Literatura científica selecionada sobre o tema "Art, chinese – technique"
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Artigos de revistas sobre o assunto "Art, chinese – technique"
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NI, NI. "A Study on the Measures for the Archival Protection of the Intangible Cultural Heritage - "Chinese Painting Pigment Making Technique"". Pacific International Journal 6, n.º 1 (31 de março de 2023): 33–36. http://dx.doi.org/10.55014/pij.v6i1.300.
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Chinese painting pigments are essential for creating Chinese paintings and are an integral part of Chinese national culture, as they embody the spirit of Chinese painting. The technique of making Chinese painting pigments was included in the third batch of the National Intangible Cultural Heritage List by the State Council in 2011, emphasizing the significance of Chinese traditional culture. However, as a "living" culture, it is susceptible to change or extinction due to various factors such as inheritance, the social environment, and conservation measures. The art of making Chinese painting pigments is a unique art form that is primarily passed down orally. However, due to the increasing scarcity of raw materials and the decreasing number of artisan heirs, this art form is facing a challenging dilemma. In light of the current situation of Chinese painting pigment making techniques, this paper proposes several feasible solutions for archival protection. One solution is to use the regional characteristics of Chinese painting pigment making for publicity. This strategy would involve promoting the unique aspects of Chinese painting pigment making in various regions to increase awareness and appreciation of the art form. Another solution is to build an archival talent team for Chinese painting pigment technique. This approach would involve identifying and training a group of experts in Chinese painting pigment making to ensure the continued preservation and development of the art form. Finally, building an online resource for Chinese painting pigment making technique would make the information accessible to a wider audience and facilitate the dissemination of knowledge about this art form.
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Wang, Yunshang. "The Chinese One-Stroke Technique in the Russian Art". Manuskript, n.º 2 (fevereiro de 2020): 184–88. http://dx.doi.org/10.30853/manuscript.2020.2.34.
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Zhang, Yan, e Long Di Cheng. "The Origin and Heritage of Kesi Technique". Advanced Materials Research 821-822 (setembro de 2013): 382–86. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.382.
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Although Chinese Kesiorigin is being recognized in various ways at present, yet its history of textual research lasts at least more than two thousand years. Moreover, a change occurred in Song Dynasty that high-grade works of art of Kesi paintings and calligraphies emerged, which formed the peak of Chinese Kesi art. In Ming and Qing Dynasties, the Kesi in the south region of Yangtze River inherited the skill of that in the Southern Song Dynasty, but it gradually declined after the Republican Period. After new China was founded, Kesi developed vigorously in Suzhou, and it had already been enrolled to the National Non-material Cultural Heritage list. This paper aims to explain the origin, the mutation, and the inheritance carrying of Chinese Kesi, then make a summary concerning the regulation. Not only will a clear cognition be made based on the previous research, but also it might be usible for reference about the protection of non-material cultural heritage in the future.
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Wang, Jitai. "Works of the artist Zeng Fanzhi in the dialogue of traditions of Western European and Chinese painting". Человек и культура, n.º 4 (abril de 2020): 1–20. http://dx.doi.org/10.25136/2409-8744.2020.4.32802.
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This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.
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Wang, Qu, e Haiyang Jia. "The Evolution of Piano Technique and Its Impact on Modern Chinese Piano Development: A Theoretical Exploration". Pacific International Journal 6, n.º 3 (28 de setembro de 2023): 111–14. http://dx.doi.org/10.55014/pij.v6i3.419.
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This paper explores the development of the piano in modern China, focusing on its role in Chinese music education, performance, and composition. With the introduction of Western music and culture, the piano gradually became an integral part of Chinese musical culture. The study investigates the factors influencing the development of the modern Chinese piano, including social history, cultural environment, and the music education system. The research employs a literature review methodology to analyze the evolution and changes in theories of modern Chinese piano development, as well as the significant theoretical perspectives and academic ideas associated with them. The study examines the historical background, cultural environment, piano performance techniques, teaching methods, and the contributions of Chinese piano composers and musicians. The findings highlight the importance of studying modern Chinese piano development theory for piano education and performance. The research aims to deepen the understanding and application of relevant theories, fostering innovation and improvement in piano art. Furthermore, the exploration of piano development theories promotes the preservation and transmission of Chinese music culture, enhances academic research, and facilitates international exchange in the field of Chinese music. The study concludes that the continuous study of technical theory is crucial for the development of the piano in China. The improvement of current technical theory serves as a catalyst for advancing Chinese piano art and strengthens the preservation and transmission of Chinese musical cultural heritage. The findings provide theoretical guidance for piano teaching and performance practice, contributing to the continuous advancement of piano art in China.
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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture". Scientific and analytical journal Burganov House. The space of culture 15, n.º 3 (10 de setembro de 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.
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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Цзяо, Л., e Ю. Гао. "Combining Chinese pronunciation and Bel Canto: a study of art and technology". Bulletin of Pedagogical Sciences, n.º 4 (13 de maio de 2024): 215–19. http://dx.doi.org/10.62257/2687-1661-2024-4-215-219.
