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1
Shu, Jo-Lan. "Calligraphy as a developmental tool for Chinese painting /". Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1329.pdf.
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Shu, Jo Lan. "Calligraphy As A Developmental Tool For Chinese Painting". BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/465.
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This report discusses the design, development, and evaluation of a Chinese painting instructional project. The project discussed in this report introduces the novel idea of developing specific calligraphy skills in order to improve Chinese painting skills within a restricted time period (1-3 hours). The results show differences that are statistically significant between the pre and post test paintings created by 23 subjects from both the high school and the university level. The results of the evaluations can be found in the results section of this report. This report consists of a literature review, a project description, a description of the methodology used in the design project, evaluation results, and the full Chinese bamboo painting instructional material named Founding Chinese Bamboo Painting in Calligraphy: The Fourfold Approach (provided in Appendix A).
3
Wong, Shan Elaine, e 黃山. "Flaring brush and ink: Chinese calligraphy and painting centre". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986870.
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Wong, Shan Elaine. "Flaring brush and ink : Chinese calligraphy and painting centre /". Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949834.
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Gao, Jianping. "The expressive act in Chinese art : from calligraphy to painting /". Uppsala : Uppsala University, 1996. http://catalogue.bnf.fr/ark:/12148/cb376704405.
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Lee, Alice Hui Fang. "The spirit of Chinese brush lines and its application to creativity in UK art and design education". Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319231.
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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /". Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.
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Leung, Mei-yin, e 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.
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Zhu, Sicong. "Poetic feeling in a thatched pavilion attributed to the Chinese Yuan artist Wu Zhen". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/4983.
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In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.
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Davis, Walter B. "Wang Yiting and the Art of Sino-Japanese Exchange". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213111969.
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Müller-Yao, Marguerite Hui [Verfasser]. "The influence of Chinese calligraphy on Western Informel painting : 中國書法藝術對西洋繪畫的影響 / Marguerite Hui Müller-Yao". Bonn : Universitäts- und Landesbibliothek Bonn, 2015. http://d-nb.info/1154556336/34.
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Qin, Zhao-Kai. "The Influence of Oriental Art and Ideas on Robert Motherwell's Work: An Investigation of Certain Affinities Between His Work and Chinese and Japanese Calligraphy and Ink Painting". VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/166.
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This study is an examination of the influence of Oriental (specifically Chinese and Japanese) art and ideas on Robert Motherwell's work. To a certain extent, it is also an effort to balance previous interpretations that have mainly focused on the influence of Surrealists, Mondrian, and Picasso and to shed new light on the understanding of Motherwell's art. Consideration is given to the historical background of Motherwell's interest in Oriental art and ideas as well as the relation between this interest and his major artistic concerns. Among other things, the thesis investigates the influence of Oriental concept of the void on Motherwell's spatial conception, especially in the sense of using empty space. It also gives an account of the influence of Oriental calligraphy and ink painting on Motherwell's work in terms of pictorial languages and physical action.
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Edelholm, Nike. "Exploring Spaces of Not Knowing : an Artist View". Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7000.
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The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art practice. When as an arteducator,I went to China to inquire into the educational strategies of Chinese Classical Painting,I found myself thrown into a multitude of spaces of not knowing. This thesis, is an inquiry intohow being in such spaces, perform knowledge. To explore this, I return to the field-notes andvisual material including a report in the form of a visual essay of the study from 2011. I re-turnto this material with new tools and concepts inspired by Karen Barads metaphors of diffractionand earth-worms approach, as well as my artists tools: brush, water colours, ink, and paper;inrtoducing painting as a tool for analysis.As a theoretical approach, I entangle the flat ontology of Deleuze and Guattari, and theonto-epistem-ology of Barad, with the philosophical traditions in China of Buddhism and Dao.From an onto-epistem-ological perspective, I ask the question: "If we know about the worldbecause we are of the world," what knowledge then appear, when we experience our being in theworld as a space of not knowing. In this study, I have found that a space of not knowing performlearning through experiences of Vulnerability, Risk and Trust.The art part of this thesis is connected to Risk as well as to Vulnerability and Trust. Itfeatures a rope hanging from the ceiling to the floor. It is a rope that has been used during severalyears by a Circus artist during performances; hanging high up in the ceiling — demanding focusand presence from him. The installation at Konstfack spring-show 2018 featured the Circus artistrope together with a painting made in the context of Buddhist Vipassana meditation, entanglingmy tactile approach in art, with the text of this thesis.
