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1
Zhong, Tian. "Research on Marketing Strategy of Chinese Painting and Calligraphy Art Based on Wireless Communication Network Resources." Security and Communication Networks 2022 (February 12, 2022): 1–9. http://dx.doi.org/10.1155/2022/7788645.
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China has a thousand years of cultural heritage, and its famous paintings and calligraphy works are all representatives of the works of art. Calligraphy and painting have changed from works of art to commodities. This is undoubtedly caused by the changes of the times and society. Calligraphy and painting have gradually formed in this process. The most basic feature that distinguishes the market from other markets is the difference in marketing strategies. Aiming at the current problems in the online marketing of Chinese paintings and calligraphy works, a marketing strategy for Chinese paintings and calligraphy works based on wireless communication network resources is proposed. In view of the lack of accurate analysis of the current Chinese painting and calligraphy and artwork marketing and the uneven quality of the artwork, the above-mentioned problems can be improved through the allocation of wireless communication network resources. The experimental results show that the scope of dissemination of Chinese paintings and calligraphy works using this marketing strategy is wider, and the marketing transaction rate and profit are greater.
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Filonenko, Nadezhda S., and Maria S. Tretyakova. "Calligraphy of Images: Artworks by Yukei Teshima." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 164–79. http://dx.doi.org/10.21638/spbu15.2022.108.
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Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this study is to determine the specifics of Teshima’s work, using the example of his most famous artworks: “Hokai” (literally “Collapse”) (1957), containing the image of houses collapsing one after another from the explosions of aerial bombs at the end of World War II; and “Tsubame” (“Swallow”) (1960), giving rise to the feeling of flight through a “dancing” movement of a bird. The authors conclude that, although Tesima’s “calligraphic paintings” show a connection simultaneously with the Chinese roots of Japanese calligraphy and the avant-garde painting of the West, the calligrapher remains faithful to the Japanese artistic and aesthetic tradition. Unlike Chinese calligraphy, traditionally understood as a tool for “nurturing life”, or avant-garde painting generated by Western conceptuality, Teshima’s calligraphy expresses the Buddhist ideals of accepting one’s destiny (one’s path to enlightenment) and lack of attachment. The calligrapher uses the “hisshoku” (“rusty brush”) writing technique, which involves “overcoming” the brush and conveying the tactile sensation of a stroke (a symbol of overcoming the materiality of the world), and also forms the “boundless space” of the sheet, i. e. “aki”, which he calls “Space of [divine] love” and connects with the free soaring of the spirit.
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Mo, Zhiyong. "Chinese Calligraphy and Painting." Renascence 70, no. 4 (2018): 297–302. http://dx.doi.org/10.5840/renascence201870420.
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Xing, Xinyue. "The Generation and Transfer of the “Sweet” Category in Calligraphy Appreciation." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 13–17. http://dx.doi.org/10.54097/n336ft73.
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Ancient Chinese calligraphy theories often “discuss calligraphy by taste”. “Taste” is an essential category of classical Chinese aesthetics, and is a concrete expression of the spirit of Chinese art. In contemporary calligraphic critical discourse, outside of the audiovisual norms, the Chinese calligraphic tradition of “discussing calligraphy by taste” is undoubtedly an ideological resource that cannot be ignored. “Gan”. In English is called “pleasant” and was originally one of the five flavors, and in the Eastern Han Dynasty, it slowly developed the meaning of “Tian” (sweet) to describe the taste. “Sweet”, as an aesthetic category, appeared in a large number of poetry, calligraphy, and painting theories in the Ming and Qing dynasties and beyond. Since the Tang Dynasty, “Sweet” has been combined with “Vulgar”. The word “Sweet” was formally introduced into the realm of painting and calligraphy appreciation. This article utilizes the theory of aesthetics and combines it with physiology, psychology, and other disciplines to explain discussing calligraphy by “Sweet”. An analysis of the generation and transfer of the category of “Sweet” in the appreciation of calligraphy reveals the mutual borrowing and influence of art theories. After sorting and analyzing, it can be seen that “Sweet” refers to works that are overly modified, not chewable, and have no flavor outside the taste. Or works with too much “craftsmanship”, too much skill, too much ink, and works that are opposite to the beauty of “clumsiness” and “lightness” appreciated by ancient calligraphers.
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Luo, Jianxin. "Chinese Painting and Traditional Chinese Culture." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 176–81. http://dx.doi.org/10.31686/ijier.vol3.iss5.373.
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Having gone through many generations of inheritance and development, Chinese paintings have become world′s artistic and cultural treasure. Chinese culture has influenced the world for thousands of years with its art, philosophy, technology, food, medicine and performing arts. In this article, it is discussed that painting and calligraphy is from fountain, between the traditional culture and traditional art, which impresses the soul of the Chinese traditional culture.
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Jin, Baopen, and Yakup Mohd Rafee. "The Challenges and Development Strategies of Contemporary Chinese Painting." Highlights in Art and Design 3, no. 1 (May 31, 2023): 61–67. http://dx.doi.org/10.54097/hiaad.v3i1.9352.
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The purpose of this paper is to discuss the dilemmas and challenges of contemporary Chinese calligraphy painting in art creation and its development strategies. As an important part of traditional Chinese culture, Chinese painting has been widely recognized and praised by the world for its unique artistic style and cultural connotation. However, with the change of the times and the development of the society, Chinese calligraphy painting also faces many problems and challenges, such as the contradiction between tradition and innovation, the lack of calligraphy and painting techniques, and the pressure of marketization and commercialization. Taking the lack of brush and ink as the entry point, this paper conducts an in-depth study of the artistic creation dilemma of contemporary Chinese calligraphy and painting, explores the reasons and influences behind it, and proposes corresponding development strategies, including strengthening art education and training, improving government support and supervision, and encouraging artistic innovation and experimentation. Among them, strengthening art education and training is the key to improving the level of creative writing and enriching the cultural connotation of painting. Government support and supervision can regulate the market order and protect the rights and interests of artists. Encouraging artistic innovation and experimentation can promote the artistic development of Chinese calligraphy painting and explore new ways of expression.
