGY, PICTORIAL AND STYLISTIC FEATURES." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 57–65. http://dx.doi.org/10.33625/hudprom2023.02.057.
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The representation of the city in traditional Chinese painting has certain features and traditions that distinguish it from the representation of urban imagery in Western art. First of all, this is an artistic generalization of the urban landscape as part of the artistic context of nature. It is also important to focus attention on the depicted identities of the urban space (houses, streets, bridges, as well as the nature that surrounds the city, etc.). In addition to this, gohua in its historical development has an obvious tendency to panoramicity and a generalized way of perception, which actualizes a special system of artistic motifs. Within the historical context of Chinese painting, the city often has a symbolic meaning, and its visuality is represented through the symbolism of color, space or emblems. After all, the use of traditional artistic materials and techniques is of great importance, which determines the palette of artistic techniques and directly affects the artistic motifs of the representation of the city. The representation of the city within the gohua reflects the peculiarities of Chinese culture and perception of the world. Cities are considered as part of nature and interconnected with it. This approach gives works of art depth and symbolic meaning. It is substantiated that the cityscape in the context of the general phenomenology of guohua has its own conceptual and terminological niche, which can be translated as “urban ink painting” (都市水墨). In turn, within this niche, the most popular artistic technique is “meticulous painting” (gongbi /工笔画; literally, “working with a brush”). The following typical pictorial and stylistic features of the urban landscape genre within Chinese ink painting, which are characteristic of the modern stage of development of Chinese fine art, have been established: 1) Expressiveness, which is expressed in the artist’s effort to convey not only the appearance of the city landscape, but also the emotional reaction to the landscape; 2) Minimalism: the desire to build an artistic foundation with the minimum number of colors and elements and focus on the expressiveness of details; 3) Line graphics: as a sign reflects the European approach to understanding the technique and imagery of Chinese painting; in the urban landscape genre, it affects imagery by conveying the shapes and contours of objects; 4) Contrast, with the help of which artists create volume, depth and texture of the urban landscape; 5) A separate artistic parameter is symbolism, which is a field of interpretation of the general pictorial and stylistic repertoire
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Divayana, I. Putu, A. A. Yugus, and I. Wayan Kondra. "Baris Cina Dance as a Reference for the Creation of Paintings." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 43–51. http://dx.doi.org/10.59997/citakara.v2i2.1841.
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This Independent Project Report presents Chinese Baris Dance as a Reference for Painting Creation, departing from an interest in the visuals of Chinese Baris dance which is very unique and different from Baris dance in general. This sparked the impetus to present Chinese Baris dance visuals by combining certain references and techniques to achieve the desired meaning and purpose. The problem faced is how to visually process Baris Cina to represent the ideas and meanings that you want to realize to make it look attractive. The benefits and objectives of this report are to promote the existence of the Chinese Baris dance, and to increase the writer's understanding of the Chinese Baris dance. To answer the objectives of this work, the methods used are reflection or basic research, execution or forming, improvisation, and completion. With elements of art, and through the stages of reflection or basic research, execution or forming, improvisation, and completion, and combined with ideas and ideas to create 6 works entitled: 1) "Synergy", 2) "Bound" , 3) "authority", 4) "dexterity", 5) "taste", 6) "difference, blending, and balance". In the creation of the work, the author uses several techniques and references from several artists. By combining the object of smoke and the technique of using bamboo brushes and the tendency of romanticism, it is hoped that new works can be produced and can become the identity of the author. In the end, it can be concluded that the art of dance, especially the Chinese Baris dance, is very interesting to be promoted and gives a lot of inspiration that can be developed and will become a meaningful work. With the creation of this work, it is hoped that it can convey meaning or messages based on the aesthetic experience experienced by the author.
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JIN, FENG, and Natal'ya Aleksandrovna Fedorovskaya. "Jianzhi art in the works of Chinese artist Ku Shulan (analysis of the creative method on the example of the work "The Goddess of Paper Cutting")." Культура и искусство, no. 4 (April 2024): 30–42. http://dx.doi.org/10.7256/2454-0625.2024.4.70404.
