Journal articles on the topic 'Landscape painting'
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1
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.
2
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.
7
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.
11
Kim, Soon-seob. "A Study on the Aesthetic Awareness and Expression Method of the Landscape Painting in 『Limjeongochi (林泉高致)』 of Kwakhi)." Korean Society of Calligraphy 44 (March 30, 2024): 269–92. http://dx.doi.org/10.19077/tsoc.2023.44.10.
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This study has researched the aesthetic awareness and the expression method of the landscape painting that is described in 『Limjeongochi (林泉高致)』 of Kwakhi, based on the philosophical contemplation of Rihak (Neo-Confucianism) of the Northern Song Dynasty. Landscape paintings were flourished especially in the Song Age. The emergence of this background can result from several factors. Above all, this mirrors the epochal art tendency and view of aesthetics in contrast to those in the previous times, which has something close to do with the spirit of the age when literary paintings came to the fore and Rihak (Neo-Confucianism) of the Song Dynast was deeply embedded in society.
The highly learned Kwakhi, a painter in painting art academy, made an exchange with many literary men, thus, being influenced by Rihak (Neo-Confucianism) in reflection of the sprit of the age that epochal intellectuals held. The aesthetic awareness of landscape in 『Limjeongochi (林泉高致)』, was described not as a realistic painting that recreates nature by the means of visual and sensory elements but as the best good (善) and the best providence (天理) interpreted as universal unity (天一合一) in harmony with reason and emotion. This reflects the aesthetic awareness that cognizes universalism (宇宙論) as the essence of human character, and ultimately the moral principle emphasizing investigation of things (格物致知) and discipline, thereby providing the momentum to highly appreciate the landscape painting.
A characteristic of landscape painting is that this painting expresses the beauty of landscape in a vivid way, regarding transcendental contemplation or nature as the circulating organism that contains poetic implication. This pursues the method of understanding the power (power of mountain) and attribute (essence of mountain) by observing landscape, at close or far distance and looking into all over the three surfaces of the mountain (high, deep, and plain surfaces) for spatial expansion, in order to overcome the problem focusing on a single object, bring a dynamic change in an object so that it could move to and fro with full vigor, and to embody it into a living thing, as if it were actually described in landscape. It can be said that energy that figure paintings put weight on is included in landscape painting, also. In this regard, the fundamental principle of stroke and ink has played the inter-complementary role to vitalize literary paintings, and furthermore expand the natural beauty of vigor from landscape painting into flower bird paintings.
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Kim, Soon-seob. "A Study on the Aesthetic Awareness and Expression Method of the Landscape Painting in 『Limjeongochi (林泉高致)』 of Kwakhi)." Korean Society of Calligraphy 44 (March 30, 2024): 269–92. http://dx.doi.org/10.19077/tsoc.2024.44.10.
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This study has researched the aesthetic awareness and the expression method of the landscape painting that is described in 『Limjeongochi (林泉高致)』 of Kwakhi, based on the philosophical contemplation of Rihak (Neo-Confucianism) of the Northern Song Dynasty. Landscape paintings were flourished especially in the Song Age. The emergence of this background can result from several factors. Above all, this mirrors the epochal art tendency and view of aesthetics in contrast to those in the previous times, which has something close to do with the spirit of the age when literary paintings came to the fore and Rihak (Neo-Confucianism) of the Song Dynast was deeply embedded in society.
The highly learned Kwakhi, a painter in painting art academy, made an exchange with many literary men, thus, being influenced by Rihak (Neo-Confucianism) in reflection of the sprit of the age that epochal intellectuals held. The aesthetic awareness of landscape in 『Limjeongochi (林泉高致)』, was described not as a realistic painting that recreates nature by the means of visual and sensory elements but as the best good (善) and the best providence (天理) interpreted as universal unity (天一合一) in harmony with reason and emotion. This reflects the aesthetic awareness that cognizes universalism (宇宙論) as the essence of human character, and ultimately the moral principle emphasizing investigation of things (格物致知) and discipline, thereby providing the momentum to highly appreciate the landscape painting.
A characteristic of landscape painting is that this painting expresses the beauty of landscape in a vivid way, regarding transcendental contemplation or nature as the circulating organism that contains poetic implication. This pursues the method of understanding the power (power of mountain) and attribute (essence of mountain) by observing landscape, at close or far distance and looking into all over the three surfaces of the mountain (high, deep, and plain surfaces) for spatial expansion, in order to overcome the problem focusing on a single object, bring a dynamic change in an object so that it could move to and fro with full vigor, and to embody it into a living thing, as if it were actually described in landscape. It can be said that energy that figure paintings put weight on is included in landscape painting, also. In this regard, the fundamental principle of stroke and ink has played the inter-complementary role to vitalize literary paintings, and furthermore expand the natural beauty of vigor from landscape painting into flower bird paintings.
13
Wenjing, Liang, and Nadia Mohd Nasir. "Principles and Practice of Landscape Design: An Application of Traditional Chinese Landscape Painting." Global Journal of Emerging Science, Engineering & Technology 1, no. 1 (May 31, 2023): 12–18. http://dx.doi.org/10.56225/gjeset.v1i1.16.