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李為. "An intelligent evaluation system of Chinese calligraphy". Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2099646.
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Ding, Lian Chao. "Generating Chinese calligraphy masterpiece from tablet versions". Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3950577.
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Mok, Kar Leung Harold. "Zhao Mengjian and Southern Song calligraphy". Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357396.
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Lei, Sio Cheong. "The study on a Chinese calligraphy font generation". Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1636246.
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Goh, Yi Sheng Lau Tin-Man. "Guidelines to develop product forms from Chinese calligraphy". Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Fall/Thesis/GOH_YI_27.pdf.
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Xu, Dongjie. "Harmonious screen interface design principles from Chinese calligraphy". Thesis, University of Central Lancashire, 2010. http://clok.uclan.ac.uk/1521/.
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Harmony is a major theme in Chinese culture. It is reflected in many forms, e.g. painting and garden design. However, calligraphy gives a straight forward insight into harmony in two dimensions. The main hypothesis was that the principles for building a harmonious calligraphic character could be converted from holistic to deductive and computable ones. These could then be applied to the design of harmonious screen interfaces, which would give visual pleasure. The first aim was to investigate and discover the quantifiable features of harmony in Chinese regular script calligraphy. Calligraphy has been associated in China with harmony and elegance for over 1500 years. There are features that are commonly accepted to establish harmony which can be quantified. However, the principles of Chinese calligraphy are embedded within Chinese culture. Direct translation does not convey the meaning. An extensive study was made of the literature on Chinese calligraphy and a practical exploration of characters was made. This resulted in a small number of principles which were needed to be satisfied for the character to appear harmonious. These were tested on several groups of participants. These principles were then converted into a mathematical form for Chinese regular script calligraphy, and for application to harmonious screen interface design. The mathematical forms were then tested on both Chinese regular script calligraphy and also on interface designs with groups of participants. Finally, an application for comparing harmony in Chinese calligraphic characters and interface designs was created. The “Harmony” application can be used to calculate how a Chinese calligraphic character or an interface design satisfies the principles of harmony and it can give an indication of how harmonious they are.
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Ng, Yuk-lan, e 吳玉蘭. "Sesshu and Chinese academic painting". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hdl.handle.net/10722/210304.
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Ng, Yuk-lan. "Sesshu and Chinese academic painting". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20565653.
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劉澤光 e Zeguang Liu. "A study of Kang Youwei's (1859-1927) Guang yizhou shuangji". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894161.
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Wei, Chen. "Volumetric cloud generation using a Chinese brush calligraphy style". Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13034.
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Includes bibliographical references.Clouds are an important feature of any real or simulated environment in which the sky is visible. Their amorphous, ever-changing and illuminated features make the sky vivid and beautiful. However, these features increase both the complexity of real time rendering and modelling. It is difficult to design and build volumetric clouds in an easy and intuitive way, particularly if the interface is intended for artists rather than programmers. We propose a novel modelling system motivated by an ancient painting style, Chinese Landscape Painting, to address this problem. With the use of only one brush and one colour, an artist can paint a vivid and detailed landscape efficiently. In this research, we develop three emulations of a Chinese brush: a skeleton-based brush, a 2D texture footprint and a dynamic 3D footprint, all driven by the motion and pressure of a stylus pen. We propose a hybrid mapping to generate both the body and surface of volumetric clouds from the brush footprints. Our interface integrates these components along with 3D canvas control and GPU-based volumetric rendering into an interactive cloud modelling system. Our cloud modelling system is able to create various types of clouds occurring in nature. User tests indicate that our brush calligraphy approach is preferred to conventional volumetric cloud modelling and that it produces convincing 3D cloud formations in an intuitive and interactive fashion. While traditional modelling systems focus on surface generation of 3D objects, our brush calligraphy technique constructs the interior structure. This forms the basis of a new modelling style for objects with amorphous shape.