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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.
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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to DongWon embraces such art-philosophical leveled question as ‘Where did Seo and Hwa come from’, which shows the art spirit and aesthetic goal of the literary noblemen who approached the creation of Seo and Hwa. Such thoughts also contain the idea that painting works must be expressed with YongPil (用筆: ways of brushing) and PilEui (筆意: intention of brushing) of calligraphy in order to fully realize the art world sought for by the literary noblemen. First of all, in this aspect, it is required to analyze what kind of art calligraphy is in aesthetic and philosophical viewpoints in order to correctly understand the thoughts of DongChe, DongChul, DongWon and DongBeop (書畵: Calligraphy and painting are same in rules of creating works).
In the Chinese history of SeoHwa (Calligraphy and Painting), creation of every piece of work begins from drawing a stroke. The commonness between Seo and Hwa and SeoHwaHyoNeungIlCheSeol (書畫效能一體說: the theory that Seo and Hwa have same effect) argued by Shí Tāo (石濤) based on his IlHoikRon (一劃論: the theory of one stroke) emphasized that every painter must learn the calligraphic principle for actual art creation activity. Looking into the relation between calligraphy and painting with consideration of such emphasis, it is desirable to create painting pieces using PilHoik (brush and stroke) of calligraphy. That is, the thoughts of DongChe, DongChul, DongWon and DongBeop are thought to be as same as the philosophical thoughts related with use of one stroke.
In the tendency of art creation, calligraphy has CheeDoSeol (取道說: the theory of taking truth) leveled art spirit with which the artist must take the principle of truth in metaphysical aspect and set such truth as the base of calligraphy. Such CheeDoSeol based calligraphic forms are related with the thought of GwanMulCheeSangRon (觀物取象論: the theory of taking forms by viewing things), which causes artists to give painting leveled meaning to the character forms and fonts simply showing why painting must take PilBeop (rules of brushing) and PilEui of calligraphy.
In such aspects set forth above, therefore, this article looks into how the theories of Seo and Hwa have been established and transited in relation with the perception of calligraphy and painting in the Chinese history of Seo and Hwa in the viewpoints of IlHoikRon, SeoHwaHyoNeungIlCheSeol, CheeDoSeol, metaphysical perception of calligraphy, GwanMulCheeSangRon and painting styled character fonts and forms.
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Qian, Xingyu. "Oriental Consciousness in André Masson’s Automatic Paintings." SHS Web of Conferences 183 (2024): 03001. http://dx.doi.org/10.1051/shsconf/202418303001.
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André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.
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Rorex, Robert Albright, Wen C. Fong, Richard Vinograd, and R. Stewart Johnston. "Chinese Painting, Calligraphy, and Gardens." Art Journal 52, no. 4 (1993): 98. http://dx.doi.org/10.2307/777642.
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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.p.
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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.
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Woon Lam, Ng. "Study of Calligraphic Brushwork in Singapore Watercolor Art." Asia-Pacific Journal of Humanities and Social Sciences 2, no. 3 (September 30, 2022): 088–100. http://dx.doi.org/10.53789/j.1653-0465.2022.0203.011.
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This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.
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Bai, Lili, Heung Kou, and Zi Kong. "Application of Spectroscopy Technology in Nanomaterials in Identification of Chinese Paintings." Journal of Nanomaterials 2022 (May 27, 2022): 1–10. http://dx.doi.org/10.1155/2022/9393188.
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The authenticity of calligraphy and painting is an important knowledge in the collection and research of Chinese painting and calligraphy. The identification of folk painting and calligraphy is usually conducted by experts and scholars engaged in cultural relics, archaeology, painting and calligraphy, and ancient buildings. Relying only on the identification of experience and literature and history, there are certain limitations, and it is difficult to form convincing. Spectroscopic technology mainly uses the characteristic spectral lines of molecules or atoms to judge the chemical composition and relative content of substances, so that different molecular structures of substances can be determined and distinguished; thus, it becomes an effective tool for exploring the molecular structure of substances; therefore, it has been widely used in nanomaterials, biomedicine, cultural relic identification, and other fields. Raman spectroscopy is the most common spectroscopic technique in scattering spectroscopy. When light passes through a material surface, in addition to light transmission and light absorption, light scattering can also be observed. In addition to the original incident light frequencies (Rayleigh scattering and Tyndall scattering), the scattered light also includes some new frequencies, which are called Raman scattering, and its spectrum is Raman spectrum. In this paper, Raman spectroscopy is used to study nanomaterials and calligraphy and painting, and the Raman spectra of real and fake calligraphy and painting, as well as the light absorption rate and degradation rate of nanomaterials at different temperatures, are analyzed experimentally. The results show that the Raman spectrum of the authentic calligraphy reaches the maximum when the wave number is 1000; the peak of the Raman spectrum of the authentic fresco reaches the maximum when the wave number is 1400. The average light absorption rate of nanomaterials in was 47.2%, and the average catalytic degradation rate was 53.6%; the average light absorption rate of nanomaterials was 68.9%, and the average catalytic degradation rate was 62.4%. There are obvious differences in peak shape, peak intensity, peak frequency, etc. between genuine and fake calligraphy and painting. The spectrum of genuine works has good consistency, so the authenticity of calligraphy and painting can be distinguished according to the difference between the spectrums.
