Relevant bibliographies by topics / Landscape painting

Academic literature on the topic 'Landscape painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Landscape painting"

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Zhang, Hao. "A Comparative Study on the Painting Forms of Western Oil Painting and Chinese Ink Painting." American Journal of Arts and Human Science 3, no. 2 (May 15, 2024): 39–45. http://dx.doi.org/10.54536/ajahs.v3i2.2778.

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Since modern international students introduced oil painting on a large scale to China, oil painting has been developing in China for over a hundred years. In citing the process of progress, learning, integration, and improvement, the change in titles from “Western painting” and “Western painting” to “oil painting” and then to “Chinese oil painting” indicates that oil painting, as an art form, has deeply embodied the characteristics and connotations of traditional Chinese culture. During this period, its development is closely related to the historical background of the entire China, reflecting the continuation and evolution of traditional Chinese freehand brushwork spirit in the complex and changing context of the times. This article compares oil paintings imported from abroad with domestic ink painting, taking the artistic realm of painting in both the East and the West as the starting point. The main axis that runs through them is Chinese ink painting and Western oil painting landscapes. Showcasing the similarities and differences between Chinese ink wash landscape painting and Western oil painting landscapes, Chinese landscape painting emphasizes the expression of emotions and a sense of awe and emotion towards nature, with the main idea of “learning from nature”; The Western oil painting landscape emphasizes the realism of the scenery, which is a re-creation of nature, allowing people to have a realistic feeling of being there when watching the painting. The main reason there are these differences between Chinese ink painting and Western oil painting landscapes is due to different social and cultural backgrounds and fields of consciousness.
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Ma, Feifei. "On Teaching the Curriculum of Urban Landscape Painting in The Field of Chinese Painting." International Journal of Education and Humanities 5, no. 3 (November 11, 2022): 124–26. http://dx.doi.org/10.54097/ijeh.v5i3.2466.

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The concept of "urban landscape painting" was introduced in 1992, and thirty years have passed since the creation of this theme. This controversial new wave of painting, which has emerged in recent decades, mainly depicts urban life and urban architecture, reflecting the long-standing urbanization process in China and the increasing number of Chinese landscape paintings on urban themes. Throughout the curriculum of Chinese painting in domestic colleges and universities, there is less involvement in the teaching of urban landscapes. This paper focuses on undergraduate students, and from the author's own practice and observation, reflects on the problems in teaching urban landscape today and makes a few suggestions.
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IM, MI-HYUN. "A Study on Landscape Paintings of Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822)." Institute of History and Culture Hankuk University of Foreign Studies 88 (November 30, 2023): 191–224. http://dx.doi.org/10.18347/hufshis.2023.88.191.

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Geungjae (兢齋) Kim Deuk-shin (金得臣, 1754-1822) is known as one of the three genre painters along with Kim Hong-do (金弘道, 1745-1806?) and Shin Yun-bok (申潤福, 1758-1817 afterwards) or only as a painter who had been largely influenced by Kim Hong-do. In fact, he was a 44-year veteran Dohwaseo painter who had participated in important national art projects. Aside from his famous genre paintings, his extraordinary talent in portraits, landscapes, birds and animals, and flowers and animals established him as one of the best painters during the period. Especially, his results in Nokchwijae (祿取才: the state examination for court painters) demonstrates his ability in landscape painting among other themes as well as how much recognition he received at the time; some of these works are currently available. Kim Deuk-shin’s landscape paintings carry two styles of landscape painting in Late Joseon Dynasty: literati landscape painting of the ideal and conceptual landscape and true-view landscape painting that painted mountains and rivers in Korea. This allows better understanding of his diverse works, as well as the variety of trends and transformations of the landscape painting in the Late Joseon Dynasty. In addition, compared to other themes such as genre, figure painting of Taoism and Buddhism, birds and animals, and flowers and animals that had been apparently influenced by Kim Hong-do’s style, his landscape painting has a different pattern due to being directly and indirectly influenced by a number of preceding painters including Jeong Seon (鄭敾, 1676-1759), Sim Sajeong (沈師正, 1707-1769), Kim Eung-hwan (金應煥, 1742?-1789), and Kim Hong-dothat were largely established in the area of landscape painting At the same time, it is also possible to observe the Gaeseong Kim family’s painting style from Kim Deuk-shin’s landscape paintings as they show association with those of his uncle Kim Eung-hwan, brother Kim Seok-shin (金碩臣, 1958-?) and Kim Ha-jong (金夏鍾, 1793-1875 afterwards). Kim Deuk-shin’s landscape painting style may have been passed on to Kim Seok-shinand Kim Ha-jong through secondary influence from Kim Eung-hwan, who was influenced by Jeong Seon and Sim Sajeong. Based on this, his landscape painting style appears to have had a significant influence on the establishment of the painting style within the Gaeseong Kim family and on later generations of court painters.
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Chan, Zhuy, and Galina V. Alekseeva. "Chinese Snowscape As a Phenomenon." Observatory of Culture 21, no. 1 (March 6, 2024): 28–36. http://dx.doi.org/10.25281/2072-3156-2024-21-1-28-36.