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The subject of this article is the study of the work of the famous Chinese master of folk crafts Ku Shulan (1920-2004), which demonstrates the trends in the modern development of the Chinese folk art of paper cutting (jianzhi). Particular attention is paid to the analysis of the collage technique of Ku Shulan, the identification of its creative method, the features of the technological process, the formal-stylistic and figurative-symbolic content of the carved paintings. The paper analyzes one of the most famous works of Qu Shulan "The Goddess of Paper Cutting", which demonstrates the characteristic features of her author's style. The key methods used in this study are historical-cultural, historical-comparative, and historical-biographical, which made it possible to show the work of Ku Shulan in the context of traditional jianzhi art. Also, to study the creative method of Ku Shulan and identify the figurative and symbolic specificity of the work under consideration, formal-stylistic and semiotic analysis was used. The novelty of the research lies in the fact that a detailed analysis of the technological process of creating works according to the method of Ku Shulan is carried out, revealing the specifics of her work with the jianzhi technique and the creative method itself. On the basis of the traditional technique of paper cutting, Ku Shulan created her own technology - she added collage, cutting, gluing and lining, thereby opening up new opportunities for the development of the art of jianzhi. The main conclusion of the study is that in the context of modern globalization, the art of paper cutting by Ku Shulan acts as a rich source of ideas for the preservation, development and popularization of Jianzhi folk art both in China and in the world.
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Zhou, Ke, Mengqi Liu, and Qinchuan Zhan. "From Lacquer Painting to Kintsukuroi: A Rheological Study of Kintsukuroi." Highlights in Art and Design 2, no. 3 (May 3, 2023): 49–52. http://dx.doi.org/10.54097/hiaad.v2i3.7996.
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The word “Kintsukuroi” originated from Japan, but its origin is traced back to the traditional Chinese art of repairing ancient artifacts - lacquer painting. The repair technique not only has a long history in China, but also has influenced the formation and development of artifact repair in many countries and regions in the world. Based on the perspective of intangible cultural heritage, this paper analyzes and studies the ancient Chinese traditional lacquer calligraphist by sorting out the evolution of the Kintsukuroi process. At the same time, under the background of cultural confidence, this paper also continuously enhances the spiritual cohesion of the Chinese nation, and promotes the revival and inheritance of Chinese traditional craftsmanship.
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Liang, Tingting, Mar Morón Velasco, and Jose Maria Sanahuja Gavalda. "Inclusive Education through the Lens of Diversity: A Case Study in an Arts School with a Focus on Chinese Students." Arteterapia. Papeles de arteterapia y educación artística para la inclusión social 19 (April 11, 2024): e90618. http://dx.doi.org/10.5209/arte.90618.
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The purpose of this research is to determine the influence of a collaborative art project between a museum and a public school on the process of inclusion and involvement of Chinese children and their families. This qualitative study is based on 9 months of observation of Art-Based Project (ABP) activities in the school and the museum, as well as interviews with parents, museum technicians, and instructors. The findings imply that the assimilation paradigm causes family separation among immigrants, which may be one reason for the high dropout rate in this population. As a result, the first technique for including immigrant children is to assist their parents. The Tandem Project, which employs the arts education model developed by the school and the museum: ABP, and the Visual Thinking Strategies (VTS) included in this art project have a positive impact on Chinese children's language ability, participation in school activities, furthermore, children's inclusion and family involvement has been improved.
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Lizun, Damian, Teresa Kurkiewicz, Bogusław Szczupak, and Jarosław Rogóż. "A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)." Applied Sciences 13, no. 4 (February 13, 2023): 2414. http://dx.doi.org/10.3390/app13042414.