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Feng, Jiarui. "The Spirit of Freehand Brushwork in Chinese Oil Painting." Pacific International Journal 6, no. 1 (March 31, 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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Song, Yang. "A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty." Region - Educational Research and Reviews 3, no. 2 (April 19, 2021): 5. http://dx.doi.org/10.32629/rerr.v3i2.294.
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In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore, studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji, It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.
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Wang, Tianfeng. "The Positioning and Development of Reproductions of Ancient Chinese Calligraphy and Painting in the Cultural Market." Communications in Humanities Research 26, no. 1 (January 3, 2024): 227–35. http://dx.doi.org/10.54254/2753-7064/26/20232071.
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The materials used in ancient calligraphy and painting, such as silk and paper, are susceptible to damage and aging. The practice of creating copies through meticulous imitation has been employed by ancient individuals to extend the lifespan of precious cultural artifacts. Reproductions continue to serve as an effective means of dissemination in museums, imparting functions such as appreciation and educational value to society. The replication of cultural artifacts extends beyond calligraphy and painting to include items like bronze ware, lacquerware, and ceramics, giving rise to activities such as collecting, buying, and selling replicas. As ancient calligraphy and painting reproductions proliferate in a rapidly evolving society, they have become favored by enthusiasts and cater to the needs of the wider public. This paper aims to explore the positioning and development of reproductions of ancient Chinese calligraphy and painting in the context of social development.
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Chen, Ziyuan. "Chinese Calligraphy: An Ancient Art in the Modern Era." SHS Web of Conferences 159 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315902003.
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Chinese calligraphy is an ancient character writing art. It germinated in the Shang Dynasty, reached its peak in the Tang Dynasty, and did not form a new calligraphy style for more than one thousand years. There are many similarities between Chinese calligraphy and western painting, including similarities in abstraction and symbolism. When the country went through the modernization of the 20th century, the western influence gradually increased, and the Chinese calligraphy art gradually formed new art forms such as hard pen calligraphy. At the same time, calligraphy art has also inspired and influenced the formation and development of western modern art in varying degrees since the 20th century. In the future, Chinese calligraphy will fully absorb the essence of western art, making this ancient art full of new vitality.
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Chen, Tian Ding. "Chinese Calligraphy Brush Stroke Interactive Model with Ink Diffusion Style." Advanced Materials Research 108-111 (May 2010): 507–12. http://dx.doi.org/10.4028/www.scientific.net/amr.108-111.507.
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This paper presents an interactive method of using ink diffusion, and gradually approaching simulation brush character with style of Chinese painting and calligraphy. Try to use materials based on the Chinese ink painting: ink and rice paper, according to their characteristics to build the diffusion rules to simulate text ink. Although the initial can show the phenomenon of ink rendering, they can only show diffusion of the ink with black lines, Can not rendering a complete ink diffusion behavior, it is difficult to form a sense of artistic calligraphy. It proposes Interactive model to amend the power of the brush pen and puts forward a binding behavior of ink broken down. The results show that based on the pratice physical meaning, considering the interaction of the two materials(ink and rice paper), appropriate to improve the mathematical equation model to render the calligraphy image more in line with Chinese ink painting style.
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Pan, Hong Bin. "Computer Simulation and Implementation in Chinese Calligraphy Dry Brush." Applied Mechanics and Materials 543-547 (March 2014): 1689–93. http://dx.doi.org/10.4028/www.scientific.net/amm.543-547.1689.
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It is a new important research and applied field to create art by using computer technology. This article is primarily targeted to introduce a method which applies relevant theories and technology of Graphics and Image Processing, combined with the relevant skills and technique of Chinese painting and calligraphy to make a primary study on the simulation in writing strokes of Chinese withered pen calligraphy in the Digital Pen Simulated System of Painting and Calligraphy, and provides a pen pressure-sensitive mathematic model for the writing brush based on the mechanics principle. And also, we not only consider a lot of results in many experiments and the actual requirements of calligraphers and painters, but also characters of calligraphy and the writing strokes changes with the movement of brush to study the model of single cycle digital pen and the model of multi cycle withered pen, and make the bottom color of withered pen realized with Visual C++ 6.0.
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Jing, Tang. "INTERPRETATION OF CHINESE PAINTING IN THE XIEYI STYLE." Arts education and science 2, no. 31 (2022): 116–21. http://dx.doi.org/10.36871/hon.202202015.
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The core of Chinese painting in the Xieyi style is to convey an idea in a free form, Xieyi paintings have the beauty of poetry, calligraphy and prints. It uses a colour method based on black and white imagery and the concept of linear modelling with brush and ink. It differs from Western painting in its methods of perspective, which transcend the limitations of time and space. The spirit of Xieyi is a reflection of real life, but refined and sublimated through imagination, ultimately completing the process of creating artistic images. Having great innovative and creative force and inheriting the tradition of Chinese culture and art, Xieyi condenses the inner ideological characters of Chinese nation. Moreover, Xieyi is a unique form of free emotional expression stimulating the continuous development and advancement of the art of Chinese landscape painting. The artistic characteristics of Chinese Xieyi landscape painting are unique and embody the oriental aesthetic thought and Chinese philosophy. Confucianism, Taoism and Buddhism are the spiritual basis that shape and nurture the artistic features of Chinese painting, at the same time, the XXth century European painting also influenced them.
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Gu, Chun Hua. "Research on Brocade - Silk Material for Mounting Traditional Chinese Calligraphy and Painting." Advanced Materials Research 1048 (October 2014): 52–56. http://dx.doi.org/10.4028/www.scientific.net/amr.1048.52.