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в начале XX века в Китай пришла техника бельканто, внесшая значительные изменения в традиционное вокальное искусство. Это стало началом уникального синтеза восточных и западных вокальных традиций, который обогатил китайскую музыкальную культуру, но также представил новые вызовы, связанные с произношением и техникой исполнения. Данная статья посвящена анализу этого синтеза, изучая, как влияние бельканто способствовало развитию китайской вокальной практики и какие адаптации были необходимы для интеграции итальянской вокальной техники с особенностями китайского языка. Мы исследуем, как бельканто повлияло на методы обучения и исполнения в Китае, а также как китайские исполнители приняли и адаптировали эту технику для своего языкового и культурного контекста. Особое внимание уделено проблемам, связанным с произношением и артикуляцией, и методам, которые были разработаны для преодоления этих трудностей. Анализируется роль бельканто в формировании современного китайского вокального искусства, учитывая как технические, так и культурные аспекты этого взаимодействия. Основным методом исследования, принятым в данной работе, является метод документального анализа (bibliographic). at the beginning of the XX century, the bel canto technique came to China, which made significant changes to the traditional vocal art. This was the beginning of a unique synthesis of Eastern and Western vocal traditions, which enriched Chinese musical culture, but also presented new challenges related to pronunciation and performance technique. This article is devoted to the analysis of this synthesis, studying how the influence of bel canto contributed to the development of Chinese vocal practice and what adaptations were necessary to integrate Italian vocal technique with the peculiarities of the Chinese language. We explore how bel canto has influenced teaching and performance methods in China, as well as how Chinese performers have adopted and adapted this technique to their linguistic and cultural context. Special attention is paid to the problems associated with pronunciation and articulation, and the methods that have been developed to overcome these difficulties. The role of bel canto in the formation of modern Chinese vocal art is analyzed, taking into account both technical and cultural aspects of this interaction. The main research method adopted in this work is the method of documentary analysis (bibliographic).
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DİNÇ, NESLİHAN DİLŞAD. "TRADITIONAL PAPER CUTTING ART AND ITS REFLECTIONS ON CONTEMPORARY ART: THE EXAMPLE OF CHRISTINE KIM". TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, n.º 3 (1 de julho de 2022): 795–808. http://dx.doi.org/10.7456/11203100/016.
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Paper cutting is a traditional art form of China, the history of which goes back many centuries. This art form has been shaped by being influenced by the social, cultural and economic structure of the people. While different techniques have been used in the past, new methods and techniques are also being used in parallel with the development of technology today. To be synthesized of traditional techniques with contemporary art practices has become a very popular approach. Toronto-based artist Christine Kim interprets her discourses in the context of contemporary art while preserving tradition by uses this technique. In particular, the artist, who is seeking to establish abstract and concrete connections between portrait art and traditional paper-cutting, shows that she also has an original attitude with his compositional fictions. In this research, which uses the document analysis and interviews author with artist, the paper cutting technique will be expressed in the context of the concept and working style, and the works of Christine Kim, who has produced important works in this field, will be evaluated with examples. Starting with a brief overview of the Chinese tradition of paper cutting, the article will move along an axis where Kim's work is analyzed and evaluated and how this original art practice has gone from randomness to stabilization. It is considered that the study will be useful to those who aim to produce works in this field and to educators who are looking for new techniques and methods in art education. For this reason, it is considered that there is not a lot of resources in the field of paper cutting art in the Turkish literature make our work important.
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Ли, Ю. "The Genre of Seascape in the Guohua Technique (An Example of Song Mingyan’s Art)". Nasledie Vekov, n.º 2(34) (30 de junho de 2023): 115–24. http://dx.doi.org/10.36343/sb.2023.34.2.009.
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Статья посвящена анализу художественных особенностей морских пейзажей китайского художника Сун Минъюаня – основателя данного жанра в национальной живописи – и их эволюции по мере профессионального становления художника и изменения его эстетических предпочтений. Базу исследования составили работы китайских и российских искусствоведов, изучавших творчество китайского мастера в период с середины 1980-х гг. по начало XXI в. Художник стал первопроходцем в использовании художественных средств выразительного языка гохуа, который ранее считался не способным передать в полной мере всю силу и мощь величественной, порой яростной морской стихии. На примере творчества Сун Минъюаня и его серии картин «Ода морю» определяются возможности и перспективы использования традиционной техники гохуа для создания морских пейзажей, осмысляется процесс ее эволюции в начале XXI столетия, а также выделяются специфические черты китайской версии марины в контексте общемирового художественного процесса. The study examines the emergence of the seascape genre in Chinese art on the example of the works of its main representative, the marine painter Song Mingyuan. The author analyzes the artistic features of his seascapes and their evolution as the artist develops professionally and his aesthetic preferences change. The materials of the study were research of art historians on the works of the Chinese master from the mid-1980s to the early 21st century. The research methods are artistic and stylistic analysis and the iconography of Song Mingyuan’s sea paintings at different stages of his creative life, and the study of documentary materials. The author consistently studies Song Mingyuan’s early works made in the guohua technique and then those created under the influence of his acquaintance with the principles of Western oil painting. Further, the author analyzes the mechanism of the “birth” of the artist’s specific manner in creating maritime paintings through the synthesis of Chinese and Western traditions. The analysis begins with Song Mingyuan’s first work, Unrest at Sea (1986), which already shows the artist’s special attitude to the sea element and manifests hiss search for a new language of artistic expression. Particular attention is paid to the 1980s – the time of the official formation of the “school of the seascape”, when the artist skillfully combines Chinese and Western features, applied innovation in terms of technique and motives, and showed various artistic styles. After acquaintance with oil painting in the 1990s, Song Mingyuan uses color much more boldly and departs from the compositional scheme characteristic of his early works – a combination of rock and sea elements; he increasingly turns to the image of boundless waves and sky. In 2002, Song Mingyuan founds the Sea Stone painting school. During that period, the artist tends to depict coastal waters, but then returns to the sea element again. His image of water becomes more dynamic, complex in color, which is typical for se-i painting. On the example of his works, the artist showed other Chinese painters unique methods and techniques that formed the basis of his authorial system of artistic expression, which absorbed the traditional techniques of Chinese national painting in combination with Western expressive techniques. His students (Zhao Xiyun, Deng Zijing, Lin Qian, and others) now devote their watercolors and oil paintings to the sea and navigation, which reflects the heyday of China’s maritime power.