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As a unique artistic form, traditional Chinese landscape painting has aesthetic value and a close relationship with garden design. This study mainly explores the principles and practices of landscape design based on traditional Chinese landscape painting. Firstly, it introduces the brief history of the development of traditional Chinese landscape painting and its relationship with garden design. Then, it analyzes the characteristics of traditional landscape painting and garden design principles. Then, the application of traditional Chinese landscape painting in landscape design was analyzed, including landscape layout, plant selection, and matching, as well as the design of buildings and structures. In conclusion, applying traditional Chinese principles in modern landscapes presents inherent challenges that demand thoughtful consideration. As contemporary spaces evolve and adapt to changing needs, integrating traditional elements may face obstacles such as conflicting design philosophies, space constraints, and technological advancements. Addressing these challenges requires a nuanced approach that preserves the essence of traditional principles while accommodating the demands of modern living. This section explores strategies and innovative solutions to overcome these challenges and successfully apply traditional principles in the design of modern landscapes.
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Skokanová, Hana, Tomáš Slach, Marek Havlíček, Petr Halas, Jan Divíšek, Zuzana Špinlerová, Tomáš Koutecký, Jan Šebesta, and Eva Kallabová. "Landscape Painting in the Research of Landscape Changes." Journal of Landscape Ecology 14, no. 3 (December 1, 2021): 110–27. http://dx.doi.org/10.2478/jlecol-2021-0019.
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Abstract The article analyses possibilities of using landscape paintings in the studies of land cover changes. It examines 112 paintings from 1728 till 1976 and compares them with existing topographic maps. It compares land cover depicted in the paintings with present landscape and it studies changes of landscape derived from topographic maps from several periods, ranging from 1764 till 2006. In order to make the analyses, all paintings had to be localised as precisely as possible. This was done with the help of present map and by field work. Field work was also necessary for identifying main land use/cover changes in comparison to landscape painting. A TopoLandUse database, consisting of land use vector data from five periods, based on vectorisation of topographical maps, was used for analysing land use/land cover changes, their rates and main trends. Comparison of landscape paintings with topographic maps showed overall agreement between both types of sources. Paintings often capture details that cannot be found in the maps, thus enriching gained data. They can also serve as a source for periods from which no maps and other cartographic sources exist. However, paintings are as reliable as the painter makes them. Comparison of landscape in the paintings with the present landscape showed general extensification and abandonment of the landscape, which manifested mainly in the increase of woody vegetation and decrease of arable land. Analyses of land cover changes in the surrounding cadastres in several periods confirmed general trends that can be seen in not only the Czech Republic but also elsewhere in Europe. These are mainly spread of both woody vegetation and permanent grassland at the detriment of arable land but also increase in built-up and recreational area in the settlements.
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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.
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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.
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Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.
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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.
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Ju, Wanying. "The Research on the Origin and Communication of Blue and Green Colors in Chinese Blue and Green Landscape Painting." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 119–25. http://dx.doi.org/10.54097/ehss.v5i.2891.
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Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic convergence of early Chinese and Western Buddhist artworks. By combining the study of the trade history of the Silk Road, which helped spread Buddhism, and analyzing the origins of blue and green pigments, this paper finds that the use of blue and green colors showed signs that they spread with Buddhist art. The conclusion is that the earliest blue and green color in Chinese Blue and Green Landscape Painting originated from the Buddhist art in the western part of China and spread with Buddhism to the east China.
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Jin, Yueling, Zeyang Li, and Tiantian Lu. "The Style Transfer of Photos and Landscape Paintings Based on CycleGAN Combined with Nested Edge Detection Module." Applied and Computational Engineering 8, no. 1 (August 1, 2023): 171–79. http://dx.doi.org/10.54254/2755-2721/8/20230118.
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Chinese landscape paintings, especially Chinese landscape ink paintings have always been the treasure of the Chinese, or even the world culture. Due to the advancement of the science and knowledge, there are always interests for finding ways to produce Chinese landscape paintings through the way of the technology. In this paper, based on the original CycleGAN model, we are trying to transfer a real-world photograph to a typical Chinese landscape painting. To be specific, the brushwork in Chinese ink paintings contains enormous numbers of distinct and technical brush strokes which makes it extremely hard for CycleGAN to recognize and transfer Chinese ink painting. We improved the brushstroke effect of Chinese ink painting still by incorporating the Holistically Nested Edge Detection (HED) method into the CycleGAN model. The HED module puts the source image and the corresponding generated image into the convolution layer of five stages to generate their respective edge maps. The balanced cross-entropy loss calculated with edge maps is added to the total loss of CycleGAN to train the generator which is confronted with discriminator to improve output results. The addition of HED enables the extraction of edge features from the images, preserving the structural information and enhancing the accuracy of the style transfer, so the detailed of the Chinese ink painting can be transferred better in this sense. Experimental process with model building, training, validating, and predicting concludes that, complementing HED method into the original CycleGAN models well preserved distinct features in the conversion processes from real-world photographs to traditional Chinese landscape paintings.