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This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods supplemented with archival sources and enabled characterising the investigated paint mixtures and revealing details of the artist’s painting technique. The study has proved the artist’s ability to produce a variety of hues by utilising a conventional palette of colours. The predilection for ultramarine, viridian, yellow and red iron-rich earth pigments, umber, yellow chromate pigments, as well as lead white, zinc white or Zn-base compounds like lithopone and barium white was recorded. The study emphasises a minor use of Prussian blue, emerald green, cadmium yellow or its variant and bone black. Although it remains unknown what brands of paints Liu Kang used, the available archival sources give insights into the painting materials available in Shanghai that the artist could have had at his disposal during the period under review. The archival information is based on the Chinese and overseas colourmen advertisements printed in Chinese journals and the respective contemporary colourmen catalogues. The artist’s painting technique departs from the experimental approach of his Paris phase. In Shanghai, he focused on synthesising the painting principles of the School of Paris with traditional Chinese calligraphy. The outcomes of this research may support future technical studies of works by other artists contemporary to Liu Kang and who were active in pre-war Shanghai.
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Nikolai, Halyna, Mirosław Kisiel, and Yan Peng. "Vocal education in the context of intercultural communication: Experience of teaching chinese students." International Journal of Chinese Education 12, no. 1 (January 2023): 2212585X2311697. http://dx.doi.org/10.1177/2212585x231169741.
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The article considers vocal education in an intercultural communication perspective, presents corresponding Polish research and experience of Chinese students training in Ukrainian universities. The result of the study is the idea of creating a kind of multi-aesthetic synthesis, where a specific association of vocal activities in different cultures will be made. One example of this is a project that will contain both the European vocal technique elements and the Chinese singing tradition in one performance. The article proves that internationalization processes in higher art education create the context of intercultural communication in the process of vocal training of Chinese students and a new trend emerges – research area of Chinese PhD students in Ukrainian universities. The studies of Chinese researchers conducted in Ukraine contribute to the achievement of the specified synthesis.
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Zeng, Guoguang. "Research on the Integration and Innovation of Ceramic Decorative Pattern Design and Traditional Culture." Highlights in Art and Design 1, no. 1 (September 25, 2022): 55–59. http://dx.doi.org/10.54097/hiaad.v1i1.1699.
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Ceramics, from the initial practicality to artistry, has a profound impact on social life and its value is unique. Tracing back to the origin of Chinese ceramic art, the application of decorative patterns is legendary. These decorative arts with national and cultural characteristics have distinctive characteristics of the times. Traditional culture is embedded in decorative patterns, which are dominated by the spirit of traditional culture. It is a profound historical accumulation of national traditional culture. Looking at the decorative patterns of ceramic art, these patterns are melting the collision of thoughts, reflecting the ceramic decorative patterns of the light of Chinese civilization for thousands of years, and are also the profound embodiment of the cultural and artistic values of Chinese civilization. This article mainly takes Ganzhou Qilizhen kiln ceramic design as an example to interpret the application of traditional culture in ceramic decorative art. A curve fitting technique based on adaptive genetic algorithm is proposed. The process of curve fitting using adaptive genetic algorithm and curve tools is described in detail, and the comparison results are given. The research shows that the adaptive genetic algorithm can effectively reduce the original iteration times by 30.14% compared with other algorithms. At the same time, this method is applied to the process of pattern design.
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Li, Jiafang, and Zhiguang Liu. "Focused-ion-beam-based nano-kirigami: from art to photonics." Nanophotonics 7, no. 10 (September 19, 2018): 1637–50. http://dx.doi.org/10.1515/nanoph-2018-0117.