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With unique aesthetic value, snowy landscapes are one of the most important subjects in Chinese painting. Due to their purity, elegance, serenity, simplicity and cold charm, snow scenes have been the focus of artists and scholars from long ago. The artistic features and cultural connotations of Chinese snow paintings have attracted the attention of many Chinese and Russian scholars. However, there is no typological study of snow landscape in their works. In this regard, the authors consider it necessary to actualize this topic. The article provides historical information about the study of snowy landscape, the history of Chinese painting masters’ appeal to this theme. The classification of snow painting depending on seasons, geographical regions of China, atmospheric phenomena, and themes is offered. The authors suggest their definition of the concept of “Chinese snow landscape” and the author’s classification of the content of snow paintings. The paper applies a typological approach to the analysis of “snow” scenes, and examines the development of traditional Chinese aesthetic contexts from ancient artistic codes to contemporary theories. Outstanding examples of snow landscape painting are presented. Snow painting is an important medium of Chinese cultural heritage that demonstrates the diversity and richness of Chinese culture. The given overview of China’s snow scene painting as a phenomenon in the work of Chinese artists can serve as a basis for further in–depth studies.
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Wango, Kamau. "‘Foundations of Landscape Painting’ – Colour Application, Textural Effects and Development of Holistic Composition. Analysis of Selected Landscape Paintings by Second Year Students at Kenyatta University, Nairobi, Kenya." East African Journal of Arts and Social Sciences 5, no. 1 (July 8, 2022): 284–317. http://dx.doi.org/10.37284/eajass.5.1.744.

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Landscape painting is a popular undertaking among students, particularly those taking formative painting units, some of whom have never used prescribed media such as watercolours, oils or acrylics; and others who have not been exposed to painting at the university level. In one of the second-year painting units where students study colour and its application, they are required to paint landscapes in watercolours and either acrylics or oils. Landscape painting gives them the opportunity to study and apply colour on paper or canvas since landscapes and other outdoor painting studies provide them with a very useful reference resource in terms of colour, colour tones, the transient effect of light and shadows as well as the natural environment that presents colours in their true natural setting. Landscape painting is perhaps one of the most profound opportunities for students to get acquainted with natural colours and their interrelationships before venturing into any other genre of painting where they actively apply colours and their properties for other purposes of expression. Apart from interaction with colour, landscape painting offers the students an added opportunity to delve into other aspects of pictorial composition. Landscapes as a reference resource provide a natural setting that showcases clear placement of many aspects of a pictorial composition that the students can relate with. These include the formal elements such as colour itself, line, shape, texture, value as well as masses and spaces. They are also able to apply the principles of art and design such as balance, harmony, centre of interest, perspective and rhythm. In this study, second year painting students studying colour were exposed to landscape painting for the first time as they studied colour and its application. The basic projection was that they were not expected to produce outstanding work. They were, however, taken through the basic tenets of landscape painting including pictorial composition, application of elements and principles of art as well as the essence of observation. They were expected to work outdoors but were also allowed to use referent photographs in circumstances where they found them useful. They also worked independently and were allowed to select their medium from either watercolours, acrylics or oils. This paper examines how students responded to their task and how they approached the skill of observation, interpreted the application of colour and its qualities and dealt with pictorial composition. This is important because as it turned out, the students were very sensitive to how their landscapes ‘appeared’ and their ability to showcase what they observed. Ultimately, they were eager to determine whether their paintings were appealing to their classmates and by extension, to the viewers. Even though they were painting landscapes for the first time and some were handling some media for the first time, before embarking on their work, their attention was drawn from the onset to the use of textural effects, colour tones, perspective and details of the foreground, the fading background, nature of the sky and the effect of the transient light and shadows. They were encouraged to work outdoors as much as possible and finalize their work in their rooms. Beyond this, the students were given their space to work, with only the necessary comments that aimed at helping them retain their focus on certain pertinent points. This paper selects and features sample landscape paintings that underscore how a cross section of the students dealt with the formulation of landscape painting and the extent to which they were successful.
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Deng, Bowen. "Style transfer for converting images into Chinese landscape painting based on CycleGAN." Applied and Computational Engineering 51, no. 1 (March 25, 2024): 53–58. http://dx.doi.org/10.54254/2755-2721/51/20241162.