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Aiming at the typical fabric style and pattern features of silk material for mounting traditional Chinese calligraphy and painting, this paper starts from brocades mainly used in mounting traditional Chinese calligraphy and painting, as well as analyzes the features, varieties and pattern types of brocade (material used for mounting). Through the research, the author discovers that two types of brocades are used more frequently in mounting, namely brocade of middle-sized pattern and brocade of small-sized pattern, while pattern types mainly include geometric motifs, plant motifs and fauna motifs, as well as treasures and characters.
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Belozerova, Vera. "The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 184. http://dx.doi.org/10.31857/s086919080020440-1.
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The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China's traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi's creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi's calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi's creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi's monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.
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Yang, Guangyu. "imagery and abstraction trend of Chinese contemporary oil painting." Linguistics and Culture Review 5, S2 (July 31, 2021): 454–71. http://dx.doi.org/10.21744/lingcure.v5ns2.1383.
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The relevance of the study is determined by the fact that Chinese painting is at least five thousand years old. Throughout history, Chinese artists have used light pink, gold and black colors in their work. The paper shows that sumi-e (Chinese national ink wash painting) is different from the European one. The authors show that calligraphy is inextricably linked to painting, use the same lines, materials, and tools. In China, paintings are not only artistic but also a literary style. The novelty of the study is determined by the fact that the authors of the paper highlight the aspect of the execution of oil painting without preliminary sketches. The expressiveness inherent in Chinese art is achieved through four values of the artist. It is revealed that each artist attaches great importance to the choice of their professional tools and approaches it with an increased level of responsibility. The practical significance of the study is in the fact that the paper shows the possibility of developing the culture of traditional oil painting. It is shown that two opposites must be combined at the same time: dark and light, large and small, dry and wet, short and long, rare and frequent.
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Feng, Shuang. "Development of Chinese Calligraphy: Historical and Cultural Aspect." Общество: философия, история, культура, no. 8 (August 23, 2023): 217–21. http://dx.doi.org/10.24158/fik.2023.8.32.
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The culture of each nation is distinctive and is based on the unique worldview of a particular ethnic group. Chi-nese calligraphy is one of the significant manifestations of Chinese national tradition. The aim of the present study is to investigate it in the historical and cultural aspect due to the author’s desire to emphasize the speci-ficity of Chinese national art and its historical conditionality in the context of globalizing modernity. Based on Eastern worldview practices, the art of hieroglyphic writing in China is a symbiosis of painting and philosophy. It is emphasized that having originated for practical purposes to convey information in writing, calligraphy gradu-ally transformed into a full-fledged art form enriched with philosophical content. The author examines in detail the history of Chinese calligraphy development, noting its connection with the transformations in the society. Connectedness of hieroglyphic writing with the concepts of “yin” and “yang”, which are traditional in Chinese culture, is described. Conclusion dwells upon the fact that preserving the tradition of calligraphy plays an im-portant role in securing Chinese national identity.
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Belozerova, Vera G. "Analysis of the Scroll “Ba Bridge in the Snow”: The Results of the Creative Journey of Shen Zhou (1427–1509)." Vestnik of Saint Petersburg University. Arts 11, no. 2 (2021): 186–203. http://dx.doi.org/10.21638/spbu15.2021.202.
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Shen Zhou is the founder of the Wumen-Pai movement, which was prominent in southern China in the XV–XVI centuries. Shen Zhou became famous as a poet, painter, and calligrapher. In the article, the late stage of his creative work is investigated by the example of the vertical scroll “Ba bridge in the snow”. The technique of monochrome writing and the composition of the winter landscape are analyzed. The article examines the influence of biographical and social factors, Confucian teachings and Taoist practices on Shen Zhou’s painting. A comprehensive study of the scroll makes it possible to reveal the master’s worldview. The scroll, without any topographical accuracy, depicts an imaginary view of the bridge on the Bashui River. The study of the poetic inscription demonstrates the discrepancy between the poetic rhyme and the rhythm of calligraphic forms. The gradations of ink tone in calligraphy combine it with the color of painting. Shen Zhou transfers the calligraphic technique of working with the wrist and holding the brush to painting. The scroll uses the composition type “one river three banks”, in which the elements mirror each other upside down. The artist creates a dynamic balance of empty and filled spaces. The most valuable quality of Shen Zhou painting is considered by Chinese experts to be its “desalination” (tribute), which implies a balanced mental attitude, sublime clarity of thoughts and heartfelt sincerity of their expression. Behind the simplicity and naturalness of Shen Zhou’s painting are effective energetic practices and a high mastery of hidden stylistic quotations from masterpieces of previous eras. By the end of his life, Shen Zhou realized the utopian ideal of unlimited longevity and, as the analysis of the scroll shows, found humility before the inevitability of death. Shen Zhou’s art has made his name famous for centuries.
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Changzhi, Wu. "FORMS OF SYNTHESIS OF ARTS OF CHINESE ARCHITECTURE." Municipal economy of cities 4, no. 164 (October 1, 2021): 58–64. http://dx.doi.org/10.33042/2522-1809-2021-4-164-58-64.