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AbstractKirigami, i.e. the cutting and folding of flat objects to create versatile shapes, is one of the most traditional Chinese arts that has been widely used in window decorations, gift cards, festivals, and various ceremonies, and has recently found intriguing applications in modern sciences and technologies. In this article, we review the newly developed focused-ion-beam-based nanoscale kirigami, named nano-kirigami, as a powerful three-dimensional (3D) nanofabrication technique. By utilizing the topography-guided stress equilibrium induced by ion-beam irradiation on a free-standing gold nanofilm, versatile 3D shape transformations such as upward buckling, downward bending, complex rotation, and twisting of nanostructures are precisely achieved. It is shown that the generated 3D nanostructures possess exceptional geometries and promising photonic functionalities, including strongly interacting multiple Fano resonances, giant optical chirality, clear photonic spin Hall effects, and diffractive phase/polarization effects. The studies of such structures can build up novel platforms for versatile manufacturing techniques and be helpful to establish new areas in plasmonics, nanophotonics, optomechanics, MEMS/NEMS, etc., with the generation of exotic but functional nanostructures.
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Wang, Qi. "Imitations of ancient jade products of the Qing era (1636-1912) in the collections of Russian museums." Философия и культура, no. 4 (April 2023): 103–12. http://dx.doi.org/10.7256/2454-0757.2023.4.40554.
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Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.
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Yu, Yadong. "Theoretical foundations of actors training in Chinese theatrical schools." Педагогика и просвещение, no. 3 (March 2020): 47–53. http://dx.doi.org/10.7256/2454-0676.2020.3.33386.
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This article is dedicated to the work with students in Russian and Chinese theatrical schools, which is structured on the elements of acting techniques determined by the “Stanislavsky system” as the leading theoretical foundation in the training of novice actors. It is noted the assisting methods in the process of actors training is the methods and approaches towards drama training applied by Vsevolod Meyerhold and Nikolai Demidov. Leaning on the national and foreign experiments, the professors are guided by personal long-term artistic experience and theory of acting art, trying to make this course on the basis of substantial scientific theory and practice. The author claims that actors training in China leans on the Meyerhold system, with focus on development of self-control, control over body, voice and emotions, orientation towards manipulation of the character, coupled with random body movements as the basis. Professional acting technique training in Chinese theatrical schools is founded on the basic knowledge of professional skills for improving the laws of physical body movement, emotional control, cognition and interpretation of the character.
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Deng, Yu. "The Timbre Relationship between Piano Performance Skills and Piano Combined with Opera Music Elements in the Context of the Internet of Things." Security and Communication Networks 2022 (April 20, 2022): 1–14. http://dx.doi.org/10.1155/2022/4259995.
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The “quintessence of the nation” Peking Opera is a highly comprehensive form of opera, which has a high artistic status in traditional Chinese culture. At present, the combination of the Internet of things and music can be embodied in smart devices, through a computing device that can perceive and exchange data for the purpose of music. In the more than 100 years of development of the piano art in China, many composers have used Peking Opera singing and board styles, or absorbed the essence and connotation of Peking Opera, taking Peking Opera elements as the core material and source of creation and presenting them instrumentally through piano works. For example, in terms of smart musical instruments, the Internet of things and Internet technology are combined to realize the real-time connection between the remote piano and the piano and accurately reproduce all the touch and pedal movements of the player, so that teachers and students in different spaces can listen to the course. Audiences had an immersive course experience. Taking this as an opportunity, we will carry out a series of “remote art education” such as remote master classes and remote concerts, to realize the sharing of educational resources around the world. The piano as the king of musical instruments has been loved by people. During piano performance, touch key techniques and pedaling techniques have a very important influence on the piano’s performance sound effects. Chinese opera is the essence of Chinese national art and one of the treasures of China’s traditional national music. The composers of our country also constantly apply the opera elements to the piano creation and create many kinds of piano works that conform to the traditional Chinese opera style and reflect the characteristics of the piano. Pedal skills are also an important technique in piano performance. The pedaling method is based on thinking about history and showing the player’s intentions. Only using the correct playing skills can make the music more expressive. This study briefly introduces the development of piano in China and the playing skills of the piano, and at the same time, it briefly describes the principle of piano sounding and the sound of piano. Based on the previous studies, the effects of touch key techniques and pedaling techniques on the sound of the piano are discussed. I hope to provide some references for the piano performers. The average similarity between the final music and the original music is 60% and around 70%. This article provides a reference direction for the diversified dissemination and promotion of theatrical art and provides theoretical and technical reference suggestions for the future creation, performance, and teaching of Chinese piano music.