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Chinese landscape painting is a prevalent and unique mode of artistic expression within traditional Chinese art. It boasts intricate techniques and demands a relatively high level of artistic skill. Recent advancements in artificial intelligence have ushered in the era of image style transfer techniques, making it feasible to convert landscape photographs into stunning Chinese landscape paintings. In this study, the author has developed an image translation model that enables mutual transformation between images of landscapes and Chinese landscape paintings. This technology significantly reduces the difficulty of creating Chinese landscape paintings, allowing more ordinary people in China to experience and appreciate the joy brought by traditional Chinese art. Experimental results indicate that the style transfer model based on CycleGAN has achieved significant success in this scenario. The generated artworks successfully integrate the style of Chinese landscape painting into the original images without altering the original composition and details. As a result, the original photos gain a certain level of artistic value. Additionally, this study innovatively explores the goal of reverse restoration of Chinese landscape paintings into images, highlighting both the similarities and differences with the current research, thus laying the foundation for future studies.
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Ning, Xiaomeng. "Landscape Painting in the Tang Dynasty: On “Changes” and the Historical Constitution of the Concept." Culture and Dialogue 10, no. 2 (November 29, 2022): 158–79. http://dx.doi.org/10.1163/24683949-12340123.

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Abstract Focusing on the “bian” (changes) of Chinese landscape painting in the Tang Dynasty, this essay seeks to expound a breakthrough in the study of painting in the dynasty. Such a study was once difficult to carry out in the form of pictorial and stylistic analyses due to the lack of physical works. By showing that the prevailing landscape paintings of two representative painters Wu Daozi and Li Sixun were at the time most likely to be dominated by the sutra paintings and pictures of the immortal land, the essay attempts to demonstrate that the meaning of “changes” in landscape painting lies more in the change of style in representing landscape and the attitude of critics towards landscape paintings than in the change of subject matter. Meanwhile, it is worth noting that historical narratives also played a key role in constituting the concept of “landscape painting.” The focus on and analysis of the historical constitution itself provide people with another possible and feasible research approach in addition to the one based on the analysis of works and images.
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Munteanu, Angela. "LANDSCAPE, COLORED PASSION IN THE CREATION OF ARCHITECT EUGEN BOGNIBOV." Journal of Social Sciences IV, no. 4 (December 2021): 36–43. http://dx.doi.org/10.52326/jss.utm.2021.4(4).04.

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The landscape genre is painting and contemplation through the creation of the architect and professor, doctor of architecture, associate professor Eugen Bognibov, from the Department of Architecture, Faculty of Urbanism and Architecture, Technical University of Moldova. The landscape was certainly one of the favorite types of painting of professional artists, but also for lovers of beauty. The predilection of the architect and painter Eugen Bognibov for the landscape genre can be explained by the fact that the Moldovan lands offer an enormous variety of views and possibilities to practice the landscape: reliefs, forested hills, hills, steppes, roads winding through vineyards, and orchards, cities and villages, water pools, architectural monuments of stone and wood, a true cultural heritage of the country. And the author remarks that the painting dedicated to the architect and professor Eugen Bognibov represents the state of lyricism and harmony, is the link between man and nature, which is distinguished by the colorful freshness of urban, rural, forest landscapes, etc. Various painted views of the historical area of his hometown, Chisinau, images of the morning city bathed in the rays of the generous sun or landscapes near the village of Butuceni, etc. Therefore, the motivation for painting and landscape became for the architect Eugen Bognibov, a free manifestation of his creation through paintings with saturated colors, works presented in various exhibitions
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Wei, Hua. "Aesthetic Consciousness of Literati Painting and its Application in Urban Planning." Open House International 44, no. 3 (September 1, 2019): 92–95. http://dx.doi.org/10.1108/ohi-03-2019-b0024.

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In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.
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Grave, Johannes. "L’art annexé comme source d’inspiration. Un paysage de Rembrandt venu de Cassel à Paris et une peinture de Georges Michel." Revue de l'art N° 221, no. 3 (December 22, 2023): 36–43. http://dx.doi.org/10.3917/rda.221.0036.