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Sun, Jia. "A comparative study on the form and style of landscape painting in the Northern Song Dynasty and Dutch Landscape Painting in the 17th Century." Highlights in Art and Design 1, no. 2 (October 25, 2022): 55–57. http://dx.doi.org/10.54097/hiaad.v1i2.2074.
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In the history of Chinese and European painting, landscape painting in the Northern Song Dynasty and Dutch landscape painting in the 17th century have achieved important artistic achievements. Generally speaking, the meaning of comparison is to compare the commonality, difference and mutual influence of paintings produced in different contexts. The purpose of studying and comparing the differences between the two is to take the painting forms of different countries and nations as reference, so as to have a thorough understanding of the forms and styles of the two arts in different times, different regions and different cultural backgrounds.
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.
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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Kim, Yeonjoo. "Pursuing the Aesthetics of ‘non-vulgarization’: Focusing on Shanshuichunquanji by Han Zhuo." Institute of Humanities at Soonchunhyang University 42, no. 3 (September 30, 2023): 163–94. http://dx.doi.org/10.35222/ihsu.2023.42.3.163.
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This study aims to examine the aesthetic value of ‘non-vulgarization(不 俗)’ contained in the creation and criticism of landscape paintings pursued by Han Zhuo’s Shanshuichunquanji(2011), Huizong(徽宗) Xuanhe(宣和) 3rd year of the Northern Song Dynasty. The concept of ‘elegant and vulgar(雅 俗)’ was put to use as an evaluation language. The value of ‘nonvulgarization’ emphasized the expression of intention in the creation of poems, calligraphy and painting by literary men, and pursued natural and plain beauty. In comparison, Han Zhuo pursues ‘non-vulgarization’ by emphasizing the old law in order to proceed to Tao in painting. Han Zhuo expressed not only the cultivation of learning but also the replacement of poetry with a painting’s implied meaning and the proficiency of brushing, Furthermore, he emphasized “learning” in order to have a sophisticated aesthetic with the Confucian method. Despite the fact that the literary men at the time considered that the character of the painting was congenital and could not be learned as a manifestation of personality due to social status, Han Zhuo believed that the aesthetics of “non-vulgarization” for landscape painting could be achieved by learning, learning the method of painting, and seeking learning.
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Gonnen, Noam. "Grounding the Landscape: Epistemic Aspects of Materiality in Late-Nineteenth-Century American Open-Air Painting." Arts 12, no. 1 (February 14, 2023): 36. http://dx.doi.org/10.3390/arts12010036.
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This article examines how notions of “material” and “materiality” were infused, both technically and discursively, into American landscape painting in the late nineteenth century. Focusing particularly on the praxis of open-air painting as consolidating a new mode in landscape painting as well as a new artistic identity, this article argues that painting outdoors was perceived by artists in terms of agency, uniting painter, painting, and landscape; but unlike earlier romantic or Transcendentalist approaches, this idea was not conceived of as a solely spiritual union but, rather, as a mode that is embedded in the mundane, in the existence of objects, of embodied engagement and material means. The overt affinity between the basic idea of the praxis—painting outdoors in ‘real’ nature—and material aspects of art-making, is discussed as the underpinning of a new emerging episteme of American landscape painting, while considering the environment wherein this phenomenon was cultivated within a specific moment in American culture. Paintings and texts, generated by American painters and critics between the late 1870s and the 1890s, are read in this article through the lens of recent theoretical phenomenological approaches to landscape, illuminating the unique role that materiality played in these representations. Moreover, tying the findings to the changing conceptions of both landscape and art in the Gilded Age, the article concludes that landscape painters of the ‘new generation’ sought to evade commodifying tendencies of image-making by deliberately engaging with materiality, devising a mode of landscape representation that would not succumb to the flattening steamroller of capitalist consumer culture.
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Tatham, David, Franklin Kelly, Gerald L. Carr, Stephen Jay Gould, James Anthony Ryan, Debora Rindge, Gerald L. Carr, et al. "American Landscape Painting." Art Journal 50, no. 1 (1991): 102. http://dx.doi.org/10.2307/777098.
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Rilke, Rainer Maria, and Edward Neather. "Concerning Landscape Painting." Art in Translation 3, no. 1 (March 2011): 9–25. http://dx.doi.org/10.2752/175613111x12877376766068.
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Chao, Yueqin. "Recognizing the Impact of Daoism on Song Dynastys Landscape Painting." Communications in Humanities Research 4, no. 1 (May 17, 2023): 663–68. http://dx.doi.org/10.54254/2753-7064/4/20221027.
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Daoism, as one of the major Chinese ideologies in Chinese history, devoted in finding the way to build harmony between society and nature. This paper investigates Daoisms impact to Song Dynasty Landscape paintings. The paper is going to compare two representative Song Dynasty landscape paintings, and combining the Daoisms classic Laozi and other documents to analyze Daoisms ideologys impact to Song Dynasty Landscape paintings and its painting skills. By determining the Taoisms influence to the Song Dynastys landscape paintings, it can help us to understand the influence of religious culture and philosophical thought on artistic artifacts in ancient China, and in turn, to some extent, the influence of recent iterations of Chinese thought on art and even literature. As a result, we find that Daoism has significant and imperceptibly impact in forming the Song Landscape painting style, this could be seen as an example of determine the philosophical ideology impact to the art in ancient China, and might been used as an analogy to examplify the impact of religion and philosophical ideology to modern Chinese arts and literature.