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Maraun, Timothy Fritz. "Tension in 18th century Chinese painting". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31841.
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In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century.
In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou.
These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry
and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
25
Shao, Yiyang, of Western Sydney Nepean University, Faculty of Visual and Performing Arts e Department of Art History and Criticism. "Major trends in contemporary Chinese painting". THESIS_FVPA_SD_Shao_Y.xml, 1996. http://handle.uws.edu.au:8081/1959.7/531.
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Three major trends are evident in Chinese ink painting: academic reformism, modernism and neo-traditionalism. While reformists are calling for stylistic freedom and a return to humanism, modernists seek the adoption of Western modes of thought and practice to develop and reform Chinese tradition. The new literati painting which has seen a resurgence of innovative theory and technique of an indigenous Chinese painting tradition distinguishes neo-traditionalism. Many scholars believe that developments in Chinese painting represent a decline in the history of Chinese art but, in this authors’ opinion, this has been a period of transformation in aesthetic conception and expression. Chinese ink painting, which is still the dominant stream in twentieth century Chinese art and a continuation of its development, can be seen in the work of many contemporary artists. It is more than likely that the pluralism in contemporary Chinese art discussed in this thesis will continue although the forms it takes will to some extent be determined by political and economic factors. It is unlikely that contemporary Chinese art will totally reject the established cultural and aesthetic systems and establish a new one, based on the Western system. The traditions of Chinese culture remain strong, and it appears much more probable that an internal ‘re-shaping’ of both indigenous and imported elements will result in an artistic tradition that remains distinctively ‘Chinese’ as well as contemporaryMaster of Arts (Hons)
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Yiyang, Shao. "Major trends in contemporary Chinese painting /". View thesis, 1996. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125119/index.html.
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Ching, Yeh Chi, e 葉季青. "Study of chinese ink method, calligraphy and painting art". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/23831894187201689635.
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碩士臺北市立大學
中國語文學系
103
Ink method plays a very key role in Chinese painting and calligraphy art, to say the traditional Chinese painting and calligraphy art pen and ink by the product of the interaction effects. In calligraphy works using ink method wonderful infinity, through shades of shades of ink change and spatial arrangement, to create a sufficient number of famous masterpieces come for admiration, and in the use of ink painting method is being played the most. The following article from the perspective conduct a systematic analysis and integration, to explore the mysteries of Chinese ink painting and calligraphy Ink method. Origin and manufacture of ink: ink on Chinese ancient cultural origins torrent talk, followed by analysis of the type of ink belongs, then the final ink and ink manufacturing method selection and application of the merits detailed narrative. Ink method: for the role and influence in Chinese painting and calligraphy in the end to do the discussion, by the effect of the ink, the ink of the role to be discussed and analyzed in calligraphy and ink painting method for the three-oriented. The Implications of Ink method in calligraphy and painting: to explore and analyze changes for shades of ink painting and calligraphy and ink in the space of the image. Performance from a wide range of Ink method, the ink shades of light and space imagery to convey the change of thinking, and thus come closer to the Chinese literati is seeking to master posterity thought and spirit.
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Huang, Mei-Chen, e 黃美甄. "Development of a Remote-Gesture-Control Chinese Painting and Calligraphy Program". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/29176513747705005109.
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碩士國立臺灣科技大學
工業管理系
97
This study developed a “Chinese painting and calligraphy Program” by incorporating a previous developed “3D target acquisition hand movement system” as an input device. The cursor of the program was controlled and the paintings as well as calligraphy were completed by a free hand movement in the 3D spaces. The system emphasis the merit that we are able to track both 3D hand positions and 3D hand speeds of users while they are performing painting and/or calligraphy. There are two interfaces for the program: main interface and painting interface. In addition to the basic functions of new, save, read, print, preview, question, information, and close, brush size, wetness of ink, posture, and colors were installed to the main interface. Where as in the painting interface, the depth of the hand movement in relation to the painting was visualized using a color bar on the left side of the interface, thus allowed user to realize his hand positions in 3D in relation to the painting interface. To verify the usability the program, a test was performed on 10 subjects. The results showed the recognition rate of all comments is 95.37%. It was demonstrated in the study that users could easily using 3D free hand movements as a simulate brush. The positions and the speed of the 3D hand movement would be used to express a pull, a turn, a pressed down, and/or a lifted up of the brush so as to create various brush bristles and different calligraphic styles.
