Academic literature on the topic 'Huang Binhong'
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Journal articles on the topic "Huang Binhong"
Wang, Yiyan. "Friendship in Art: Fou Lei and Huang Binhong." Asian Studies Review 36, no. 3 (August 23, 2012): 413–15. http://dx.doi.org/10.1080/10357823.2012.712641.
Full textWang, Keping. "Rethinking the Spirit of Chinese Aesthetics." Synthesis philosophica 36, no. 2 (January 20, 2022): 289–312. http://dx.doi.org/10.21464/sp36203.
Full textBian, Zhaohui. "Discussion of theoretical value of Da Chongguang's "Calligraphy Raft"." BCP Social Sciences & Humanities 19 (August 30, 2022): 724–27. http://dx.doi.org/10.54691/bcpssh.v19i.1873.
Full textClaypool, Lisa. "Friendship in Art: Fou Lei and Huang Binhong. By Claire Roberts. Hong Kong: Hong Kong University Press, 2010. xv, 232 pp., 60 color illus. $49.95 (cloth)." Journal of Asian Studies 71, no. 1 (February 2012): 233–34. http://dx.doi.org/10.1017/s0021911811002555.
Full textRoberts, Claire M. "Metal and Stone, Brush and Ink: Word as Source in the Art of Huang Binhong." PORTAL Journal of Multidisciplinary International Studies 9, no. 3 (September 3, 2012). http://dx.doi.org/10.5130/portal.v9i3.2551.
Full textDissertations / Theses on the topic "Huang Binhong"
Kotewall, Pik-yee. "Huang Binhong (1865-1955) and his redefinition of the Chinese painting tradition in the twentieth century /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20294086.
Full text蘇碧懿 and Pik-yee Kotewall. "Huang Binhong (1865-1955) and his redefinition of the Chinese paintingtradition in the twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238701.
Full textHertel, Shao-Lan [Verfasser]. "The Inner Workings of Brush-and-Ink: A Study on Huang Binhong (1865–1955) as Calligrapher, with Special Respect to the Concept of Interior Beauty (neimei) / Shao-Lan Hertel." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1136903585/34.
Full textRoberts, Claire. "The dark side of the mountain: Huang Binhong (1865-1955) and artistic continuity in twentieth century China." Phd thesis, 2014. http://hdl.handle.net/1885/11334.
Full textLiou, Ruei-lan, and 劉瑞蘭. "A New Reading Of “Lush and Resplendent, Full And Round” Landscape Painting By Huang Binhong(1865-1955)." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/44319373407897534570.
Full text國立臺灣藝術大學
書畫藝術學系造型藝術碩士班
100
Huang Binhong (1865-1955) was a modern painter in the late Qing Dynasty to the early years of the Republic. “ Lush and Resplendent, Full and Round ” was his exploring a landscape painting style and creative spirit in his later years. The article aims at studying Huang Binhong embodied the landscape painting of “ Lush and Resplendent, Full and Round ” in his later years as a research object. The author will explore what were Huang Binhong’s painting of the appearance, pen and ink techniques and creative spirit. And what factors influenced his. Because Huang Binhong was not the first painter to explore the “ Lush and Resplendent, Full and Round ” in the history of Chinese painting. The author will compare the Huang Binhong and the predecessors of the landscape. To clarify what was a new reading of“Lush and Resplendent, Full and Round”Landscape Painting by Huang Binhong. This article is divided into chapters. The first chapter is the introduction, which contains research topic, literature review and analysis, to study the scope and sources of information. The second chapter is compiled Huang Binhong’s landscape development. The author based on the time of Huang Binhong “ Lush and Resplendent, Full and Round ” style points as the dividing line. The author divided Haung Binhong's painting career is divided into two stages, and to discuss. I studied epigraphy document, the Northern Song Dynasty painting and modern consciousness ,which affected Huanf Binhong. The fourth chapter is is to compare Huang Gongwang, Dong Qichang, four of the early Qing Wang, and Huang Binhong’s “ Lush and Resplendent, Full and Round ”, to clarify what was a new reading of“Lush and Resplendent, Full and Round”Landscape Painting by Huang Binhong. The fifth chapter is the conclusion.
郭啟第. "Tradition and Innovation in Huang Binhong’s Landscape Paintings." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/21568371657842770107.