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Lewis, Vicky. "Young Children's Painting of the Sky and the Ground." International Journal of Behavioral Development 13, no. 1 (March 1990): 49–65. http://dx.doi.org/10.1177/016502549001300104.
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Young children often leave a gap between the sky and the horizon in their drawings and paintings. Study 1 examined the landscape paintings of a group of 45 7-10-year-old children and found the children leaving an air gap to be significantly younger than those painting the sky to the horizon. In addition the omission of the air gap was associated with the use of devices to represent three-dimensional space in two dimensions. In Study 2 a group of 7-8-year old chldren painted landscapes on two occasions separated by 7-7.5 months. This study suggested that there are a series of stages between leaving a gap and painting the sky to meet the horizon. It is concluded that painting the sky to meet the horizon may be one of several strategies for representing three-dimensional space, which develops over the age range studied.
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Brauer, Theresa. "Zwadderen in oil paint." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 118–37. http://dx.doi.org/10.1163/22145966-07301006.
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Landscape painting can directly address concepts of the world’s origin and its organization. Dutch dune landscapes, however, were and continue to be extremely unstable environments, consisting of damp hollows and wind-borne sand, and resisting any attempt to be shaped or organized. Theresa Brauer’s essay asks its readers to closely examine two of Jan van Goyen’s landscapes that exhibit exceptional fluidity both in painting technique – Van Goyen utilizes a wet-on-wet application of oil pigments – and in the subject they depict: the transitional coastal landscape of Holland. The works are discussed in dialogue with Samuel van Hoogstraten’s description of a painting technique he calls zwadderen, and with Joost van den Vondel’s poetic yet dismissive reflection on incidental forms in landscape painting. The essay contextualizes Jan van Goyen’s landscapes within the framework of nature-theoretical discourse prevalent in the seventeenth century, which contemplates a particular world in a state of motion.
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Souček, Josef. "Roman Model-Books as a Resource for Digital Architectural Reconstructions." Heritage 4, no. 1 (December 26, 2020): 20–32. http://dx.doi.org/10.3390/heritage4010002.
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Upon examination of Roman landscape paintings preserved in situ and in museums of Naples and Rome, additional evidence has been found for the additive character of creation of imaginary landscapes as well as evidence for using standardized elements and whole scene compositions in Roman painting. This attitude is compared to the modern way of creating virtual landscapes—computer game level design and the process called “kitbashing”. I propose that both these processes share the same task to create a familiar landscape using a visual language understandable to its contemporary viewer, but also a very similar method of using predefined elements.
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F, F. "Research on the Color Evolution and Brush Development of Landscape Painting." Global Knowledge and Convergence Association 6, no. 2 (December 31, 2023): 31–69. http://dx.doi.org/10.47636/gkca.2023.6.2.31.
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Landscape painting was independent from figure painting in the Sui Dynasty of China. At first, it was “Blue-and-Green Landscape” which was characterized with color expression. It matured in the Tang Dynasty and developed in the Song Dynasty. Then, the literati painters in the Tang Dynasty pioneered literati painting, with “Light Crimson Landscape” or “Ink Landscape” to lead landscape painting from realism to freehand, and established a combination of poetry, calligraphy, painting and seal. Then the literati in the Song Dynasty lent sparkle to the replacement of heavy green color with light crimson ink painting, and that became the mainstream of landscape painting. On this basis, the Yuan Dynasty painters developed a complete landscape painting formula, pushing the landscape expression to the peak. In the Ming and Qing dynasties, imitating the ancient style dominated the landscape painting world. At the same time, some painters pursued originality, forming the situation that the two forces were opposed in the same literati painting category. In modern times, due to the influence of Western culture, the traditional landscape painting has undergone great changes, and the new social life has prompted major changes in the content, form and method of landscape painting creation. Traditional techniques are combined with scientific modeling while ink and color complement each other, and the development of landscape painting has presented a diversified, rich, positive and prosperous appearance.
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Liao, Ziting. "Spiritual Travel in Chinese Landscapes ---- Travelers Among Mountains and Streams and Murals from Yulin Caves." Journal of Education, Humanities and Social Sciences 23 (December 13, 2023): 391–99. http://dx.doi.org/10.54097/ehss.v23i.12924.
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Chinese landscape painting is a non-negligible category in Chinese art history. Unfortunately, the intrinsic fragility of silk results in an obscure provenance of numerous existing silk landscape paintings from ancient Chinese art. Murals in Yulin Caves, located in the northwestern province of Gansu, China, emerge as an invaluable repository that complements these delicate silk paintings. This paper selects The Illustration of Samantabhadra from Caves 29 and 3 of Yulin Caves, both illustrations in caves were created after the Song Dynasty (960-1279 CE), to compare Travelers Among Mountains and Streams (Travelers) painted in the 10th to early 11th century by Fan Kuan (c. 950-1032). The visual comparison involves the panoramic view and the travel theme. The comparison based on the different mediums will discuss the elimination of physical constraints through painted landscapes with the contextualization of murals in situ. Natural light will also be considered as one external factor that influences the artwork viewing experiences of audiences. Comparisons involved in this paper aim to examine the underlying relationships between Song landscape paintings and the subsequent landscape murals, extend the conventional concept of travelers in Song landscape paintings by identifying mountains in murals, and explore how landscapes in silk paintings and murals encourage audiences to experience spiritual travel.