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The article examines the synthesis of arts on the example of Chinese architecture. General historical questions of the development of Chinese culture and various arts during historical evolution are raising. Philosophical and religious positions of culture are distinguishing, which are identifying with the development of art. The question arises of the lack of a full analysis of ancient Chinese art for all types of artistic creativity that were developing during cultural development and formation: architecture, painting, calligraphy, music, sculpture, dance, and so on. A number of scholars who have developed methods of approaches to the systematization and study of the synthesis of the arts of ancient Chinese culture throughout its development are presenting. A number of techniques in painting and calligraphy that have a direct impact on the formation of the Chinese architectural environment are analyzing. These methodical conclusions can be useful in planning the activities of various organizational departments of architectural education and science. Problem statement: it became necessary to analyze and describe the methods and principles of organizing forms of art synthesis in Chinese architecture. Objective of the article: analyze the impact of forms of art synthesis in Chinese architecture. There is describing that the most important art form in China is painting. It is thanks to its compositional, color and harmonic laws that the general cultural world of ancient China is building. Color relationships, combinations with nature - all this through painting builds the canonical laws of architecture, music, dance, calligraphy, etc., taking into account national authenticity. It becomes the central core of the synthesis of Chinese art, generating its various forms for individual regions. In architecture, the action of forms of synthesis of Chinese arts is embodying through the organization of plasticity of the building, interior and exterior space, the ratio of small and large forms, and the location of accents. Experienced predecessors should be a role model for modern architects and artists. The combination of long-standing traditions of "synthesis of arts" with modern production technologies, as well as creative ideas of architects and artists of the XXI century can give new vectors of development of Chinese architecture and art science.
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Gao, Hongchen. "The Value and a Preliminary Study of the Integration of Traditional Chinese Painting and Calligraphy & Modern and Contemporary Art in Primary School Art Teaching." International Education Studies 12, no. 6 (May 29, 2019): 75. http://dx.doi.org/10.5539/ies.v12n6p75.
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Finding a unique way to help students better accept between traditional Chinese Painting and Modern and Contemporary Art is an increasing concern in primary school art teaching. The purpose of this study is to investigate fine art education field according to analyze the current situation of Chinese traditional painting and calligraphy together with Modern and Contemporary Art in the art curriculum of primary schools: shallow embedded curriculum, shortage of Class Hours and relatively simple teaching method. Based on the key competence of the disciplines, it discusses the value of integrating those two in art teaching of primary schools, proposes a Bridge to connect the Chinese painting and calligraphy& Modern and contemporary art and provides a curriculum construction model that connects the artistic language with the concept of disciplines. This study takes the work of artist A.R.Penck as the theme, starting from the big idea, looking for basic problems, designing a curriculum with the integration of two kinds of art forms, and teaching practice at The China Soong Ching Ling Science & Culture for Young People. This study not only answers the feasibility of the curriculum construction model but also gives some critical thinking about it.
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Silbergeld, Jerome. "Chinese Painting Studies in the West: A State-of-the-Field Article." Journal of Asian Studies 46, no. 4 (November 1987): 849–97. http://dx.doi.org/10.2307/2057105.
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The contemporary study of Chinese painting history varies considerably according to cultural locus, be it mainland China, Taiwan, Hong Kong, Japan, or the West, making broad generalization about the state of the field quite difficult. Where the intellectual and social context of traditional East Asian culture remains most intact, the study of painting has perpetuated the concerns and modes of the thousandplus years of traditional historiography, yet this has become increasingly rare. In the People's Republic, innovation has come largely through Marxist influence, bringing a focus on social aspects of the art, but no systematic Marxist analysis has ever emerged and the influence of ideology is now noticeably on the wane. In the West, where most of those who study Chinese painting cannot themselves paint, do more than dabble in calligraphy, or lay claim to being part of the Chinese cultural elite, and where an understanding of the Chinese context cannot be taken for granted, the need for cross-cultural explanation has generated studies unique in character, blending sinology with Eurocentric art-historical questions and methods. This Western approach, with its skeptical analysis and egalitarian perspective, has provided new techniques of stylistic analysis for reevaluating the traditional dates and attributions of paintings and yielded a new, more objective basis for examining the theory, content, and sociocultural basis of Chinese painting.
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Ren, Wei, and Na Cao. "Traditional Conservation and Storage Methods for Ancient Chinese Painting and Calligraphy on Silk Manuscripts." Arts 10, no. 2 (May 26, 2021): 34. http://dx.doi.org/10.3390/arts10020034.
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This study investigated traditional conservation and storage methods for Chinese silk manuscripts containing painting and calligraphy from the Warring States period (475–221 BC), the Qin dynasty (221–207 BC), the Han dynasty (202–8 BC; AD 25–220), and from the end of the Han to the present. At present, there is gap in the literature regarding the application of such methods to these works. The study methods include a literature review (classical and contemporary sources), expert interviews, and observation of traditional masters. The findings provide an improved understanding of the development of traditional technologies used for painting and calligraphy conservation since 475 BC. In this way, this work contributes to the body of knowledge regarding traditional conservation and storage methods, including mounting practices, scroll unfolding, and box storage.
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刘, 思鲁. "Color Characteristics Analysis and Restoration for Chinese Painting and Calligraphy." Journal of Image and Signal Processing 12, no. 01 (2023): 9–20. http://dx.doi.org/10.12677/jisp.2023.121002.
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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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Zhu, Jia, and Zhonghua Pan. "A Brief Discussion on the Art Education of the Qing Imperial Family." Communications in Humanities Research 16, no. 1 (November 28, 2023): 46–53. http://dx.doi.org/10.54254/2753-7064/16/20230083.
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Throughout the history of the Qing Dynasty, its rulers showed great enthusiasm for literary and artistic pursuits, leading to the emergence of numerous imperial family members with talent in painting and calligraphy. This phenomenon holds significant importance for dynasties governed by ethnic minorities, making it a subject worthy of study. In this paper, the author explores the educational institution for imperial princesthe "Shangshufang" (the Imperial Study) to understand the curriculum they studied. Furthermore, the focus shifts to the art education, as not all imperial princes were required to study painting and calligraphy. However, mastering these art forms not only nurtured their characters but also brought them closer to literati, enabling their integration into the social circle of the Han Chinese. This, in turn, facilitated better communication and cultural blending between the Manchu and Han ethnicities.