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Samir, Rasha. "Improved RSA security using Chinese Remainder Theorem and Multiple Keys." Future Computing and Informatics Journal 4, no. 1 (June 24, 2019): 1–9. http://dx.doi.org/10.54623/fue.fcij.4.1.1.
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Now a days, have a great dependence on computer and network and the security of computer related to the whole world and everybody. Cryptography is the art and science of achieving security by encoding message to make them non readable, to secure data information transmits over the network, In this paper introduced modified RSA approach based on multi keys and Chinese remainder theorem (CRT), which RSA algorithm is asymmetric key encryption technique. The objective of this Technique is to provide secure transmission of data between any networks. Which is the Network security is an activity which is designed to provide the usage protection and integrity of the Network and data. So that only the user allowed can read and process it, the objective of this paper Enhancement the performance of RSA and increase the security. In proposed model RSA will be implemented using java.
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Liu, Fei, Yan Wang, Miaomiao Kou, and Changhui Liang. "Applications of Microseismic Monitoring Technique in Coal Mines: A State-of-the-Art Review." Applied Sciences 14, no. 4 (February 13, 2024): 1509. http://dx.doi.org/10.3390/app14041509.
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China’s coal mines have to extend to greater depths for the exploitation of more mineral resources, and they have suffered catastrophic mining-induced disasters, such as rockbursts, water inrushes, coal and gas outbursts, and roof fall accidents. The microseismic monitoring technique is a practical tool for mine safety management, which is extensively utilized in many Chinese coal mines. Microcracks of coal/rock masses are recorded as microseismicities in the field, and the potential mining-induced instabilities can be assessed by in-depth analysis of the microseismic parameters. This study provides a state-of-the-art review of the achievements and developments of the microseismic monitoring technique in coal mines. It also presents some prospects for improving the location accuracy of microseismicity, efficient and intelligent processing of the microseismic data, comprehensive assessment of coal/rock instabilities, and development of new microseismic monitoring equipment. This study is valuable for mine safety management and may contribute to improving the deep mining production.
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Walravens, Hartmut. "Copper-engraving in China: The First Chinese-European Co-Operative Project in the Field of Art." Art Libraries Journal 22, no. 1 (1997): 16–19. http://dx.doi.org/10.1017/s0307472200010269.
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While copper-printing can be traced back to the Yuan Dynasty in China, the art of copper-engraving was introduced by the Italian missionary, Matteo Ripa, in 1711. The first work to be printed with this new technique was Illustrations of 36 Vista ofthejehol Palace (1712). The Qianlong emperor wanted pictures of his military campaigns in Eastern Turkestan engraved on copper, and so he arranged for a series of sixteen engravings to be executed in Europe. Following the success of this initiative, pictures of his subsequent military exploits were engraved on copper by Chinese artists. Thus, while the West learned a great deal from China about paper and printing, copper-engraving is a technique which China acquired from the West in spite of a supposed lack of interest in the West.
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Wang, Zhicheng, Rrongrong Cui, Tianzhu Cong, and Hui’e Liang. "Artistic Characteristics and Fashion Practice of Traditional K’o-ssu in China." Fibres and Textiles in Eastern Europe 29, no. 2(146) (April 30, 2021): 106–11. http://dx.doi.org/10.5604/01.3001.0014.6091.
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K’o-ssu is one of the representative textile techniques of ancient China. It was used in the royal court, known to few people in folk life. However, it was not until the 1950s that the K’o-ssu technique was rediscovered. This paper focus on summarising K’o-ssu artistic characteristics through analysing K’o-ssu’s materials, patterns and colours by interviewing experts and physical observation. Taking the NE·TIGER brand as an example, this article will discuss the fashion practice of traditional K’o-ssu art in modern life in order to provide modern designers a reference for promoting this traditional Chinese craft and culture by way of sustainable development.