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Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.
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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypted codes precisely corresponding to the characters of their studio names, or ho 號 (Ch. hao). Yuan’s Shiwu Qinggong 石屋淸珙 (1272~1352), who officially conferred the dharma to Goryeo’s Taego Bou 太古普愚 (1301~1382), proposed “a single thatched hut in the depth of the retreats,” or yi an shenyin 一菴深隱, as exemplary of Chan Buddhist paintings. The written records of the monks’ handscroll paintings suggest that the monks of the late Goryeo and early Joseon painted landscapes by combining the motifs of a thatched hut and of the depth of the retreat with depictions of natural features that signified their studio names. While the monk’s studio name was the central theme of the painting, each character of his name was also rendered pictorially. The records further testify that Goryeo monks played a critical role in introducing to Korea the styles of the Liu Daoquan 劉道權 and Li-Guo 李郭 schools, which gained tremendous traction in the early Joseon art scene, as the literati regarded highly of ink paintings by monks. It has been widely noted that early Joseon paintings contributed to the development of the paintings of a scholar’s studio in Muromachi Japan. The monks’ poempaintings themed on their studio names further attest to the significant impact that early Joseon paintings made over not just the style but also subjects, form, and content of Japanese paintings. Even if many works of premodern Korean painting are now lost, written records about them still survive. Close examinations of such textual sources can help illuminate the historical trajectory of Korean poem-painting scrolls in the context of East Asian art history.
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Butnariu, Ioan. "Restaurarea unei picturi pe carton." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 293–301. http://dx.doi.org/10.47802/amet.2016.30.16.
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The work that is subject to the restoration interventions presented in this article is a painting done in oil colors on cardboard. The subject of this painting is represented by a landscape with an isolated castle on a lake island, surrounded by mountains. The painting’s degradations cumulated multiple cracks and gap areas affecting the painting and the primer layers, together with areas of damage due to the painting’s exposure to excessive heat. The restoration operations (consolidation of the painting layers, the cleaning of the surface, filling the gaps in the primer and the chromatic integration of painting lacunae) have rendered the painting its original image.
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Jiaqing, You. "Aesthetic Appreciation of Landscape Oil Painting and Traditional Chinese Landscape Painting." Fine Art Version 2, no. 3 (2020): 61–65. http://dx.doi.org/10.35534/fav.0203011c.
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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.
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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.
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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.
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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.
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Simmons, Sherwin. "“Malerische Dichtungen”: Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner." Zeitschrift für Kunstgeschichte 84, no. 3 (September 1, 2021): 379–407. http://dx.doi.org/10.1515/zkg-2021-3004.
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Abstract During 1916 Ernst Ludwig Kirchner created a group of landscape paintings, based on his experiences at the Kohnstamm Sanatorium in Königstein, which were more symbolic in character than his previous landscapes. This essay shows that contact with Carl and Thea Sternheim, who encouraged a reengagement with Vincent van Gogh’s paintings and letters, played a role in this change. Kirchner’s recognition of how Van Gogh could express an affect through his painting was reinforced by Dr. Kohnstamm’s writings about empathy’s role in artistic expression. Artistic practice and aesthetic theory were joined in representations of Jena done during Fall 1916 in which Kirchner transformed the landscape through formal means into symbols of his emotional relationship to that space.
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Pak, Hyoŭn. "Words and Images Representing Real Places : Chŏng Sŏn’s Picture of the Thousand Buddhas Rocks and Pictures of the Terrace of Splendid Waves." Korean Journal of Art History 317 (March 31, 2023): 5–43. http://dx.doi.org/10.31065/kjah.317.202303.001.