Full text國立高雄師範大學
美術學系
96
radition and Innovation in Huang Binhong’s Landscape Paintings Abstract This research aims to discuss the landscape paintings of Huang Binhong, an artist from the early republican period and explore the traditional and innovative elements involved in his work. Huang Binhong tried to reform the painting process during Chinese art modernization via cultural inheritance/development and he did make a difference. What attributed Huang Binhong’s success in bringing a new look to traditional Chinese literati landscape paintings was not merely the natural change in time and artistic development, but his consciousness of making innovation reality. Such consciousness played a key role from a broader and deeper cultural perspective and understanding. In terms of the media used in his work, the brush and colored ink are the typical of Chinese traditional painting and the spirit of Chinese art was also a key to his innovative painting style. However, it was not merely because of his excellence and whimsy in techniques that led to his innovative style. The brand-new presentation found in his works also came from a change in the visual construction. As a result, traditional and innovative elements coexisted in Huang’s works and created both a contradictory and harmonious look, adding more complexity to Huang’s landscape paintings. The complexity and conflict between old and new are the issues to be cleared in this research. Based on relevant studies on the Sociology of Art and Formalistica, this research presents the cultural ambience, discusses the roots of his styles, and compares the differences between his style and conditional style. There are four chapters in this research paper. The first chapter focuses on the contemporary trends in Huang’s times, such as “classical literature renaissance,” “academic independence,” and “flexible historical perspective” of the “Chinese culture quintessence” clique in Shanghai, with which Huang had frequent and active cultural exchanges. In addition, the chapter also explores the cultural concept of “innovative tradition” that Huang promoted in the movement to preserve Chinese cultural quintessence. The second chapter talks about traditional literati esthetic thinking, which Huang Binhong had long stuck to, with focus on the use of brushes and colored inks that symbolizes the spirit of the Chinese people. The third chapter explores the traditional origin of Huang Binhong’s painting language and the changes observed in his works and how Huang used and experimented with the brush-and-colored-ink tradition and then transformed it into a language of his own. The last chapter compares the forms, structures, and characteristics of the landscape paintings created during Huang’s later life and modern works, as well as the elements created due to the structure and the use of brush and colored inks, to find out reasons why Huang’s works created later in his life were different from the traditional style in visual structure.
WU, YA-LING, and 伍雅鈴. "The Studies of Huang Binhong’s Aesthetic Point of View for Calligraphy and Painting, and The Characteristics of His Practice." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/vt5an4.
Full textBooks on the topic "Huang Binhong"
Huang Binhong. Shanghai: Shanghai shu hua chu ban she, 2000.
Find full textHong, Xin, ed. Huang Binhong. Changsha Shi: Hunan mei shu chu ban she, 2004.
Find full textHuang Binhong. Beijing: Ren min mei shu chu ban she, 2003.
Find full textHuang, Binhong. Huang Binhong. 8th ed. Beijing: Ren min mei shu chu ban she, 2003.
Find full textBai nian ju jiang: Huang Binhong = Century masters : Huang Binhong. Lanzhou Shi: Gansu ren min mei shu chu ban she, 2013.
Find full textHuang Binhong zi shu. Beijing Shi: Wen hua yi shu chu ban she, 2006.
Find full textZhejiang ren min mei shu chu ban she., ed. Huang Binhong hua ji. [Hangzhou]: Zhejiang ren min mei shu chu ban she, 1992.
Find full textHuang, Binhong. Huang Binhong hua ji. 8th ed. Taibei Shi: Hua zheng shu ju, 1987.
Find full textHuang Binhong hua ji. [Hangzhou Shi: Zhejiang ren min mei shu chu ban she, 1985.
Find full textHuang Binhong shi ji. Jiulong: Xu bai zhai, 1993.
Find full textBook chapters on the topic "Huang Binhong"
"In Memory of Huang Binhong." In Liu Kang, 63–64. National Gallery Singapore, 2011. http://dx.doi.org/10.2307/j.ctvk3gncv.17.
Full textRoberts, Claire. "Huang Binhong and Fou Lei." In Friendship in Art, 48–62. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0004.
Full textRoberts, Claire. "Huang Binhong: The Artistic Legacy." In Friendship in Art, 158–79. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0008.
Full textRoberts, Claire. "Friendship in Art: Fou Lei and Huang Binhong." In Friendship in Art, 194–202. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0009.
Full textRoberts, Claire. "Huang Binhong’s First Solo Show Curated by Fou Lei." In Friendship in Art, 74–75. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0005.
Full textConference papers on the topic "Huang Binhong"
Feng, Ruizhen, Rong Zhuang, and James Chen. "One Conception, Two Worlds A Comparative Study of Styles of Claude Monet and Huang Binhong." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.127.
Full textLi, Wenxiu. "Analysis on the Art Style Formation about Huang Binhong's Landscape Painting." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.86.
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