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Huang, Xianfeng, Shangyou Wei, and Shangyu Zhu. "Study on Daylighting Optimization in the Exhibition Halls of Museums for Chinese Calligraphy and Painting Works." Energies 13, no. 1 (January 3, 2020): 240. http://dx.doi.org/10.3390/en13010240.
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With respect to the light environment of the exhibition halls for Chinese calligraphy and painting works in the museums, the daylighting design in these display spaces have been studied, the key design factors, such as daylighting pattern, and arrangement of exhibits are examined and explored by field trips. Then, the display spaces are divided into diverse categories whose sky light environments are predicted by the demands of exhibits. Under changed daylighting situations, the daylight parameters, i.e., daylight factor (DF) and DF uniformity, discomfort glare index (DGI) and luminance distribution are calculated. Thus, the proper daylighting pattern and elements in the exhibition halls will be decided. The optimization strategies that optimize the parameters of daylighting patterns and elements are presented. The studies have shown that the daylighting quality will improved by the implement of optimal design, and good luminance environment in the calligraphy and painting exhibition halls are obtained.
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Шишкова, Е. Г., К. Ф. Самосюк, А. О. Дивлеткильдеева, О. Л. Смоляницкая, С. В. Хаврин, К. С. Чугунова, И. А. Григорьева, and Я. Р. Уразаева. "Restoration of 18th century Chinese album." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 254–69. http://dx.doi.org/10.46748/arteuras.2021.04.020.
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Цель данного исследования — познакомить специалистов, занимающихся изучением и реставрацией произведений китайской живописи, с опытом, полученным в Государственном Эрмитаже. В процессе изучения текстов «Альбома рисунков. Путешествие императора Цяньлуна на юг Китая» хранителем К.Ф. Самосюк была установлена дата его создания — 1751–1758 годы. Альбом с китайской живописью был исследован всесторонне: проведены физико-химические и биологические исследования, которые позволили определить методику его реставрации. В России мало информации о реставрации альбомов такого рода. Исследование и реставрация китайской живописи осложняется хрупкостью материалов — бумаги и шелка, а также утонченностью техники живописи, поэтому были выбраны неразрушающие методы исследования без взятия проб. Рассматривались также этические проблемы. Были применены физический, химический и биологический анализы для определения подходящего метода реставрации. Биологические исследования подтвердили необходимость замены старых, обветшавших страниц альбома новыми. Для реставрации и сохранения альбома были использованы традиционные китайские методы реставрации и собственный опыт. Об исследовании и реставрации китайской живописи и каллиграфии, помещенных в альбомы, не так много информации. Наряду с другими источниками впервые в отечественной практике было использовано «Иллюстрированное руководство по монтированию китайской каллиграфии и живописи» Янь Гуйжуна, 2013. В статье также рассматривается проблема адаптации альбомов с живописью и каллиграфией к новым требованиям хранения и экспонирования графики. Изменение исторической формы монтирования листов с изображениями было вызвано сильным разрушением конструкции альбома. Новая форма хранения позволила выставлять альбом отдельными листами на различных тематических выставках с возможностью их ротации на экспозиции. В данной статье показан логический ход выбора методики реставрации, основанный на результатах исследований памятника и сочетании традиционных и современных методов реставрации. The aim of the article is to share our experience of restoring the Album of Drawings. The Emperor Qian Long’s Tour of Inspection to Southern China. Curator K.F. Samosyuk has dated the album to 1751–1758. There is little information in Russia on restoring albums of this kind. Restoration of painting on paper and silk is complicated by the fragility of the support material and painting technique; we therefore chose non – destructive research methods without taking samples. Ethical problems were also considered. For the first time we used physical, chemical and biological analysis to determine the appropriate restoration method. Biological research led us to replace old, faded album pages with new ones. We then used traditional Chinese restoration methods and our own experience to restore and preserve the album. Along with other sources, for the first time in Russia, Yan Guirong’s Illustrated Instructions for the Mounting of Chinese Calligraphy and Painting, 2013 was used. The key factor, though, was the experience we gained during research secondments at Shanghai Museum. We also examine the problem of adapting painting and calligraphy albums to new requirements for the preservation and exhibiting of graphic art. Historically, album pages with illustrations were mounted in pairs and glued together. Because of the album’s severe state of deterioration we decided to mount the pages on separate sheets. This new form of preservation has enabled separate pages from the album to be shown at differently – themed exhibitions and for rotation to take place. The article shows the logical process involved in choice of restoration method based on our research findings and a combination of traditional and modern restoration methods. Chinese painting, calligraphy, album, Chinese paper, Chinese silk, conservation, restoration, physical and chemical research, biological research, exhibiting, oriental painting, State Hermitage Museum
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Xu, Min. "Chinese art: A survey of collections and research materials in the United States." Art Libraries Journal 39, no. 2 (2014): 43–47. http://dx.doi.org/10.1017/s0307472200018319.
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During the 20th century a range of museums in the United States were engaged in acquiring Chinese art objects, developing major collections of painting and calligraphy, ancient bronze, Buddhist sculpture, ceramics and other decorative arts. Research materials on Chinese art have been collected by art libraries in major museums and the East Asian libraries of the main research universities. The author surveys significant Chinese art collections in museums and research libraries in the United States today.
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Ullah, Ishfaq, and Shahab Khan. "Calligraphy and painting scraps of old and new Asian papers, their simulation, performance, sources, and characteristics." Journal of Polymer Science and Engineering 6, no. 1 (January 16, 2024): 3260. http://dx.doi.org/10.24294/jpse.v6i1.3260.
