Littérature scientifique sur le sujet « Japanese Water color painting »
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Articles de revues sur le sujet "Japanese Water color painting"
UEMOTO, Seiichiro. « Japanese Painting and Japanese Color ». Journal of the Japan Society of Colour Material 75, no 8 (2002) : 401–7. http://dx.doi.org/10.4011/shikizai1937.75.401.
Texte intégralWang, Xingqian. « Principles of color formation in Chinese painting and ceramic painting ». Философия и культура, no 8 (août 2023) : 139–47. http://dx.doi.org/10.7256/2454-0757.2023.8.43702.
Texte intégralHuang, Xinyi. « The influence of Japanese Ukiyo-e on Western painting art in the 19th Century ». BCP Social Sciences & ; Humanities 20 (18 octobre 2022) : 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.
Texte intégralKong, Xiangfeng, et Xiangzhen Meng. « Application of Chemical Technology of Water-Based Acrylic Dipping Paint in Art Painting Creation ». Journal of Chemistry 2022 (25 août 2022) : 1–7. http://dx.doi.org/10.1155/2022/7715011.
Texte intégralChandra, Fitri, Onggal Sihite et Mesra Mesra. « Eksperimen Bahan Makanan Sebagai Alternatif Cat Warna Air ». Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no 3 (3 mars 2021) : 904–12. http://dx.doi.org/10.34007/jehss.v3i3.431.
Texte intégralPasquale, Stefania, Massimo Zimbone, Francesco Ruffino, Giuseppe Stella et Anna Maria Gueli. « Evaluation of the Photocatalytic Activity of Water-Based TiO2 Nanoparticle Dispersions Applied on Historical Painting Surfaces ». Heritage 4, no 3 (17 août 2021) : 1854–67. http://dx.doi.org/10.3390/heritage4030104.
Texte intégralLiu, Jin-fang, et Kye-tae Kim. « A Study on the Origin of Modern Heavy Color Painting in Yunnan ». Society for Chinese Humanities in Korea 84 (31 août 2023) : 317–33. http://dx.doi.org/10.35955/jch.2023.08.84.317.
Texte intégralAndreeva, Olga Pimenovna, Svetlana Petrovna Akhmetova et Evelina Valerianovna Mikhailova. « Fine receptions of water coloring painting as a means of realization of creative ideas of future designers ». Interactive science, no 3 (37) (27 mars 2019) : 47–49. http://dx.doi.org/10.21661/r-486225.
Texte intégralInoue, Tsuyoshi, Yoko Sugawara, Atsushi Nakagawa et Masaki Takata. « Japanese Crystallography in Culture and Art ». Acta Crystallographica Section A Foundations and Advances 70, a1 (5 août 2014) : C1304. http://dx.doi.org/10.1107/s2053273314086951.
Texte intégralEbrey, Thomas G. « Implications of the Many Versions of the Early Printings of Kaishien gaden, the Mustard Seed Garden Painting Manual ». East Asian Publishing and Society 11, no 2 (2 septembre 2021) : 154–207. http://dx.doi.org/10.1163/22106286-12341356.
Texte intégralThèses sur le sujet "Japanese Water color painting"
Sheng-Ping, Wang, et 王聖平. « An Imagery Research on Form and Color-Oil Painting and Water-Color Painting Created by Wang Sheng-Ping ». Thesis, 2007. http://ndltd.ncl.edu.tw/handle/01350321069803733631.