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This paper reveals the location depicted in Picture of the Thousand Buddhas Rocks (千佛嵓圖, ‘Ch’ŏnburamdo’), the last unidentified image in Album of Famous Sights of East Kangwŏn Region (關東名勝帖, ‘Kwantongmyŭngsŭngch’ǒp’) by famous Korean painter Chǒng Sǒn (鄭敾, 1676-1759), and identifies the subject of the painting as the Terrace of Splendid Waves (凌波臺, ‘Nŭngp’adae’) in present-day Tonghae City. The location of the painting’s subject can be derived from the evidence of Chǒng Sǒn and other well-known figures’ visitation to the scenic spots in the vicinity of Samch’ŏk during the Chosŏn Dynasty. Chǒng Sǒn’s painting of Nŭngp’adae as Ch’ŏnburamdo and the evidence of his visitation, including two rock epigraphs (one on the left side of Yongch’u Waterfall, the other beside a flat boulder known as “Murŭngpansŏk”), as well as the large quantities of poetry and prose detailing and praising the beauty of ‘Nŭngp’adae’, were largely unknown until now. The aim of this paper is to examine from iconographic and painting subject perspectives the region and location depicted in Ch’ŏnburamdo, and to analyze the process of representation in 18th-19th century visuals in regard to the famous sights of the East Kangwǒn Region, thus confirming the location of Ch’ŏnburamdo as Nŭngp’adae and further deepening the understanding of Chǒng Sǒn and other late Chosŏn painters. First, a literature review inspecting the validity of Ch’ŏnburam’s location in the existing research will be conducted, through which two potential candidates for the location of Ch’ŏnburam – Haegŭmgang and Nŭngp’adae – will be examined in terms of their place specific characteristics vis-a-vis Ch’ŏnburamdo. Next, the depictions of the scenic sights in the East Kangwŏn region by Chǒng Sǒn and other 18-19th century Korean painters will be discussed with a focus on the famous east coast locations depicted in 9 paintings in Kwantongmyŭngsŭngch’ǒp. The establishment of these locations as icons and imagery of landscape painting subjects as well as the progressions and changes of these depictions will also be detailed. Also, it can be derived that interactions with Lee Pyǒngyǒn, the magistrate of Kŭmhwa in the early 1710’s and who would later govern the entire Samch’ŭk region in the early and mid-1730’s, were decisive motivations for the representations of East Kangwǒn’s famous locations. It can also be derived that Chǒng Sǒn would record landscape sketches at every available opportunity so that these sketches could be used in the creation of new paintings. These sketches are also the key foundation of the proposition of the existence of Nŭngp’adaedo – a drawing of Nŭngp’adae by Chǒng Sǒn. Lastly, the source painting of Ch’ŏnburam (Nŭngp’adae) in Chǒng Sǒn’s painting sketches explains how Kwǒn Sinŭng’s later imitation painting of Chǒng Sǒn’s work, Nŭngp’adaedo, resembles Ch’ŏnburamdo in both form and structure, why thousand buddhas – the rocks’ namesake – is mentioned in Kwǒn Sǒp’s poetry and prose of the same imitation painting, and how Lee Yunyǒng created a new Nŭngp’adaedo as a way to diverge from Chǒng Sǒn’s influence. As a result, we can conclude that in the 1730’s and early 1740’s, Chǒng Sǒn painted Ch’ŏnburamdo (Nŭngp’adaedo), which then inspired Kwǒn Sinŭng in 1744 and Lee Yunyǒng in the 1750s to paint their own versions of Nŭngp’adaedo. It can also be concluded that, in 1788 and beyond, Kim Hongto and his followers would paint new versions of Nŭngp’adaedo as a continuation of this artistic flow. Until now, visual recreations of Nŭngp’adae were viewed mainly from the perspective of Kim Hongto’s work and without understanding how Chǒng Sǒn’s work and influence impacted future generations of this piece. But now, Chǒng Sǒn and Kim Hongto’s Ch’ŏnburamdo and Nŭngp’adaedo can be placed side-by-side in the history of true-view landscapes. Additionally, the imagery of these paintings, including the iconic Ch’ottaepawi Rock, rocky coastal cliffs and hills, pine forests, and staffage have now also been clearly identified. Thus, for future identifications of regions, places, and time periods in landscape paintings, this paper calls for specific attention to be paid to how text can be more subject to change than imagery vis-à-vis the conveyance of the characteristics of a region or location in a landscape; how the similarities in imagery between works in a clear chronological era can provide more conducive evidence than a written document or record; and how, despite the aforementioned points, text can still be a decisive force in identifying the real locations of landscapes, such that a more minute discussion of the historical reality of the subject, imagery, and artistic context of landscape paintings can be theorized.
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Johnson, Sarah. "Battle ground: Environmental determinism and the politics of painting the Iraqi landscape." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (March 1, 2021): 41–65. http://dx.doi.org/10.1386/jciaw_00039_1.
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Beginning in the late 1940s, Iraqi artists began writing critiques of the Euro-American art movement impressionism, claiming that the way the movement framed the environment was not suited to the Iraqi landscape. Embedded in this argument was the notion that Iraqis could not paint European-style landscapes because of the fact that their environment was different from that of Europe. At the same time, paintings of the Iraqi landscape by European artists in the early twentieth century reinforced the idea that the Iraqi landscape was other than the European one because of its bright sun and empty desert, concepts familiar from nineteenth-century Orientalist discourse. This article will trace the way European painters’ representations of Iraq as other ultimately contributed to Iraqi painters seeking out a distinctive form of European landscape painting in the 1940s.
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Lee, Yeonju. "The Increase in the Commissioning of Paintings during the Late Joseon Period and Its Impact." Korean Journal of Art History 315 (September 30, 2022): 177–212. http://dx.doi.org/10.31065/kjah.315.202209.006.