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"Design and development of a robotic platform for Chinese painting and calligraphy". Thesis, 2007. http://library.cuhk.edu.hk/record=b6074420.
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Footprint analysis of brush-pen is an important part of studying Chinese drawing and painting. The designed platform is capable to capture and analysis of the brush footprint in real-time. Transparent drawing plate and an underneath camera system are installed, together with projective rectification and video segmentation algorithms, analog footprint can be transformed to digital data. Both non-parametric and parametric modeling on the captured footprint data will be explored in this thesis. Dynamics and time-delay will also be studied. The results are demonstrated by producing a well-known Chinese calligraphy in our study.Robot drawing is an integrated study in the fields of robotics, machine intelligence, genetic algorithms (GA), rule base techniques, and expert system, etc. Besides looking into sophisticated methods in manipulator planning and control, robot drawing also aims to fulfill a human desire to put creativity in machines and to explore a basic question: can art be programmed? In this thesis, we report on the design and construction of a robot platform in our laboratory geared toward the production of Chinese painting and calligraphy which we will use to explore some of the above issues.
This thesis aims to report on the design and development of a robot drawing platform supporting a pen motion with five degrees of freedom (x, y, and z translation, z-rotation, and pitch) of a brush-pen motion in our laboratory. The platform is interfaced with a camera system and a writing tablet via a window based PC. The integration programming language is Visual Basic 6, with direct access to MATLAB for image processing and the needed computation. The objective of design is to have a platform that is highly accurate and repeatability, easy to command, versatile and user friendly, etc.
This thesis also describes the addition of vision-based capabilities in the platform. Those vision feedback measures have to be calibrated by using optimization method or Genetic Algorithm. Various examples of how the vision information can be used to improve various aspects of the drawing quality in iterative drawing will be demonstrated.
by Lo, Ka Wah.
"August 2007."
Adviser: Yan Yeung.
Source: Dissertation Abstracts International, Volume: 69-02, Section: B, page: 1285.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2007.
Includes bibliographical references (p. 143-147).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in English and Chinese.
School code: 1307.
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Ren, Jenny, e 任珍妮. "A Study of Algorithmic Composition-Based Sonification on Chinese Classical Poetry and Chinese Calligraphy Painting". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/47607161530964529014.
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碩士國立交通大學
音樂研究所
97
Chinese characters are remarkable for their two forms of art — the classical poetry and the calligraphy painting. However, it is difficult for the visually impaired and people who are unfamiliar with Chinese to experience the beauty of the Chinese characters. In this study, two Sonification schemes, Tx2Ms and Im2Ms, are proposed to extract the melody between the lines, i.e., both the lines in verses and the lines in strokes. In Tx2Ms, the movement of multi-dimensional musical elements such as durations, dynamics and interval relations are modeled by Markov Chain for stochastic algorithmic composition based on the poesy analysis. In addition, the best pentatonic mode for a specific poem is recommended according to the formants analysis. In Im2Ms, the two-dimensional spatial image information is transformed into the temporal music acoustics domain based on artistic conception and human perception among space, color and sound. Therefore, the Sonification of Chinese Classical Poetry and Chinese Calligraphy Painting not only provide a free access for the visually impaired and people who are unfamiliar with Chinese to appreciation but also enrich the state of mind and imagery in the delivery process. Thus, an immersive learning environment of Chinese Classical Poetry and Calligraphy Painting can be further developed.
31
Yeh, Jen-Cheng, e 葉仁正. "Application of amylase for delaminating of the mounting Chinese painting and calligraphy". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/21491034404472727141.