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This article explores the importance of paper in traditional Chinese calligraphy and painting and investigates the performance differences between a new paper and an old paper. The characteristics of paper, such as texture, absorbency, color, and durability, significantly impact the artwork’s quality and expression. The development of new papers has been driven by the desire to improve characteristics and meet the evolving needs of artists. This research compares a new paper, made using alternative materials and technology, with an old paper, combining a simulation sample and authentic calligraphy and painting scraps. The evaluation considers parameters such as ink absorption, texture, color vibrancy, bleed-through, smudging, and durability. The new paper demonstrated superior ink absorption, a smooth texture suitable for detailed work, enhanced color vibrancy, minimal bleed-through and smudging, and improved durability. The old paper, while offering a unique rough texture, had slower ink drying times, slightly lower color vibrancy, and less durability. Artists seeking precision and vibrant colors may prefer the new paper, while those desiring a textured and traditional aesthetic may favor the old paper. The findings contribute to understanding the performance characteristics of different papers, aiding artists, collectors, and researchers in their selection and appreciation of paper in calligraphy and painting. Several challenges, such as the omission of specific paper types or brands, a limited sample size, and the oversight of long-term paper durability, warrant further exploration. In the context of modern tools, the article underscores the potential role of artificial intelligence (AI) in supporting artists, collectors, and researchers in the selection and appreciation of paper in calligraphy and painting. Integration of AI for tasks such as data analysis, pattern recognition, and recommendation systems could offer valuable insights, fostering objectivity and efficiency in the study and aiding in the exploration of a wider range of paper characteristics.
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Mi, Xiao-Feng, Min Tang, and Jin-Xiang Dong. "Droplet: A virtual brush model to simulate Chinese calligraphy and painting." Journal of Computer Science and Technology 19, no. 3 (May 2004): 393–404. http://dx.doi.org/10.1007/bf02944909.
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Sun, Qikai. "The Exploration of Su Shi’s Life Values." Studies in Linguistics and Literature 6, no. 2 (April 2, 2022): p16. http://dx.doi.org/10.22158/sll.v6n2p16.
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Su Shi is a famous Chinese poet who is a household name and arguably one of the greatest exponents of Chinese poetry, as well as being highly accomplished in poetry, lyrics, prose, calligraphy and painting. Through the study of Su Shi, we can find out the unique thoughts of this great writer on the values of life, which are important for our understanding of the development of poetry and the social history of the Northern Song Dynasty.
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Khomutovskiy, M. I. "THE MEANING AND SYMBOLISM OF ORCHIDS IN CHINESE CULTURE." Landscape architecture in the globalization era 1 (2023): 30–49. http://dx.doi.org/10.37770/2712-7656-1-30-49.
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The article provides data on the symbolic significance of the orchid in the culture of China, where it was given a special place. She has become a source of inspiration for many masters in the field of painting, calligraphy, and music. Thanks to Confucius, the orchid began to symbolize the nobility and steadfastness of a person's character. It was in China that the first methods of orchid cultivation were developed, which have been perfected for several centuries.
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Khomutovskiy, M. I. "THE MEANING AND SYMBOLISM OF ORCHIDS IN CHINESE CULTURE." LANDSCAPE ARCHITECTURE IN THE GLOBALIZATION ERA, no. 1 (2023): 30–49. http://dx.doi.org/10.37770/2712-7656-2023-1-30-49.
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The article provides data on the symbolic significance of the orchid in the culture of China, where it was given a special place. She has become a source of inspiration for many masters in the field of painting, calligraphy, and music. Thanks to Confucius, the orchid began to symbolize the nobility and steadfastness of a person's character. It was in China that the first methods of orchid cultivation were developed, which have been perfected for several centuries.
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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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Zhang, Xinyu. "Reflections on the Traditional Chinese Art of “Leaving Blank”." Frontiers in Humanities and Social Sciences 2, no. 10 (October 23, 2022): 35–39. http://dx.doi.org/10.54691/fhss.v2i10.2375.
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The art of "leaving blank" has been deeply influenced by traditional Chinese culture, and at the same time, the art of "white space" has also influenced the creation of many works of art to a greater or lesser extent. This paper briefly describes and introduces the application of traditional Chinese "leaving blank" in calligraphy, Chinese painting, opera and music, and further considers the relationship between the art of "leaving blank" in various literary works and traditional Chinese culture, as well as how the traditional Chinese philosophical ideas contained in various literary works will bring us enlightenment.
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Hung, Chia-Ching. "A study on a content-based image retrieval technique for Chinese paintings." Electronic Library 36, no. 1 (February 5, 2018): 172–88. http://dx.doi.org/10.1108/el-10-2016-0219.
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Purpose The purpose of this study is to build a database of digital Chinese painting images and use the proposed technique to extract image and texture information, and search images similar to the query image based on colour histogram and texture features in the database. Thus, retrieving images by this image technique is expected to make the retrieval of Chinese painting images more precise and convenient for users. Design/methodology/approach In this study, a technique is proposed that considers spatial information of colours in addition to texture feature in image retrieval. This technique can be applied to retrieval of Chinese painting images. A database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. The authors develop an image-retrieval technique that considers colour distribution, spatial information of colours and texture. Findings In this study, a database of 1,200 digital Chinese painting images in three categories was built, including landscape, flower and figure. An image-retrieval technique was developed that considers colour distribution, spatial information of colours and texture. Through adjustment of feature values, this technique is able to process both landscape and portrait images. This technique also addresses liubai (i.e. blank) and text problems in the images. The experimental results confirm high precision rate of the proposed retrieval technique. Originality/value In this paper, a novel Chinese painting image-retrieval technique is proposed. Existing image-retrieval techniques and the features of Chinese painting are used to retrieve Chinese painting images. The proposed technique can exclude less important image information in Chinese painting images for instance liubai and calligraphy while calculating the feature values in them. The experimental results confirm that the proposed technique delivers a retrieval precision rate as high as 92 per cent and does not require a considerable computing power for feature extraction. This technique can be applied to Web page image retrieval or to other mobile applications.