Texte intégral大葉大學
造形藝術學系碩士在職專班
95
ABSTRACT Artistic beauty should have the touching level, should which the humanity pursues is: Richer, is finer, has the connotation art ﹔ Can shock the will of the people in particular the artistic work, should be the author Untold hardships , carefully plans, is not accidentally bumps into or picks.Based on above cognition idea, author in recent years on the one hand study China and the West art history, China and the West esthetics, creation related technique and some master levels drawing courses; On the one hand the person, the matter, the thing which to the week suffers takes the theme, penetrates in the nature the image, with compares the embodiment the drawing technique, inquires into the drawing the shape, the color, so as to seeks that to contain in the nature is purer, constantly, the simpler visual skill picture, as well as in the human nature through ancient times does not move the emotion, to the time entrusts with a work richer connotation, the tensity and the vitality. Portrait 11, still life drawing 8, landscape painting 7, other kind of pictures 7; The paper divides into: The first chapter introduction contains the research motive and the goal, the research content and the scope; The second chapter self- creation esthetics foundation contains the creation the scientific theory or principle foundation cognition, to the artistic cognition and the beautiful cognition, China and the West drawing creation art to me the influence; The third chapter creation account in own words contains the respect art principle the form, the creation ability self- cognition training, the artistic technique ability application and the share and the creation analysis; Fourth chapter work elaboration; Fifth unit elaboration and so on chapter conclusion and forecast. Key word: Still life drawing, landscape painting,portrait
Wang, Siying. « Aesthetics of colours in Japanese traditional paintings and woodblock prints in the Edo Period ». Thesis, 2016. http://hdl.handle.net/1828/7730.
Texte intégralGraduate
0377
0357
siyingwang2013@163.com
Lin, Chia-Heh, et 林佳禾. « The Deterioration and Restoration of Lin Chih-chu’s Glue Color Painting “Reflection of Water” ». Thesis, 2008. http://ndltd.ncl.edu.tw/handle/98517871492184007139.
Texte intégral國立臺南藝術大學
古物維護研究所
96
The history of glue color painting in Taiwan is not very long, many glue color paintings in Taiwan have been damaged due to the following reasons: (1) because the environment included high temperature and humidity, which makes conservation reservation difficult, and (2) poor economic conditions and the lack of the theory of conservation concerned among people in the past. The research was intended to scientifically analyse the extent to which Lin Chih-chu’s Reflection of Water was damaged and used such methods as literate research, field investigations and interviews to form a more complete understanding of Lin Chih-chu’s life, how Reflection of Water was created and the materials and media used, techniques involved, and how and where the work had been storaged, in order to find out reasons for the work’s deterioration. The research covered a thorough discussion, in terms of practice and theory, over an academic theory-based restoration project. The restoration process was registered and a comparison between the “before” and “after” differences was made. Concrete suggestions for the practice of the preservation and conservation of glue color paintings in Taiwan were brought up. Through a theoretical investigation and the practice of conservation, the life of Lin Chih-chu’s Reflection of Water could last and its beauty could continue to be appreciated by future generations. Condition of the work’s deterioration included dust, insect damages, excrement of insects , mould stains, foxing, yellowing, and paint flaking. The main reasons for the deterioration were the poor environment condition to which the work had been exposed, particularly the high humidity and temperature, and the materials used in the painting. The yellowing of the frame could possibly result from the acid substances released from the wood frame itself, the natural aging process of the support, and the cross impact of the environmental factors. The work was purchased at a flea market by Mrs. Lu Chiu-ling, then lined and reserved by Mr. Tsen Te-lin, which has greatly helped to relieve the deterioration. The planned treatment procedures of the work were: cleaning surface → consolidate the material → temporary facing → remove the backing → put the first lining → remove facing → put the second lining → adhering to an acrylic board → refill the preparing silk → fill losses → put the third lining → impainting → put the final lining → frame the piece with an acid-free frame. The restoration has produced excellent results with all stains, insect droppings, and foxing being removed. Although a small amount of the mildew stains could not be successfully removed, they looked much lighter than before the restoration. Serious damage would have result if a strong agent had been used to clean off stains. Holes and tears were all repaired and impainted to reduce the likelihood of the expansion of the holes and an effect of harmony was then obtained. All parts that were considered very likely to flake off were glued for reinforcement. After the old lining was removed, there were four layers of relining. Frame the work with an acid-free frame to provide a sufficient support and protection.
Chuang, Chun-Chieh, et 莊竣傑. « The Research and Conservation of Architecture of Gold Powder Color Painting in Japanese ruled period in Taiwan ». Thesis, 2014. http://ndltd.ncl.edu.tw/handle/47070391773957161411.