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碩士國立嘉義大學
森林暨自然資源研究所
94
Summary The traditional mounting papers and pictures were composed of plant fiber, painting pigment, frame material, starch paste, etc. However, during the long term exterior conservation and interior chemistry, the picture material was impaired in degradation. In the recovery procedures of the degradation pictures, the delaminating mechanism based on backing papers is the most difficult and important process. In order to inflate the paper fiber, the traditional delaminating technique soaked the mounting papers and pictures with much more water for a long time. Since that it makes the surfaces of pictures with pigment bleeding and cleavage, the paper fiber impairment, and even more degradation in doubling picture paper. Therefore, this thesis not only focuses on the recovery procedures with the delaminating mechanism of traditional pictures, but also applies the high pure and low density α-amylase to decrease so much water and time for soaking the mounting papers and pictures. Eventually, this thesis provides the safe delaminating procedures, and achieves the conservation purpose for the traditional papers and pictures. 【Keyword】 The Mounting Papers and Pictures, Paper Degradation, Starch Paste, Delaminating Technique, Amylase, Conservation of Paper Material
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Chou, Ta-Tsun, e 周大村. "Transmutation─Ta-Tsun Chou's Self-Account Through His Calligraphy and Chinese Painting Works". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/ftehzw.
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碩士大葉大學
造形藝術學系碩士在職專班
95
ABSTRACT This paper aims to study that calligraphy art reflects emotions with the symbols of its lines. The purpose of calligraphy creation is to pursue the artistic conception characterized by the writing forms. The works appreciation is realized in the principle of “art first, quality second”, which can penetrate from ancient to modern times. In this sense, in order to appreciate calligraphy, we shall understand its connotation and spirit of calligraphy lines, walk on the way of “taking the past as the new ones, and broadening on the basis of regulated rules”, as well as explore the artistic style that calligraphy fuses with ink wash and literature. This paper includes the following five chapters in total: To sum up, this paper brings forward the following conclusions and advices through relevant literature review and my own experiences of calligraphic teaching and creation: 1. The calligraphy art, especially in today’s information society, is faced with the threats of computers because of the western cultural shock as well as cultural maladjustment caused by political situations. In terms of the calligraphy in Chinese traditional culture, it has its own valuable and irreplaceable historical significance. The calligraphic courses at school shall be emphasized and added in number. 2. Calligraphy is traditional art with a long history in China, which is also a special plane art in the eastern world. Frankly speaking, calligraphy needs to purse new and fashionable elements, but the traditional calligraphic skill is still the necessary training course in calligraphy creation. In particular, “the form of beauty” and its connotation cannot be avoided as for the calligraphy art. Moreover, we need to consider the meaning of the words or phrases. 3. The traditional calligraphy and modern art fuses with each other. The modern style is reflected in tradition. In the innovative “calligraphy art”, we fuse the methods and accomplishments of ancient and modern people, alternate and recreate them. Therefore, new aesthetic calligraphy conception is created, individual style is gradually accomplished, and then the calligraphy art with time characters is realized. Keywords: ink wash; calligraphy line
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Su, Hsuan-Te, e 蘇玄德. "The Calligraphy and Painting in Chinese Water Ink: Hsuan-Te Su's Theory of Art". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/722rdm.
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碩士國立臺灣師範大學
美術學系
104
This dissertation explores the multifacetedness and innovation potential in “modern Chinese water ink painting” and incorporatesthe “traditional Chinese water ink painting” into the modern era. This dissertation includes three major parts: 1. Explore the core conceptof traditional Chinese water ink painting: “the combination of painting and calligraphy”, and study the painting and calligraphic features of Southern School. Moreover, “strength in line strokes” has dominated the traditional Chinese water ink painting for thousands of years. However, this concept is now being challenged and revolved by Guosong Liu’s concept: “Influence of white lines”, which paves the way for a new era of Chinese calligraphy and paintings and is similar to Tao Shi’s belief of “painting and creativity are shaped by the current era of thoughts”. 2. A creative modern Chinese water ink painting involving non-traditional media and materials: explore how modern Chinese water ink painting could be combined with digital media and mediums to create new forms of hybrid works which could be a start of a new tradition. 3. Influences and interactions between Chinese water ink paintings and Western art: in this study, we carefully exam how the master’s works shaped each other by examining the creative works of Guanzhong Wu, Guosong Liu, Jackson Pollock, Frank Kline, and others. Conclusion: at the time when traditional “linear” Chinese ink calligraphy is no longer the only and proper method of expression, the effort to provide new elements and hybrid methodologies to fuel the advancement of painting and hybrid works is inevitable. In the hope of incorporating digital media and medium in conjunction with traditional paintings, new forms of Chinese water ink calligraphy and paintings are introduced here and shall bring impacts our society. Keywords：Homogeneous origin of Chinese calligraphy and water ink painting, Organic integration, Calligraphically, Hybrid-painting, Digitalized
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Wei, Yu-En, e 魏猷恩. "A Study of Chinese Painting and Calligraphy Aesthetics of “Cho(拙)” and “Lao(老)"". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/50152143363069991320.