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Xiaolin, Xie. "Musical, Cultural and Historical Aspects of Adding a Middle Pedal to Piano Sounds by Russian and Chinese Composers". OOO "Zhurnal "Voprosy Istorii" 2021, n.º 12-3 (1 de dezembro de 2021): 143–50. http://dx.doi.org/10.31166/voprosyistorii202112statyi97.
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The article is devoted to a historical review of the musical and cultural aspects of Russian and Chinese composers’ usage of the middle pedal in the piano-playing process. In the piano music of Russian and Chinese composers-musicians, the importance and significance of the pedal as a means of producing expressiveness are exposed. The technique of pedal subtleties, which was used by Russian and Chinese pianists at different times in the development of the piano art, gives special emphasis. The similarities and differences in stylistics, principles, and pedaling techniques in the process of playing the piano in modern Russia and China are discussed.
Teses / dissertações sobre o assunto "Art, chinese – technique"
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Nikolayeva, Tetyana, e Jiaxi Guo. "The study of influence of traditional Chinese tie-dye technique on modern fiber art design". Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17923.
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The article presents an in-depth study of traditional Chinese art, namely the tai-dye technique, and an analysis of the impact and role of traditional art on modern fiber art. The work carried out the research and analysis of the: traditional Chinese tai-dye patterns; production tie-dye process; relevance of using traditional tie-dye technique in modern design.
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Ke, Lijia. "Relating tradition to innovation within the Chinese arts : the application of digital technique to visual art". Thesis, University of West London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516337.
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Peng, Yi. "Cross cultural lampworking for glass art : the integration, development and demonstration of Chinese and Western lampworking approaches, materials and techniques for creative use". Thesis, University of Sunderland, 2014. http://sure.sunderland.ac.uk/5185/.
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This research was undertaken from the perspective of an artist working with glass and lampworking techniques. Lampworking involves working with prepared glass tubes and canes which are heated with the aid of a gas burner and shaped with small pincers. This art-based project offers an example of an artist attempt to integrate what might be termed ‘Chinese’ and ‘Western’ lampworking approaches. Through the creation of artworks this project offers a model of artistic practice using lampworking which forms a counterpoint to the more common kilnformed approach currently prevalent in China. In addition, the artworks that form part of this PhD submission are examples of a current interest amongst some Chinese artists in combining inspiration, commentary and experiences from ‘East’ and ‘West’ into their practice. This project details and contextualizes examples of how lampworking might be used as a medium to this end. ‘Craft’ objects are used as a starting point to develop artworks that highlight what I personally found to be diminishing aspects of Chinese culture; for example the Chinese notion of ‘Change’. This project offers a new body of lampworked artworks which have been exhibited in professional venues at a national level and that demonstrate an artist’s approach to combining aspects of Chinese and Western culture in glass art. The themes, inspiration and making process of the creative works are documented in a written thesis to form a model on which other artists might build. The recent history of Chinese lampworking (1930-2013) is presented, building on interviews and literature review of works not previously published in English. The emergence of lampworking in China as a medium for studio glass practice is also charted. For Western audiences, this research offers an example of how the inspirations from Chinese culture and philosophy have been incorporated into contemporary glass art. It also clarifies the current situation of contemporary Chinese lampworking. For Chinese audiences, this research is an instance of western art influence in Chinese lampworking practice. The demonstration of the contemporary lampworking making process is useful for other Chinese lampworking artists.
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Gao, Jie (Violinist). "The Influence of Chinese Instruments on the Violin: A Practice Guide of Three Violin Techniques". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011757/.
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Contemporary professional violinists face constant exposure to multicultural compositions. For best results, they should be able to understand, capture, and express the subtleties of different styles. The violin and its repertoire spread to China through European missionaries during the late seventeenth century and continued to be developed by Chinese scientists and musicians who studied abroad. During the twentieth and twenty-first centuries, Chinese composers wrote many violin pieces inspired by the unique sounds of Chinese instruments. Additionally, Chinese music scholars wrote numerous essays to discuss the new Chinese style. However, much of this research has been focused on the composers and the structures of the compositions rather than on the details of violin techniques necessary to play the repertoire. The techniques in Chinese violin compositions are unique and are influenced by the traditional instruments including string, wind, and percussion instruments. Furthermore, the style of such compositions is affected by the elements of Chinese culture, such as the language, the elite society and its poetic tradition, and historical legends and events. This dissertation provides examples of Chinese violin repertoire which demonstrate the principles of three main violin techniques in the Chinese style: slides, chords, and pizzicati. In order to help professional violinists better perform Chinese violin compositions, the dissertation also includes a number of exercises covering each technique above.