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The article explores the considerable impulses that have been generated by paintings which had come to Paris in the wake of the confiscations of works of art during the Napoleonic Empire. At the centre of the contribution is a revealing case study that shows how, around 1814, the French painter Georges Michel responded to a landscape by Rembrandt and used it as inspiration for his own painting. Based on this example, two questions are addressed : On the one hand, Michel’s painting exemplifies how much contemporary landscape painting in Paris benefited from the unusually good presence of Rembrandt’s landscapes in the years up to 1815. On the other hand, the case study could allow to determine the chronology of Michel’s oeuvre more precisely.
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Dissertations / Theses on the topic "Landscape painting"

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Joy, Clair. "Contemporary landscape painting." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523650.

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This thesis will look at the concept of contemporary landscape painting as well as examples of artists whose work could be described as landscape painting in a contemporary context. I will be using different models (both theoretical and artistic) from those associated with the history of landscape painting to look at what contemporary landscape painting might now be. My purpose is twofold: to argue that the concept of landscape has been redefined and as a result landscape painting has new ways of being thought about, and to establish a context for my own practice. I look at the idea of space-time to investigate how it defines place and as a result redefines landscape painting in a contemporary context. As a way of doing this I look at montage and at maps/mapping, both as ideas and as ways of working. Differing approaches and mediums as 'producing' spaces, rather than an emphasis on depicted visual characteristics (of buildings or the rural for instance), is also discussed as a concept that relates to contemporary landscape painting. Paintings can have a diverse materiality that may embody and refer to our experience of place. Paintings may also engage the 'discursive site' of landscape, reflecting the questions and issues related to shifting conceptual understandings of 'landscape' . I look at the work of three established artists that may be seen as establishing new contexts in which to see contemporary landscape paintings. These artists are Robert Smithson, Alighiero Boetti and Eugenio Dittborn. Examples of artists who connect with concepts of space-time as unexpected and unpredictable, or use the co-existence of different 'spaces' in their methods of making and in their subject matter, are described as contemporary landscape painters. I have selected the artists Julie Mehretu, Sarah Morris, Angela de la Cruz, Neil Jenney, Nigel Cooke and Keith Tyson.
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Tucker, Judith Ann. "Painting landscape : mediating dislocation." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425628.

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Scully, Regina S. "Landscape to Mindscape." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2109.

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In each of my paintings I try to create an individual micro-universe made up of elements that resonate between the familiar and the unknown. I carve up space and hybridize disparate elements, in an effort to excavate objects and spaces from our collective unconscious. By employing different perspectives, I try to encourage an experiential view of the landscape, like the one that exists for the viewer in the physical world, where sightlines are constantly shifting. These landscapes become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal associations. In this thesis, I will explore the painted landscape in Western and Eastern traditions and discuss different types of landscapes as they relate to my paintings and my personal commentary on the landscape. I will also examine my painting process and my personal approach to fundamental elements including perspective, line, and color.
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Ito, Atsuhide. "Separate landscape : non-place, aesthetics and landscape on the Tōkaidō Route, Japan." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/022fc32a-3aa4-451e-8fb8-7941389e7e6e.

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Separate landscape is a research that combines a theory and practice through the examination of 'non-place'. Non-places such as airports, waiting lounges, car parks, shopping malls have been defined as places which lack a sense of history, social relations, and identity.
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Neale, Stacey J. "Light and landscape /." Online version of thesis, 1990. http://hdl.handle.net/1850/11315.

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Parker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.

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I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space. Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations. This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.
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Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.

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Thesis (M.Visual Arts) -- La Trobe University, 2006.
Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Brown, Anne L. "The unfolding of geologic space /." Online version of thesis, 1989. http://hdl.handle.net/1850/11329.

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Harris, Elizabeth. "Transparent landscape." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3407.

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Gross, Bernard O. "Sex, death, and the landscape /." Online version of thesis, 1992. http://hdl.handle.net/1850/11898.

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Books on the topic "Landscape painting"

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Galleries, Leger, ed. British landscape painting. London: Leger Galleries, 1994.

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Galleries, Leger, ed. British landscape painting. London: Leger Galleries, 1992.

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Galleries, Leger, ed. British landscape painting. London: Leger Galleries, 1992.

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Galleries, Leger, ed. English landscape painting. London: Leger Galleries, 1990.

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Splatt, William. Australian landscape painting. Ringwood, Vic., Australia: Viking O'Neil, 1989.

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Cassettari, Stephen. Chinese landscape painting techniques. London: Studio Vista, 1992.