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Mo, Zhiyong. "Chinese Calligraphy and Painting: Dao 道, Wuwei 无为, and Wu 悟." English Studies in Africa 63, no. 2 (July 2, 2020): 96–99. http://dx.doi.org/10.1080/00138398.2020.1857117.
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Whiteman, Stephen H. "Chinese Painting & Calligraphy, edited by Mimi Gardner Gates and Josh Yiu." Art Bulletin 99, no. 2 (April 3, 2017): 189–93. http://dx.doi.org/10.1080/00043079.2017.1304651.
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Hung, Keung, and Jean M. Ippolito. "Time-Space Alterations: A New Media Abstraction of Traditional Chinese Painting and Calligraphy Aesthetics." Leonardo 53, no. 1 (February 2020): 25–30. http://dx.doi.org/10.1162/leon_a_01573.
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The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.
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Yang, Panpan. "Xu Bing's The Character of Characters and the Possibilities of Calligraphic Animation." Archives of Asian Art 74, no. 1 (April 1, 2024): 65–78. http://dx.doi.org/10.1215/00666637-11169083.
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Abstract This article examines contemporary Chinese artist Xu Bing's (b. 1955) 2012 animation video, The Character of Characters, which remediates Zhao Mengfu's (1254–1322) calligraphy and painting. The video, in which Chinese written words become the true protagonists, was originally a commissioned installation presented at the Asian Art Museum of San Francisco from October 2012 to January 2013. The article aims to model a form of extremely close analysis of new media art, which borrows vocabulary and methodologies from both art history and media studies. While making a timely contribution to Xu Bing scholarship by focusing on an understudied work in his oeuvre, it also adds new lines of inquiry: first, with regard to text-image reciprocity, which continues to be a focal point in studies of contemporary Chinese art; and second, with regard to animation-calligraphy reciprocity, which begs more critical attention. The Character of Characters, I argue, invokes a double vision that sees words on screen simultaneously as linguistic texts and pictorial shapes, a vision through which and because of which the activities of looking and reading are combined into one.
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Odinokova, P. S. "To the Problem of Attribution of the Albums Ten Landscapes and Travelling Along the River [Painted by] Shitao." Art & Culture Studies, no. 2 (June 2021): 122–39. http://dx.doi.org/10.51678/2226-0072-2021-2-122-139.
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The article is devoted to the albums Ten Landscapes and Travelling Along the River [Painted by] Shitao, attributed to Shitao (1642–1707), a famous Chinese artist and theorist of painting in beginning of the Qing dynasty (1644–1911). The aim of the article is to estab- lish authenticity of the albums. The album Ten Landscapes is in the collection of the State Museum of Oriental Art (Moscow). In 2015 one leaf from it was displayed at the exhibition Classical Painting of China. After visual evaluation and the analysis of painting, calligraphy and seals the author came to conclusion that the album Ten Landscapes could not be the original work of Shitao. It is probably the copy of another album Travelling Along the River [Painted by] Shitao. The latter was very famous among the connoisseur’s circles at the beginning of the 20th century. Therefore, its authenticity is also the subject of scientific discussion. Some of Chinese experts and researchers regard the album Travelling Along the River [Painted by] Shitao as the best example of Shitao’s painting. Others question its authenticity. The author of the article gives arguments to confirm the latter point of view.
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Zingrebe, David Silvan, Jörg Marvin Gülzow, and Oliver Deussen. "Robotic Writing of Arbitrary Unicode Characters Using Paintbrushes." Robotics 12, no. 3 (May 11, 2023): 72. http://dx.doi.org/10.3390/robotics12030072.
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Human handwriting is an everyday task performed regularly by most people. In the domain of robotic painting, multiple calligraphy machines exist which were built to replicate some aspects of human artistic writing; however, most projects are limited to a specific style of handwriting, often Chinese calligraphy. We propose a two-stage pipeline that allows industrial robots to write text in arbitrary typefaces and scripts using paintbrushes. In the first stage, we extract a set of strokes from character glyphs which are similar to how humans choose strokes during writing. In the second stage, we generate corresponding brush trajectories by applying a brush model to the extracted strokes. Our brush model computes the required brush pressure to achieve the given stroke width while also accounting for brush lag. We also present a method to automatically measure the parameters needed to predict brush lag by painting and recording calibration patterns. Our method generates trajectories for text in any given typeface, which, when executed by a robotic arm, results in legible written text. We can render most writing systems, excluding emoji and ligatures, in which arbitrary texts can be specified to write.
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王, 卫军. "Research on Seal Authenticity Detection Algorithm for Chinese Painting and Calligraphy Art Works." Computer Science and Application 13, no. 09 (2023): 1665–74. http://dx.doi.org/10.12677/csa.2023.139165.
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Ho, I.-Lien. "Poem without Language: When a Writing Becomes Traceless." Leonardo 51, no. 1 (February 2018): 55–56. http://dx.doi.org/10.1162/leon_a_01551.
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What happens when a writing cannot perform its function of documentation and indication? In the installation performance Poem without Language, developed from the action score writing Chinese calligraphy on the surface of water, the multiple closed-circuit videos raise the question of “who” can occupy the position of the observer, challenging tunnel-vision perspectivism. Such an orchestra of gazes resonates with the spatial organization in Chinese ink landscape painting, which challenges the anthropocentric ordering of things; responds to Nam June Paik’s approach to media, which disrupts the habitual way of perceiving conditioned by the mass media; and resonates with the concept of Kongwu (空無, emptiness, nothingness) from Daoism and Buddhism.