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Collins, John H. "A Chinese story from a Berlin practice : Alfred Döblin's narrative technique in "Die drei Sprünge des Wang-lun /". Stuttgart : H.-D. Heinz, 1990. http://catalogue.bnf.fr/ark:/12148/cb35712624m.
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Rong, Xing. "A Comparative Study of Polyphonic Techniques in Chang-Lei Zhu's Ballade for Solo Piano". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538807/.
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In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.
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Xie, Dongni. "A Performance Guide to Wu Yiming's "A Poem Carved in Stone"". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752372/.
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A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.
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Zhai, Yi. "Échanges artistiques entre l'Iran et la Chine (13e-14e siècle) : textiles et céramiques". Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3080/document.
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Le présent travail porte sur les échanges artistiques entre l’Iran et la Chine observés sur le textile et la céramique du 13e au 14e siècle. Les discussions dans cette étude s’appuient sur une analyse des caractéristiques de transferts connus : par exemple, existence de transfert technique, relation entre deux véhicules (textile et céramique) des échanges artistiques et propre intention des Mongols. Trois parties composent ce travail, d’après les différents corpus. Les deux premières se consacrent séparément aux corpus de textiles concernant le textile à fil d’or et celui de céramiques. La première partie comporte un catalogue des spécimens textiles et d’analyser les changements artistiques. Dans la deuxième partie, l’examen scientifique permet d’évaluer l’échange technique potentiel. Dans la dernière partie, deux groupes de motifs (motifs représentant l’autorité et motifs de scène de chasse) sont comparés sur les spécimens textiles et céramiques. Le transfert de ces motifs concrets dévoile des relations culturelles essentielles entre des peuples non-sédentaires (les Khitan, les Jurchen et les Mongols) au nord de l’Asie. En conclusion, les différences entre les échanges artistiques représentés sur le textile et ceux sur la céramique montrent une une contradiction avec l’idée que le textile soit un médiateur de la céramique ilkhanide pour le transfert artistique. Ces différences sont fondamentalement liées avec les charactéristiques de la nature et les qualités sociales de chaque matérial. Dernièrement, l’intention des dominants mongols, comportant des successions culturelles de peuples non-sédentaires, est représentée par les échanges artistiques à l’époqueThis paper presents studies on the artistic exchanges between Iran and China observed on textiles and ceramics from the 13th to 14th century. It presents detailed analysis of three important characteristics of the artistic transfers : namely the existence of potential technique transfer, the relation between the two materials (textile and ceramic) during the artistic exchange, and the intention of the Mongols, based on existing corpus The first part of paper is devoted to textile corpus, particularly the textile with golden thread, featuring a catalog of textile samples. The second part presents in depth discussions of the ceramic corpus and questions the potential technical exchange of pottery , followed by comparisons based on actual data. The third part presents comparisons of the patterns observed in both textiles and ceramics specimens, suggesting that the transfer of the concrete motifs reveals the essential cultural relations between the non-sedentary peoples (the Khitan, the Jurchen, the Mongols) of northern Asia. The conclusions of the studies are threefold. First, the technical transfer can be only confirmed in the textile domain. Second, the differences of the artistic exchanges between the textile and the ceramic are closely related to the natural characteristics and the social value of each material, which challenges the previous idea that the textile would be considered as the mediator for the Il-khan ceramic during the artistic transfer. The last but not the least, the cultural relationship between the non-sedentary peoples is clearly represented by the artistic exchanges under the domination of the Mongols
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Gazagnadou, Didier. "Un Cas de diffusion d'une technique administrative de Chine en occident par l'intermédiaire des empires Mongol et Mamlûk le poste d'Etat à relais de chevaux (13-15ème siècles) /". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37613872c.
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Chang, Qing (Lily). "Performing Chinese contemporary art song: a portfolio of recordings and exegesis". Thesis, 2018. http://hdl.handle.net/2440/114437.
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This performance-based research project surveys Chinese contemporary art song from 1976 to the present, as represented in the work of four composers: Shi Guangnan (1940–1990), Lu Zaiyi (b. 1943), Shang Deyi (b. 1932), and Zheng Qiufeng (b. 1931). The songs, which are grouped into five categories according to their content – patriotic, nature, narrative, love and friendship – are documented, analysed and performed. A particular focus is placed on the interpretation and performance of musical elements that cannot be captured in notation, for example the use of certain vocal ornaments to emulate the four tones of Chinese pronunciation. The submission comprises four CD recordings and a 15,000-word exegesis. A short English commentary is delivered before each song on the CDs so that the listener is able to grasp its content. The interpretation of the songs is informed by consultations and interviews with the composers still living. The recordings provide guidance in the interpretation of this repertoire, and an enhanced understanding of the operatic style at the heart of Chinese art song. The study fills a gap in the knowledge of Chinese contemporary art song theory and practice.Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2018.