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Cassettari, Stephen. Chinese landscape painting techniques. North Ride, Australia: Angus & Robertson, 1990.

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Society, New York Graphic, ed. Long Island landscape painting. Boston: Little, Brown, 1985.

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Ray Smith. Watercolor landscape. Edited by Royal Academy of Arts (Great Britain). London: Dorling Kindersley in association with the Royal Academy of Arts, 1993.

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Wilcox, Scott. Victorian landscape watercolors. New York: Hudson Hills Press, 1992.

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Book chapters on the topic "Landscape painting"

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Edström, Håkan, and Dennis Gyllensporre. "Painting the Theoretical Landscape." In Pursuing Strategy, 26–59. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230364196_2.

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Valsiner, Jaan. "Letters on Landscape Painting." In The Moonlight Doctor, 97–107. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-52531-5_6.

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Eitner, Lorenz. "French Landscape." In An Outline of 19th Century European Painting, 197–223. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-8.

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Eitner, Lorenz. "English Landscape." In An Outline of 19th Century European Painting, 121–54. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032714-6.

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Smiles, Sam. "Landscape Painting, c.1770-1840." In A Companion to British Art, 397–421. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch17.

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Wang, Keping. "The Art of Painting Landscape." In Beauty and Human Existence in Chinese Philosophy, 231–49. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_10.

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Kong, Shuyu. "The Politics of Landscape Painting." In Art and Modernism in Socialist China, 90–113. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003450535-8.

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Adams, Steven. "Landscape painting and the pastoral vision." In Landscape Painting in Revolutionary France, 14–42. New York: Routledge, 2020. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-2.

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Kim, Yong-Jung. "Oriental Landscape Painting by Predator Species." In The Art of Theoretical Biology, 100–101. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33471-0_50.

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Adams, Steven. "Introduction." In Landscape Painting in Revolutionary France, 1–13. New York: Routledge, 2020. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781315229430-1.

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Conference papers on the topic "Landscape painting"

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Jia, Hanrui, Rui Xu, Youyuan Wang, and Wenqian Qiu. "Exploration Of Landscape Perception Of Jinshan Peasant Paintings Village." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002332.

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Shanghai's countryside, despite its limited resources, contributes to the spiritual home of its residents. As a result, it is meaningful to conduct additional research and investigation. Under the current background of rural revitalization, Shanghai is actively exploring the modes of cultural revitalization and tourism revitalization of the countryside. Shanghai has established Jinshan Peasant Painting Village in the certain location to further encourage the development of peasant painting art and better protect local culture. Jinshan District, a creative park in Shanghai's countryside, is based on Jinshan peasant painting and aims to attract peasant painting artists from across the country. The presentation of creative landscape plays an important role in contributing to the creative atmosphere, which is one of the elements for the creative cluster, in terms of attracting creative talents and tourists. Nowadays, the low occupancy rate of peasant painters and a few tourists reveal Jinshan Peasant Painting village's lack of appeal. To gain a better understanding of the complex reasons for this, this study looks into the perspectives of various stakeholders in the painter village's landscape and attempts to investigate the creative park's long-term development from the standpoint of the material environment.Furthermore, it makes some new recommendations for improving the landscape of Jinshan Peasant Paintings village in order to promote better development. In conclusion, tourists of different genders, incomes, sources of information, educational backgrounds, ages, and occupations have obvious differences in their landscape perception of Jinshan peasant painting village from the standpoint of landscape aesthetic characteristics and landscape value perception.
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Luo, Zhen. "Basic Landscape Paradigm in Zhang Daqian's Landscape Painting." In 2016 4th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ieesasm-16.2016.177.

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Luo, Peixiang, Jinchao Zhang, and Jie Zhou. "High-Resolution and Arbitrary-Sized Chinese Landscape Painting Creation Based on Generative Adversarial Networks." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/695.

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This paper outlines an automated creation system for Chinese landscape paintings based on generative adversarial networks. The system consists of three cascaded modules: generation, resizing, and super-resolution. The generation module first generates a square-shaped painting, then the resizing module predicts an appropriate aspect ratio for it and performs resizing, and finally the super-resolution module is used to increase the resolution and improve the quality. After training each module with the images we collected from the web, our system can create high-resolution landscape paintings in arbitrary sizes.
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Tao, S. S. "Creating a Free Painting Situation in the Landscape Painting Course." In 2015 International Conference on Social Science, Education Management and Sports Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/ssemse-15.2015.282.