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碩士明道大學
國學研究所
98
Chinese painting and calligraphy aesthetics is deeply influenced by the traditional culture and culture is formed by history. The aesthetics of Chinese painting and calligraphy, therefore, has been nourished by the history and the culture. “Cho” and “Lao” are the unique aesthetics in Chinese painting and calligraphy art. They are not only the criteria to comment art work but also the ultimate ideas of painting and calligraphy creation. The tools used in ink and wash painting and calligraphy are identical, and the techniques can be adopted in each field, therefore, ink and wash painting and calligraphy are considered to have the same origins. As most ancient litterateurs were talented in both calligraphy and ink and wash painting, the calligraphy and ink and wash painting have the consistency in aesthetics. In this study, the theory of calligraphy and ink and wash painting are referred in order to analyze and sort out the origin and the essence of the aesthetics of “Cho” and “Lao”. Chinese people value history and gain a sensitive observation from the historical experience to view people, events and objects from a highness vision; therefore, Yizhuan, the yin-yang speculation had been deduced. The wisdom of yin-yang affects painting and calligraphy aesthetics. “Qiao(巧)” and “ Cho(拙)”; “Lao(老)” and “Shao(少)”are opposed but complementary, and resistant but contributory. Another understanding of the historical perspective is to view the track of the art creation as a growth in life, which means the works represent the artists themselves. To evaluate Chinese painting and calligraphy art is to evaluate the artist. Confucianism has the greatest esteem for morality and Taoism respects freedom. Both are the core of Chinese culture and the roots of “Cho”and “Lao”aesthetics. Confucianism and Taoism are valuable in inspiring people to understand and to practice themselves; this is the ideological level of life. The maturation of the creation of painting and calligraphy takes a long time; hence “Cho” and “Lao” aesthetics are full of the meanings of humanity. The nature has its beauty. Chinese people observed the beauty of the nature and applied it into the painting and calligraphy art long ago. “Cho”and “Lao” aesthetics originated from the yearning of the nature. Placing oneself between the heaven and the earth would help him realize nature rules and restore the innate characters of simplicity. The harmony brought from the union with the nature is the highest criterion of Chinese aesthetics. Through the study of “Cho”and “Lao” aesthetics shall clarify the meanings of Chinese painting and calligraphy aesthetics; further, it shall help people appreciating and evaluating Chinese painting and calligraphy art.
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Siao, Yu-jhen, e 蕭羽珍. "A Research on the Relations between Chinese Calligraphy and Painting by the Philosophy of art". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/03071573695233391065.
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碩士南華大學
哲學與生命教育學系
101
In this paper I would like to discuss the relationship between calligraphy and Chinese painting mainly by the angel of philosophy of art. In order to this aim I try to understand the spirit of art from Zhuangzi and the Chinese aesthetic and philosophy of art. The relation of calligraphy with painting is thought in two ways, that is, there are big difference between both, or closed relation. In this paper I hold that there is a closed relation, and the reason is that the opposite of viewpoint sees calligraphy as nothing but a tool, namely a system of symbol, and its functions does undertakes the meanings of words, in one word, they cannot understand that calligraphy can be seen as an art work. In order to understand what I have said, it is very important to discuss calligraphy by the art thought and its elements of aesthetic and philosophy. It comes from 《Zhuangzi》, which demonstrate the subject of spirit characterized as art and his thought makes the direction of subject who makes creation of art. In addition to philosophy of art I try to supple many famous art works of China in different time and discuss the style and the content in art works of Zhao Meng - Hu in order to make clear his theory of art: how can he combine the painting and calligraphy, and therefore shows the spirit of such combination.