Livros sobre o assunto "Art, chinese – technique"
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The art of Chinese brush painting. Ramsbury, Marlsborough, Wiltshire: Crowood Press, 2011.
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Wang, Lucy. The art of Chinese brush painting. [Irvine, CA]: Walter Foster Pub., 2011.
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The art of Chinese brush painting. [Irvine, CA]: Walter Foster Pub., 2011.
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Wang, Lucy. The art of Chinese brush painting. [Irvine, Calif.]: Walter Foster Pub., 2011.
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Chen, Walter. The fine art of Chinese brush painting. New York: Sterling Pub., 2006.
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Self, Caroline. The art of Chinese brush painting: Ink "paper" inspiration. Tokyo: Tuttle Pub., 2009.
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Self, Caroline. The art of Chinese brush painting: Ink, paper,inspiration. Tokyo: Tuttle Pub., 2009.
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Susan, Bush, e Shih Hsio-yen 1933-, eds. Early Chinese texts on painting. Cambridge, Mass: Published for the Harvard-Yenching Institute by Harvard University Press, 1985.
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Chen, Walter. The fine art of Chinese brush painting. New York: Sterling Pub., 2006.
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The techniques of Chinese painting. London: Herbert, 1990.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Art, chinese – technique"
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Zhang, Yu. "Modern Digital Technology Assisted Innovative Design of Chinese Knot Button Modeling Art". In 2021 International Conference on Applications and Techniques in Cyber Intelligence, 778–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79200-8_116.
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Bai, Limin. "Chapter 3. “Altering the original fables to suit Chinese notions”". In Children’s Literature, Culture, and Cognition, 69–88. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.15.03bai.
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The Yishi yuyan, a Chinese translation of Aesop’s fables based largely on the collection by Roger L’Estrange (1616–1704), was published circa 1840 by Robert Thom (1807–1846), with his Chinese tutor as co-translator. This chapter examines the sinicization of the Yishi yuan by investigating how the translators recontextualized a culturally appropriate context for the integration of various Chinese literary sources in their narration and reflection of the fables. Following a discussion of the rendering of L’Estrange’s Aesop into Chinese, the key elements that facilitated the success of sinicization of the Yishi yuyan are analysed to illustrate the sinicization techniques and strategies employed by the translators in adapting L’Estrange’s Aesopic fables to a Chinese narrative.
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Rizzuto, Giuseppe. "Chinese returnee students and cultural production: the case of ex-students of Opera in Italy". In Studi e saggi, 117–37. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0068-4.11.
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The aim of this chapter is to point out the connection between mobility and cultural activities of Chinese returnee opera students. Many Chinese students in Italy attend cultural and artistic university courses. They may be considered significant in analyzing Chinese reverse migration from Italy. The examined connection involves several dynamics, including artistic aspects, historical reasons, social and economic changes, public policies and consumerism styles. Mobility and cultural production may be analyzed through both a structural and imaginative dimension. The structural dimension is composed of international agreements, global mobility law conditions, social and economic changes, and private investments in education to accumulate cultural capital that produce (or reproduce) certain social structures and experiences. On the other hand, the imaginative dimension is shaped by the lifestyle adopted by middle class families, including their work activities and cultural consumption. Returnee students are both the subjects who promote this process and the object of this dynamic. Chinese singers of Italian opera, upon graduating university in Italy, join the possibilities of the work field—in Bourdieu’s perspective—which is formed by the two aforementioned dimensions. Finally, perceived differences between Italy and China in terms of musical technique and culture are reworked according to contemporary cultural policies.
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Pan, Rong, Qinheping Hu, Rishabh Singh e Loris D’Antoni. "Solving Program Sketches with Large Integer Values". In Programming Languages and Systems, 572–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44914-8_21.
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AbstractProgram sketching is a program synthesis paradigm in which the programmer provides a partial program with holes and assertions. The goal of the synthesizer is to automatically find integer values for the holes so that the resulting program satisfies the assertions. The most popular sketching tool, Sketch, can efficiently solve complex program sketches, but uses an integer encoding that often performs poorly if the sketched program manipulates large integer values. In this paper, we propose a new solving technique that allows Sketch to handle large integer values while retaining its integer encoding. Our technique uses a result from number theory, the Chinese Remainder Theorem, to rewrite program sketches to only track the remainders of certain variable values with respect to several prime numbers. We prove that our transformation is sound and the encoding of the resulting programs are exponentially more succinct than existing Sketch encodings. We evaluate our technique on a variety of benchmarks manipulating large integer values. Our technique provides speedups against both existing Sketch solvers and can solve benchmarks that existing Sketch solvers cannot handle.
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Wang, Xiang, Yang Li, Ziqi Zhou, Xueyuan Lv, Philip F. Yuan e Lei Chen. "Levelling Calibration and Intelligent Real-Time Monitoring of the Assembly Process of a DfD-Based Prefabricated Structure Using a Motion Capture System". In Computational Design and Robotic Fabrication, 527–36. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-8637-6_45.