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

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Over the past two decades, Pritzker Architecture Prize laureate Wang Shu has experimented with renewing vernacular architectural vocabularies by reinterpreting traditional Chinese landscape paintings and gardens. However, the role of Wang’s design drawings in his architectural undertakings remains largely underexplored. By analysing Wang’s handmade design drawings, this paper examines how the architect bridges the gap between traditional landscape painting, which is often considered to be the epitome of Chinese modes of spatial perception, and the modern oblique projection method, which is a technique that is based on the Cartesian coordinate system. First, through a literature review, this paper frames a salient aspect of Wang’s appreciation of the traditional Chinese landscape painting, namely the genre’s a-perspectival treatment of pictorial space. For Wang, the landscape painting embodies a culture-bound mode of “seeing,” which resorts to neither the illusionary perspective nor Cartesian metric space. Second, through case studies, this paper analyses the key aspects of Wang’s landscape painting-informed a-perspectival oblique drawings and his drawings’ critical implications. In his design for the Tengtou Pavilion (Shanghai, 2009-10), Wang creates nonrepresentational, immeasurable spaces with inconsistent projection fragments to evoke intended phenomenally boundless depth and transforms the technique into a collage device to prompt an architecture-landscape parallelism. In his sketch for the Lingyin Temple teahouse complex (Hangzhou, 2008-20), Wang doubles the modes of oblique drawing to attune the landscape painting and architectural projection and transform nature into built forms. By drawing on Wang’s case, this paper offers insights into how the standardised oblique drawing method can afford culturally grounded a-perspectival uses and how such critical adaptations could assist the architect to move across the ontological border between architecture and landscape.
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Yuan, Shaozu, Aijun Dai, Zhiling Yan, Ruixue Liu, Meng Chen, Baoyang Chen, Zhijie Qiu, and Xiaodong He. "Learning to Generate Poetic Chinese Landscape Painting with Calligraphy." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.

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In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an image fusion module to fuse the two images into a whole piece of aesthetic artwork.
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DU, YI-FAN. ""SOIL" OF MODERN CHINESE LANDSCAPE PAINTING—ANALYSIS OF RACE, ENVIRONMENT AND THE TIMES." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35693.

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As we all know, material civilization and spiritual civilization depend on three factors: race, environment, and times. [1] As a kind of culture, modern Chinese landscape painting has undergone new changes, mainly because the "soil" and "climate" on which it depends for survival have changed. In order to clarify how the changes of modern Chinese landscape painting in recent years are affected by three factors, this article will take the modern Chinese landscape painting as the research object, and study its influence on modern Chinese landscape painting from three aspects: race, environment, and times. The author hopes that this article can provide a reference for the future development of Chinese landscape painting.
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Ma, Xia. "Teaching Reflection about Landscape Painting in Oils." In 2020 International Conference on Social Sciences and Big Data Application (ICSSBDA 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201030.033.

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Sun, Zengguo, Haoyue Li, Xiaojun Wu, Yumei Zhang, Rong Guo, Biyu Wang, and Liren Dong. "A Dataset for Generating Chinese Landscape Painting." In 2023 International Conference on Culture-Oriented Science and Technology (CoST). IEEE, 2023. http://dx.doi.org/10.1109/cost60524.2023.00048.

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Chang, Rong, and Jingran Wang. "Painting Style Alignment: Restoration of Ancient Chinese Landscape Paintings Driven by Aesthetic Cognition and Aesthetic Computation." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003264.

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Painting style alignment is critical for ancient painting restoration. To reduce the aesthetic cognition conflicts between human and artificial intelligence in Chinese landscape painting restoration, we propose a new research paradigm, joint aesthetic cognition, which aligns painting style in three stages: descriptive painting style based on human aesthetic cognition, predictive painting style with AI aesthetic computation, and prescriptive restoration test via human-AI collaboration. To keep interaction of these stages continuous, a hybrid research method based on both data design and self-supervised learning is further proposed to adaptively construct the joint cognition of specific painting style. Preliminary tests on two restorative scenarios, analogized generation and cognitive recompositing, indicate that our joint aesthetic cognition is effective and feasible for painting style alignment, and can thus facilitate human-AI collaboration in ancient painting restoration.
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Reports on the topic "Landscape painting"

1

Shirley, Margaret. Landscape Painting in the Secondary Classroom. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2575.

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Olson, Eugene. A series of landscape studies in oil painting and other media exploring and interpreting natural landscape elelments with emphasis on the relationship between plastic space and visual space. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.318.

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