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The late Joseon period witnessed significant growth in the commissioning of paintings. This increased demand for paintings, which led to changes in the production and consumption of paintings, is evidenced by the increased number of painting inscriptions that specified the names of clients. Those painting inscriptions indicate that the client placed an order to the painter in person, via a broker, or through correspondence. They also reveal which pictorial subjects were particularly favored by clients. For instance, demand for paintings of true-view landscape of the client’s family hometown or of famous scenic places was particularly high among scholarofficials, and yet demand for conceptual landscape paintings still remained high. The portrait was emblematic of the genre of paintings that were to be commissioned first. Aspirations to take pleasure in Chinese literati culture were expressed in the consumption of narrative figure paintings. The subject of immortals, which symbolized the wish for longevity, and the subjects of flowers, plants, birds, and animals, which served as auspicious decoration, also gained currency as the basis of demand for painting broadened. The terms of commissioning paintings as formed in the late Joseon continuously shaped the painterly practice even after the fall of the Joseon, heralding the way paintings were distributed and consumed in modern Korea.
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Im, Mi-Hyun. "In Contemplation of Hyewon Sin Yun-bok’s Hyewonhawcheop(蕙園畫帖)." Korea Association of World History and Culture 68 (September 30, 2023): 5–31. http://dx.doi.org/10.32961/jwhc.2023.09.68.5.
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Hyewonhawcheop(蕙園畫帖) by Hyewon Sin Yun-bok(申潤福, 1758?-1817 or later) is a collection of paintings in a literary artist’s style mainly focusing on landscape painting with figures. This collection of paintings contains two pages of HaengSeo(a semi-cursive style of writing) and six pages of paintings with a variety of genres, including letters, Sagunja(Four Gracious Plant Painting), landscape painting with figures, and paintings of Taoist immortals and Buddhist Saints and Arhats. These works of art help enhance insight also on his preference for literary arts that had not received much attention due to genre paintings.
As Hyewonhawcheop carries a government seal recording “Hyewon, lunar July of the year Mu Jin” and other variety of seals, including “yu-eo-yeah”, “sin-ga-gwon-in”, it can be inferred that this was produced when Sin Yun-bok was 50 years old. Since his other works’ production dates are unknown, this can be a reference work for timepoint. This paper focuses on this significance, analyzing and contemplating on each work in Hyewonhawcheop to understand Sin Yun-bok and his works.
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Diawara, Manthia. "From Transparency to Opacity." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 64–73. http://dx.doi.org/10.1215/10757163-10904076.
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Since 2015, Cheikh Ndiaye has been painting the most famous theaters between Abidjan, Côte d’Ivoire, and Dakar, Senegal, including their emblematic names: the Mansour, Liberté, VOG, Vox, ABC, Rio, the Medina, and Le Paris, et cetera. The artist’s obsessive paintings are without decorative or exotic intention. All of these movie houses stand, as if they were clichés of one another, as “realistic” representations of the chaos left behind by a foreclosed socialist utopia or a neo-liberal trash dump site; they interpellate the viewer/spectator. Cheikh Ndiaye’s paintings of old movie theaters are intriguing for more than one reason. They are as fascinating for the visual information they reveal as they are for what each painting seems to be hiding, or for the opacity it claims for itself. This essay provides a Glissantian reading of Ndiaye’s movie-theater paintings, not as transparent and nostalgic representations of iconic film houses, but as refigurations of landscape paintings. As Glissant puts it, landscape (le paysage) is not only a character on equal footing with the human and nonhuman species that occupy it in literature, paintings, and film; it has also become clear, for environmental and cultural reasons, that ignoring it risks undermining these art forms. Like Glissant, Ndiaye is revisiting the landscapes of closed movie-theaters for the purpose of reinvesting them with a new aesthetics, and a new way of visualizing the environment.
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Lawder, Rebecca. ""Erotic Nature"." Athanor 37 (December 3, 2019): 67–78. http://dx.doi.org/10.33009/fsu_athanor116675.
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To decode John Dunkley’s dark and sexual landscape is also to reveal a decolonial message in his broader works. Dunkley humanizes nature through both masculinizing phallic and feminizing yonic symbolism as an emancipatory tactic, thereby reflecting a culturally nuanced relationship between people and landscape. Dunkley subverts the expected in Caribbean painting, especially for foreign consumers. By bringing nature to life, his paintings offer subversive anti-colonial themes, too, waiting for decipherment. This paper will examine Dunkley’s use of erotic imagery, arguing that the painter’s sexual landscapes, through layered poetics and symbolism, ultimately served to challenge every day oppressions in colonial Jamaica.
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Shi, Xiaojing. "Application of Electric Energy Saving Light Source and Light Emitting Diode in the Landscape of Buildings under Optical Spectroscopy Theory." Journal of Physics: Conference Series 2083, no. 2 (November 1, 2021): 022104. http://dx.doi.org/10.1088/1742-6596/2083/2/022104.
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Abstract How to reflect energy conservation and environmental protection in the landscape of high-rise buildings is a hot topic of current research. How to use environmentally friendly materials to show the charm of high-rise building landscape is the main content of this article. Based on the colour samples of the high-rise building landscape, the thesis uses environmental protection and energy-saving light sources to simulate the lighting of the building colour samples in the laboratory. This article realizes the quantitative research on the colour authenticity performance of colour paintings under commonly used LEDs in high-rise building landscapes, and provides a reliable basis for the selection of LEDs in colour painting lighting design.
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Arnheim, Rudolf, and Pavel Machotka. "Cezanne: Landscape into Painting." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 441. http://dx.doi.org/10.2307/430940.