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AbstractConventional measuring techniques and equipment such as the level and total-station are commonly used in on-site construction to measure the position of building elements. However, a motion capture system can measure the dynamic 3D movements of markers attached to any target structure with high accuracy and high sampling rate. Considering the characteristics of prefabricated structures that is composed by lot of discrete building elements, advanced requirements for the on-site assembly monitoring is required. This paper introduces an innovative real-time monitoring technique for the DfD-based (Design for Disassembly) structure with the application of motion capture system and other hardware in an IoT-based BIM system. The design and construction method of the structure system, on-site setup of monitoring system and hardware, data acquisition and analysis method, calibration algorithm as well as the BIM system are further illustrated in the paper. The proposed method is finally applied in a real building project that is composed by thousand discrete building elements and covers a large area of 50*25 m. As demonstrator, such monitoring system is applied in the real construction of a DfD-based prefabricated steel structure in the “Water Cube” (Chinese National Aquatics Centre) in Beijing. The building process is successfully recorded and displayed on-site with the digital twin model in the BIM system. The construction states of the building elements are gathered with different kind of IoT techniques such as the RfID chips and QR-Codes. With the demand to control the flatness tolerance within 6 mm (within a 25*50 m area), a large area monitoring system was applied in the project and finally reduced the construction time within 20 days. The final tolerance is verified and further discussed2.
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Liu, Lu-xiang, Yong-dun Xie, Hui-jun Guo, Lin-shu Zhao, Hong-chun Xiong, Jia-yu Gu e Shi-rong Zhao. "New mutation techniques for crop improvement in China." In Mutation breeding, genetic diversity and crop adaptation to climate change, 47–52. Wallingford: CABI, 2021. http://dx.doi.org/10.1079/9781789249095.0005.
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Abstract There are at least 1 billion hungry people worldwide and the Asia and Pacific region harbours the biggest estimated regional distribution of hunger. Lifting a billion people out of poverty and feeding more than 9 billion by 2050 will require increasing cereal production by 70%. Accelerating the development of agriculture to continually increase productivity should be the final approach to end poverty. Mutation techniques have played very significant roles in ensuring food security by developing new mutant germplasm and mutant varieties in China, which have generated a tremendous socio-economic impact. New mutagenesis approaches were initiated in the late 1980s by Chinese scientists, including spaceflight and heavy-ion beam irradiation used as new effective and alternative ways for crop genetic improvement. Protocols for crop mutation induction by space radiation with high-energy heavy-ion beams have been established and applied for crop breeding. More than 1030 mutant varieties with high-yielding, fine-quality and multi-resistant traits have been developed and officially released mainly in cereals, oil and vegetable crops. They have been playing an important role in agricultural production. Hundreds of rare mutant germplasm accessions with a possible breakthrough effect on main economic traits such as grain yield and quality were also identified and applied in conventional breeding programmes. The development of new mutation techniques will be heavily based on, and associated with, not only effective use of nuclear and aerospace research platforms, but also advanced plant omics and molecular biology.
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Owen, Gwilym, Yu Chen, Gwilym Pryce, Tim Birabi, Hui Song e Bifeng Wang. "Deprivation Indices in China: Establishing Principles for Application and Interpretation". In The Urban Book Series, 305–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74544-8_14.
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AbstractIndicesofMultiple Deprivation(IMDs) aim to measure living standards at the small area level. These indices were originally developed in the United Kingdom, but there is a growing interest in adapting them for use in China. However, due to data limitations, Chinese deprivation indices sometimes diverge considerably in approaches and are not always connected with the underlying concepts within UK analysis. In this paper, we seek to bring direction and conceptual rigour to this nascent literature by establishing a set of core principles for IMD estimation that are relevant and feasible in the Chinese context. These principles are based on specifying deprivation domains from theory, selecting the most appropriate measurements for these domains, and then applying rigorous statistical techniques to combine them into an IMD. We apply these principles to create an IMD for Shijiazhuang, the capital city of Hebei Province. We use this to investigate the spatial patterns of deprivation in Shijiazhuang, focussing on clusteringand centralisationof deprivation as well as exploring different deprivation typologies. We highlight two distinct types of deprived areas. One is clustered in industrial areas on the edge of the city, while the second is found more centrally and contains high proportions of low-skilled service workers.
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Feng, Z., P. Gu, M. Zheng, X. Yan e D. W. Bao. "Environmental Data-Driven Performance-Based Topological Optimisation for Morphology Evolution of Artificial Taihu Stone". In Proceedings of the 2021 DigitalFUTURES, 117–28. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_11.
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AbstractTaihu stone is the most famous one among the top four stones in China. It is formed by the water's erosion in Taihu Lake for hundreds or even thousands of years. It has become a common ornamental stone in classical Chinese gardens because of its porous and intricate forms. At the same time, it has become a cultural symbol through thousands of years of history in China; later, people researched its spatial aesthetics; there are also some studies on its structural properties. For example, it has been found that the opening of Taihu stone caves has a steady-state effect which people develop its value in the theory of Poros City, Porosity in Architecture and some cultural symbols based on the original ornamental value of Taihu stone. This paper introduces a hybrid generative design method that integrates the Computational Fluid Dynamics (CFD) and Bi-directional Evolutionary Structural Optimization (BESO) techniques. Computational Fluid Dynamics (CFD) simulation enables architects and engineers to predict and optimise the performance of buildings and environment in the early stage of the design and topology optimisation techniques BESO has been widely used in structural design to evolve a structure from the full design domain towards an optimum by gradually removing inefficient material and adding materials simultaneously. This research aims to design the artificial Taihu stone based on the environmental data-driven performance feedback using the topological optimisation method. As traditional and historical ornament craftwork in China, the new artificial Taihu stone stimulates thinking about the new value and unique significance of the cultural symbol of Taihu stone in modern society. It proposes possibilities and reflections on exploring the related fields of Porosity in Architecture and Poros City from the perspective of structure.