Texte intégral國立臺南藝術大學
博物館學與古物維護研究所
102
Gold Powder Color Painting is using gold powder and gold leaf to draw on black background. It's a unique technology of traditional paintings in Japanese ruled period in Taiwan and it commonly used on decoration of traditional Hakka buildings, however, it's disappear with time because it's more expensive than normal traditional tung oil paintings and artists need more high skills to paint. The study try to find and rebuild Gold Powder Color Painting technology and methods through artists interviews, past literature, and scientific analysis. According the analytical technologies such as Cross-section analysis, black layer of Gold Powder Color Painting have two - three different materials, gilding layer used red, yellow, and transparent binder to stuck gold powder and gold leaf. In addition, didn't find any coating on surface of paint layer under UV-light. By SEM-EDS analysis, the black layers have Carbon that to be made from transparent urushi with carbon black, gilding layer has Plumbum that can aid tung oil to dry to confirm that used tung oil. Using FTIR analyze the black layer and gilding layer, the result is illustrated it's near database of FTIR spectra of urushi and tung oil. Gold Powder Color Painting in Japanese ruled period is appraised as the natural lacquer (urushi). Based on the Gold Powder Color Painting by Yu Zhang Tong of Miaoli for research history and identify the materials. Then, conservation and restoration on the damage condition of the paint. And provided complete report about conservation information for reference.
Livres sur le sujet "Japanese Water color painting"
Hejzlar, Josef. Chinese watercolours. London : Galley Press, 1987.
Trouver le texte intégralHejzlar, Josef. Chinese watercolours : Photographs by B. Forman ; [translated by Till Gottheinerová ; rev. by Natalie Graham and Derek French]. New York : Gallery Books, 1987.
Trouver le texte intégralHyŏphoe, Hanʼguk Suchʻaehwa, dir. Hanʼguk suchʻaehwa chakpʻumsŏn, 1987 = : Collection of Korean water color. [Seoul] : Sŏmundang, 1987.
Trouver le texte intégralFinley, Carol. Art of Japan : Wood-block color prints. Minneapolis : Lerner Publications Co., 1998.
Trouver le texte intégralEdo ukiyoe o yomu. Tōkyō : Chikuma Shobō, 2002.
Trouver le texte intégralJohn, Holden. Watercolours. Ware : Omega, 1987.
Trouver le texte intégralBlockley, John. Getting started in watercolor. Cincinnati, Ohio : North Light, 1986.
Trouver le texte intégral1935-, Kanazawa Hiroshi, Varley H. Paul, Henshaw Julia P. 1941-, Fogliatti Cynthia Jo, Detroit Institute of Arts, Honolulu Academy of Arts et Japan Bunkachō, dir. Of water and ink : Muromachi-period paintings from Japan, 1392-1568. Detroit, Mich : Founders Society, Detroit Institute of Arts, 1986.
Trouver le texte intégralClark, Timothy. Demon of painting : The art of Kawanabe Kyōsai. London : Published for the Trustees of the British Museum by the British Museum Press, 1993.
Trouver le texte intégralYamada, Masaaki. Yamada Masaaki no kaiga : "seibutsu" kara "work"-- soshite "color" e. Tōkyō-to Fuchū-shi : Fuchū-shi Bijutsukan, 2005.
Trouver le texte intégralChapitres de livres sur le sujet "Japanese Water color painting"
Novak, Barbara. « George Caleb Bingham : Missouri Classicism ». Dans American Painting of the Nineteenth Century, 125–36. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0009.
Texte intégralActes de conférences sur le sujet "Japanese Water color painting"
Shimode, Yutaro, Atsushi Endo, Chieko Narita, Yuka Takai, Akihiko Goto et Hiroyuki Hamada. « Skill Level Differences of Urushi Craftspeople in Urushi Products ». Dans ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-88288.
Texte intégralSakata, Tomofumi, Keiichi Watanuki et Kozawa Motohiro. « Influence of History of Art Learning on Understanding of Beauty and Ugliness in Painting ». Dans 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003240.
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