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Falkenburg, Reindert L. "Pieter Bruegels Kruisdraging: een proeve van 'close-reading'." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 17–33. http://dx.doi.org/10.1163/187501793x00081.
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AbstractThe article is a contribution to the iconology of sixteenth-century landscape-painting, and sets out to examine in particular the con nection between the antithethical iconography of the figural clc ment in landscapes by Joachim Patinir, Herri met dc Bles and Jan van Amstel, and Pieter Bruegel's Christ Bearing the Cross in Vienna. Also presented and elucidated is the thesis that in this painting Bruegel anticipated with many details the subjective element in the sixteenth-century beholder's interpretation, and that this subjective element in the reading of the image was anchored in the 'collective' imagery of early sixteenth-century landscape-paint ing. The author endeavours to demonstrate that the manner of reception prompted bv Bruegel's Christ Bearing the Cross is comparable with that required of the beholder of Jan van Amstcl's Landscape with Christ Bearing the Cross in Stuttgart. The uncertainty of the beholder faced with the question of whether a particular subjective interpretation of an individual detail or certain anecdote is 'correct' should not only be seen as a problem for the twentieth-century iconologist but is inherent in the actual painting, and must be judged as a positive element, intended by the painter, in the reception of the image. The beholder's personal insight and judgement in issues of good and evil are the true subject of these paintings.
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Liu, Peipei, and Yakup bin Mohd Rafee. "Integrating Miao Traditional Elements into Chinese Figure Painting: Exploring Significance and Cross-Cultural Exchange." Art and Society 3, no. 1 (February 2024): 1–12. http://dx.doi.org/10.56397/as.2024.02.01.
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This paper endeavors to investigate the utilization of Miao traditional elements in Chinese figure painting, assessing its significance and potential value in the realm of Chinese painting creation. The study examines the contemporary landscape of Chinese figure painting, identifying its prevailing issues, while also delving into the fundamental characteristics and application techniques of traditional Miao elements. By analyzing the works of prominent artists Pang Xunqin, Liu Quanyi, and Feng Yuanming, who have adeptly incorporated Miao traditional elements into their paintings, this research aims to bolster the preservation and perpetuation of Miao cultural heritage, augment the artistic expression within Chinese paintings, and foster cross-cultural exchanges and dialogues. Employing a qualitative research approach, this investigation adopts literature review and artwork analysis to discuss the integration of Miao traditional elements in Chinese figure painting. The research findings illustrate that the traditional elements inherent to the Miao ethnicity exude unparalleled artistic allure and cultural significance within Chinese figure paintings, thereby presenting novel creative resources and modes of expression for the wider domain of Chinese artistic creation. This research contributes to the enrichment of Chinese artistic heritage while facilitating a harmonious exchange of cultural values between the Miao minority and the broader Chinese cultural landscape.
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Garavito, Carla Hernández, and Gabriela Oré Menéndez. "Negotiated Cartographies in the Relaciones Geográficas de Indias: The Descripción de la provincia de Yauyos Toda (1586)." Ethnohistory 70, no. 3 (July 1, 2023): 351–84. http://dx.doi.org/10.1215/00141801-10443465.
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Abstract In the sixteenth century, the Spanish Crown moved to compile a comprehensive knowledge of its European and American landholdings to materialize the idea of a unified and civilized empire. Peninsular officials sent questionnaires to the Americas, including a request for “paintings” of the urban and natural landscape, without much detail on the project’s guidelines. The varied responses sent back to Spain are known as the Relaciones Geográficas de Indias. This essay investigates the cultural negotiations and potential for Indigenous representations of “depth of place” embedded in one such painting from the Peruvian highland region of Yauyos and Huarochirí. By analyzing colonial-period sources and using spatial modeling, this research underscores the different portrayals of space coexisting on the map. By comparing the painting with contemporary colonial sources, this article examines ongoing negotiations of natural and urban landscapes and an emerging view that synthesized different readings of the same landscape in a period of colonial dislocation and reinvention.
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Lomaeva, D. M. "ON THE INFLUENCE OF THE BARBIZON SCHOOL OF PAINTING ON THE WORK OF I.S. TURGENEV." Bulletin of Udmurt University. Series History and Philology 32, no. 3 (July 8, 2022): 574–79. http://dx.doi.org/10.35634/2412-9534-2022-32-3-574-579.
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The article considers the influence of the Barbizon school of painting on the work of I. S. Turgenev in the 1870s. The subject of the research attention was the late stories: «Stuchit!» ("Knocking!") , «Zhivye moshchi» ("Living Relics"), «Son» ("Dream"). The writing of these stories coincided in time with the collection of pictorial paintings. During this period, the writer got acquainted with the Barbizon school of painting and acquired paintings by such artists as S.-F. Daubigny, H. Francais, S.-E. Jacques, F.-O. Jeanron, T. Rousseau and others. According to the author’s article, landscape painting by French artists had a significant impact on the formation of the Turgenev landscape. The reflection of the true forms of nature, attention to details, shades and transitional states, fixation of the light-and-air environment, an attempt to reveal the hidden existence of the surrounding world - all this brought together the aesthetic worldview of the writer and Barbizon artists who anticipated Impressionism.
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Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.
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The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.