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Mareš, Martin, Otakar Horejš e Pravoslav Nykodym. "An Indicative Model Considering Part of the Thermo-Mechanical Behaviour of a Large Grinding Machine". In Lecture Notes in Production Engineering, 54–66. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-34486-2_5.
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AbstractMachine tool (MT) thermal errors are an important element in ma-chined workpiece inaccuracies. In the past few decades, thermal errors associated mainly with one particular source (e.g. spindle or environment), have been successfully reduced by SW compensation techniques such as multiple linear re-gression analysis, finite element method, neural network, transfer function (TF) within similar calibration and verification conditions. An approach based on TFs is used for thermal error modelling in this research. This method respects basic heat transfer mechanisms in the MT and requires a minimum of additional gauges. The approach provides insight into the share of each source in the total machine thermal error through a combination of linear parametric models. The aim of this research is to develop an indicative model for a large grinding machine with predictive functionality focused on part of the thermo-mechanical behaviour within different configurations of the headstock, tailstock and workpiece. Unlike a compensation model, an indicative model has no connection to the MT feed drives and can only provide the machine operator with information regarding the actual direction and relative magnitude along with prediction of the time constant and steady state of the non-stationary thermal error. The second aim is to compare the difficulty of measuring at the stator and rotating machine part levels, the thermal behaviour linearity at both levels and the possibility of upgrading the indicative model to a compensation model to extend industrial applicability.
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Goldin, Paul R. "Nondeductive Argumentation and the Art of Chinese Philosophy". In The Art of Chinese Philosophy, 13–28. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691200798.003.0002.
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This chapter discusses nondeductive argumentation in classical Chinese philosophy. There are three kinds: paradox, analogy, and appeal to example. Many of the paradoxes of the so-called disputers can be made to seem veridical, or at least veridical in spirit, if interpreted sympathetically. In addition, reasoning by analogy was a crucial mode of deliberation in traditional China. It was one of the hallmarks of Chinese jurisprudence and also figures prominently in early Chinese poetics. Finally, appeals to example are nearly ubiquitous in ancient Chinese philosophy (the most prominent text not to resort to them is Laozi), and this chapter divides the technique into a number of subtypes.
Trabalhos de conferências sobre o assunto "Art, chinese – technique"
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Martynov, V. V., e N. V. Martynova. "TECHNIQUE OF USE OF VECTOR GRAPHICS IN CREATION OF ORNAMENTAL COMPOSITIONS BASED ON THE CHINESE TRADITIONAL ART IN PROCESS TO TRAINING OF BACHELORS-DESIGNERS". In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.13.
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Wang, Zhiwei, Shun Liu, Jiawen Mi, Huimin Wang, Yuyang Jiang, Dongliang Xu e Ze Gao. "Exploring the Healing Potential of Tie-dye Art Therapy Using a Younger Generation of College Students' Workshop as an Example". In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004968.
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In the post-pandemic era, as social life and development gradually resume in an orderly manner, there has been a rapid increase in the number of individuals experiencing depressive emotions within the context of continuing work, school, and production. This paper provides a brief description of utilizing an innovative art therapy system to analyze objectively and research stress relief issues among individuals with post-epidemic depressive emotions. Creative art therapy uses China's traditional tie-dye intangible cultural heritage as a therapeutic medium, explicitly exploring the aspects of tie-dye that can be absorbed and used for art therapy. The aim is to enhance the influence and innovative dissemination of China's outstanding intangible cultural heritage, assisting individuals with post-epidemic depressive emotions in effectively releasing stress and alleviating negative emotions. Selecting the tie-dye technique as an innovative art therapy medium holds excellent practical significance for developing and constructing art therapy and harmonious society. It also presents a prospect for combining Chinese intangible cultural heritage with art therapy.
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"Chinese media art preview". In SIGGRAPH07: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2007. http://dx.doi.org/10.1145/1280120.1280273.
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Hou, Enshuai, e Jie zhu. "A Self-Supervised Tibetan-Chinese Vocabulary Alignment Method based on Adversarial Learning". In 2nd International Conference on Machine Learning Techniques and NLP (MLNLP 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111422.
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Tibetan is a low-resource language. In order to alleviate the shortage of parallel corpus between Tibetan and Chinese, this paper uses two monolingual corpora and a small number of seed dictionaries to learn the semi-supervised method with seed dictionaries and self-supervised adversarial training method through the similarity calculation of word clusters in different embedded spaces and puts forward an improved self-supervised adversarial learning method of Tibetan and Chinese monolingual data alignment only. The experimental results are as follows. First, the experimental results of Tibetan syllables Chinese characters are not good, which reflects the weak semantic correlation between Tibetan syllables and Chinese characters; second, the seed dictionary of semi-supervised method made before 10 predicted word accuracy of 66.5 (Tibetan - Chinese) and 74.8 (Chinese - Tibetan) results, to improve the self-supervision methods in both language directions have reached 53.5 accuracy.