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Chang, Yu Hsuan, Jiann Sheng Jiang, and Min Min Lin. "Application of Choquet Integral-Importance-Performance Analysis and TOPSIS Methods in Approaching the Preference Factors of Calligraphy and Seal Engraving Imagery." Journal of Contemporary Educational Research 8, no. 5 (June 11, 2024): 276–88. http://dx.doi.org/10.26689/jcer.v8i5.7081.
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Classical Chinese characters, presented through calligraphy, seal engraving, or painting, can exhibit different aesthetics and essences of Chinese characters, making them the most important asset of the Chinese people. Calligraphy and seal engraving, as two closely related systems in traditional Chinese art, have developed through the ages. Due to changes in lifestyle and advancements in modern technology, their original functions of daily writing and verification have gradually diminished. Instead, they have increasingly played a significant role in commercial art. This study utilizes the Evaluation Grid Method (EGM) and the Analytic Hierarchy Process (AHP) to research the key preference factors in the application of calligraphy and seal engraving imagery. Different from the traditional 5-point equal interval semantic questionnaire, this study employs a non-equal interval semantic questionnaire with a golden ratio scale, distinguishing the importance ratio of adjacent semantic meanings and highlighting the weighted emphasis on visual aesthetics. Additionally, the study uses Importance-Performance Analysis (IPA) and Technique for Order Preference by Similarity to Ideal Solution (TOPSIS) to obtain the key preference sequence of calligraphy and seal engraving culture. Plus, the Choquet integral comprehensive evaluation is used as a reference for IPA comparison. It is hoped that this study can provide cultural imagery references and research methods, injecting further creativity into industrial design.
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Wenji, Zhao, Cui Rongrong, and Niu Li. "Design and Cultural Aspects of 20th Century Chinese Xiangjin Brocade." Fibres & Textiles in Eastern Europe 151, no. 3 (September 28, 2022): 116–29. http://dx.doi.org/10.2478/ftee-2022-0030.
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Abstract As one of the representative silk-woven artworks of the 20th century in China, Chinese Xiangjin brocade, well-known as “the flower of Oriental art”, draws on the essence of Sichuan brocade, Yun brocade, Song brocade, so as to form its own unique artistic style. It also takes the lead in the innovation of traditional brocade in key processes such as craftsmanship, design and jacquard, whose drawing technique is the exact core skill making it intangible cultural heritage. So far, there have been few studies on crafts and textile design in China before the 20th century or even after the reform and opening up, and rather fewer studies on the structure of Xiangjin brocade in the 20th century. This paper attempts to record and classify 1008 pieces of Xiangjin brocade in the Suzhou Silk Archive, China, as well as to find out their design features, oriental flavour, and unique weaving techniques. In addition, the cultural connotation of Xiangjin brocade as the painting medium was also put forward by analysing those brocades' historical texts, images, and style.
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Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (January 13, 2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).
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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre
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Ghulam Qambar. "Influence of Sensibility of Art, Mental Health Awareness, and Aesthetic Knowledge on The Painting Art Performance Among Chinese Painters." ASIAN BULLETIN OF BUSINESS AND SOCIAL SCIENCE RESEARCH 1, no. 1 (December 15, 2021): 62–89. http://dx.doi.org/10.62019/abbssr.v1i1.22.