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"The development and innovation of Chinese Guzheng playing techniques". In 2017 4th International Conference on Literature, Linguistics and Arts. Francis Academic Press, 2017. http://dx.doi.org/10.25236/iclla.2017.07.
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Li, Ran. "Application of Classical Oil Painting Techniques in Chinese Contemporary Lacquer Painting Creation". In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.156.
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BIAN, YI-DUO. "THE ANALYSIS OF NARRATIVE EXPRESSION FORMS IN CONTEMPORARY CHINESE NOVELS". In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35677.
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As an important part of literary form, novels have a wide audience. Novels play an important role in recording and reflecting the changes of history, society and people's spiritual consciousness. The novel has various forms of expression, and its narrative methods and techniques have been fully developed. Through the interpretation of the narrative expression of the novel, we can find that: with the development of the times, the change of social background, the change of people's spiritual ideology, the expression forms and methods of the novel also show diversity. Mining and refining the epitome of historical development from novels also reflects its importance as a literary carrier.
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Zhang, Lisheng. "Research on the History of Chinese Copper Coloring Techniques". In 8th International Conference on Arts, Design and Contemporary Education (ICADCE 2022). Amsterdam: Athena International Publishing B.V., 2022. http://dx.doi.org/10.55060/s.atssh.221107.013.
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Peng, Peng. "On the Space-depiction Techniques of Chinese Traditional Architectural Drawings". In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.74.
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Dong, Lulu, Lin Li, HongChao Ma e YeLing Liang. "Automated Chinese Essay Scoring using Pre-Trained Language Models". In 2nd International Conference on NLP Techniques and Applications (NLPTA 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111901.
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Automated Essay Scoring (AES) aims to assign a proper score to an essay written by a given prompt, which is a significant application of Natural Language Processing (NLP) in the education area. In this work, we focus on solving the Chinese AES problem by Pre-trained Language Models (PLMs) including state-of-the-art PLMs BERT and ERNIE. A Chinese essay dataset has been built up in this work, by which we conduct extensive AES experiments. Our PLMs-based AES models acquire 68.70% in Quadratic Weighted Kappa (QWK), which outperform classic feature-based linear regression AES model. The results show that our methods effectively alleviate the dependence on manual features and improve the portability of AES models. Furthermore, we acquire well-performed AES models with a limited scale of the dataset, which solves the lack of datasets in Chinese AES.
Relatórios de organizações sobre o assunto "Art, chinese – technique"
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Wu, Fan, Zhi-hui Huang, Bin Xu, Dawei Sang, Zhi-gang Li e De Liang. Extrapedicular vs transpedicular percutaneous kyphoplasty for osteoporotic vertebral compression fractures. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, março de 2023. http://dx.doi.org/10.37766/inplasy2023.3.0048.
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Review question / Objective: To assess the efficacy and safety of the two approaches as a treatment for patients with OVCF. Condition being studied: Osteoporotic Vertebral Compression Fractures(OVCFs) is one of the most common health problems in the elderly population. Percutaneous kyphoplasty is a minimally invasive technique that has gained widespread recognition. Transpedicular and extrapedicular are two approaches for kyphoplasty. But over the last decade, the safety and effect of two approaches remain unclear, and there is still a lack if evaluation of their therapeutic effects. Information sources: We searched CENTRAL; MEDLINE; EMBASE; Chinese Biological Medicine Database; VIP Journals Database; Wan-fang database, CNKI; and Chinese Evidence-Based Medicine Database from the their inception to December 2020. The search terms used were: the transpedicular approach and extrapedicular approach for treating OVCF in both English and Chinese. We also searched our own files manually for relevant articles. We hand searched Chinese language journals and conference proceedings. We included dissertations and abstracts, provided they contained sufficient detail for critical evaluation.
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Zhang, Hengdi, Yunming Li, Guangyu Chen, Fei Han e Wei Jiang. Human amniotic membrane graft for refractory macular hole: a single-arm meta analysis and systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, fevereiro de 2022. http://dx.doi.org/10.37766/inplasy2022.2.0098.
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Review question / Objective: Currently, pars plana vitrectomy (PPV) with ILM peeling is the gold standard treatment for full thickness macular hole (FTMH). Despite of the high macular hole closure rate, a refractory FTMH may occur. The next step for a recurrent or persistent MH is usually repeat PPV with extended ILM peeling. This is not always an option especially with high myopia patients or those who had already undergone an aggressive ILM peeling at initial surgery. A variety of novel techniques have been developed to address this issue, among which human amniotic membrane seems to be a promising adjuvant. However, there are still uncertainties regarding the integration and the long-term effects of of the graft. Information sources: PubMed, Embase, Web of science, Cochrane library, Wanfang Data Knowledge Service Platform, China National Knowledge Infrastructure databases, sinomed (CBM), VIP database, Clinical Trails.gov and Chinese Clinical Trail Registry.