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The main objective of the study is to examine
the direct impact of the sensibility of art, mental health awareness, and aesthetic knowledge on the performance of printing art in China. Additionally, the study has also examined the mediating role of self-confidence. In this research. Additionally, we used an online survey to collect data from Chinese painters. The questionnaire was provided to respondents who are painting institution students or painting professionals. This research used a judgmental sampling strategy for this objective. This research used this sample strategy to disseminate a questionnaire to 487 respondents. The research had a usable response rate of 61.07 percent. A few surveys were excluded because they were incomplete. A structural equation modelling technique was used to analyses the data. The findings also provide evidence in favor of the second hypothesis of the research, which asserts that MHA has a substantial beneficial influence on PAP (Beta = 0.272, t = 3.952). In a similar fashion, SC has a significantly favourable impact on PAP (Beta = 0.268, t = 2.55). As a result, the H4 hypothesis is accepted. In addition, the correlation between SOA and PAP is positive and statistically significant (Beta=0.336, t=3.371). The finding of the study will be helpful for policymakers in formulating policies related to printing art performance in china
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He, Yuchen, Zeqing Yuan, Yihong Wu, Liqi Cheng, Dazhen Deng, and Yingcai Wu. "ViSTec: Video Modeling for Sports Technique Recognition and Tactical Analysis." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 8 (March 24, 2024): 8490–98. http://dx.doi.org/10.1609/aaai.v38i8.28692.
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The immense popularity of racket sports has fueled substantial demand in tactical analysis with broadcast videos. However, existing manual methods require laborious annotation, and recent attempts leveraging video perception models are limited to low-level annotations like ball trajectories, overlooking tactics that necessitate an understanding of stroke techniques. State-of-the-art action segmentation models also struggle with technique recognition due to frequent occlusions and motion-induced blurring in racket sports videos. To address these challenges, We propose ViSTec, a Video-based Sports Technique recognition model inspired by human cognition that synergizes sparse visual data with rich contextual insights. Our approach integrates a graph to explicitly model strategic knowledge in stroke sequences and enhance technique recognition with contextual inductive bias. A two-stage action perception model is jointly trained to align with the contextual knowledge in the graph. Experiments demonstrate that our method outperforms existing models by a significant margin. Case studies with experts from the Chinese national table tennis team validate our model's capacity to automate analysis for technical actions and tactical strategies. More details are available at: https://ViSTec2024.github.io/.
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张, 沁凡. "The Modernist Artistic Technique Is in Line with Traditional Chinese Culture—On Bai Xianyong Short Story Art." World Literature Studies 11, no. 04 (2023): 295–99. http://dx.doi.org/10.12677/wls.2023.114052.
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Ma, Caixia. "Morphological Structural Element Optimization for Automatic Line Characterization of Ink Drawings." Security and Communication Networks 2022 (May 11, 2022): 1–7. http://dx.doi.org/10.1155/2022/8595203.
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As a traditional Chinese art, the tools of Chinese ink painting are mainly brushes, ink, and rice paper and ink stone. As an important form of ink painting, ink landscape painting consists of ink lines that first outline the overall trend of the mountain and then complete the basic process of painting with rich chapping techniques. The article proposes a process to draw water animation based on Chinese painting style; this method first perceives the position of water form in Chinese painting and enhances it by morphological structural elements used to automatically draw the line feature analysis of ink painting; next, the image rendering technique is used to render the water form, firstly using BF for noise removal processing and then gradienting by Canny edge detection operator to get the gradient amplitude. Next, morphological optimization is applied, and finally the image is visualized. In the process of morphological optimization, the optimal parameters of the structural elements are found through the threshold segmentation number, and the rendering algorithm for ink-based landscape painting is explored in depth, starting from the ink lines. The results reveal that the method is more accurate than typical marker-watershed algorithm segmentation, and that changing different structural elements and their parameters has a bigger impact on the ink painting drawing effect.
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Chen, Chih Ho, and Sheng-Min Hsieh. "The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan." Advances in Social Sciences Research Journal 7, no. 6 (June 22, 2020): 190–207. http://dx.doi.org/10.14738/assrj.76.8387.
Full textAbstract:
Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication.
The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms.
This essay focuses on the following four topics:
Artistic expression and styles related to the development of type as image in motion.
Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry.
Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry.
how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.