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CHENG, FONG-RONG, e 袁陳鳳榮. "A study of Chinese Calligraphy and Painting and of the Practice of The Aesthetics Industry". Thesis, 2016. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22104NTTU5233003%22.&searchmode=basic.
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碩士國立臺東大學
進修部美術產業發展碩專(夜間班)
104
This research focuses on the study of Chinese calligraphy and Chinese paintings: the combination of calligraphy and painting is a combined art unique to china, in which the words used as tool for conveying meaning also display beauty in its structure and form. This art which had symbolized culture in the past has, in today’s society which values practicality, lost its hallowed status but with its special artistic expression has none the less retained its people’s love and respect. Furthermore, it has recently attracted increasing followers in the learning and promotion of the art. The art is widely used in today’s Culture ad Creative Industry, being introduced via scholars’studies of technique and style into life aesthetics. The main purposes of this study are: 1. Examination of Ink Painting, its ideas & doctrinal foundation; 2. Practice of the art in life aesthetics; 3. Consideration of societal changes and the impact of western art. With this research, it is hoped that the artistic journeys on the art of Chinese Calligraphy and Chinese Painting, of Woodcarving, of Fabric Painting, of Glass Bead Moulding and of Patchwork might all exceed their past and achieve fresh presentations. To expand the possibilities in expression and progress beyond the traditional use of ink, new materials must be widely introduced and tried, new experiences accumulated, including those of techniques, of creative formats as well as media used. Today’s original and collective knowledge on the practice of the art will form the kingpin of creativity in the future.
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Fa, Chang –. Chan, e 張春發. "The Study of Combination between Chinese calligraphy Ink Paintings". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/82398868381777346001.
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碩士國立臺灣藝術大學
造形藝術研究所
96
This dissertation aims to compound two art styles including calligraphy and paintings, as both are the Chinese traditional cultural core spirits and to integrate the vitality of ancient words and modern ideology creativity through discussing and analyzing literature, comparison of paintings and some ideas from lives’ experiences. Create various works by using abstract stipples shape to present the overall creative style of modeling construction. By using the elements of combination of traditional calligraphies including seal and cursive styles are transited into modern iconography pattern and become a more contemporary model and aesthetic between the symbiosis of ancient and modernity. Finally to achieve the hope of “Taking advantage of ancient opens now” is based on traditional calligraphy to create a unique modern style of calligraphic art. The integration of Chinese calligraphy and paintings is constructed firmly on the basis of traditional superior calligraphy by the main written style and combines with painting, design, modernity and spontaneity regarding various elements of colors, structure and vision, etc. By the rich traditional aesthetic combined with a modern brand new aesthetic scrutiny creates artistic ideas, icon and structure and so on from lives’ experiences then present the original intrinsic of calligraphic art itself. The way is the extension of the cultural stream from ancient to modern time and rich spiritual life. This is the key to appreciate the Chinese art and Chinese art become popular around the world as well.
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Wu, Zhang Lian, e 吳長璉. "A study on The Book of Mounting and the Practice of Mounting Chinese Painting and Calligraphy". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/s75xbs.
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碩士國立臺南大學
國語文學系碩士班
104
The book of mounting is the first book that explored the history of Chinese painting and calligraphy mounting for nearly one thousand years. It discussed the phenomenon that painting collectors and mounters generally lack correct concept of mounting in Wuzhong area in the late period of Ming dynasty, which resulted in the damage and destroy of painting and calligraphy. And it discussed the correction to the phenomenon. The content of the book focused on mounting formats including hanging scrolls, handscrolls, and album leaves. It explained the main point of ethics of mounting, methods and procedures of restoring painting and calligraphy, and exhibition of painting and calligraphy. The study aims to investigate the goal orientation of The book of mounting through analyzing relevant references, and derive in the Inheritance and innovation of practice of modern mounting and restoration of painting and calligraphy. Therefore, this study focused on the background of The book of mounting, the writing features, the development of mounting formats, and the practices of modern mounting and restoration of painting and calligraphy. This thesis is divided into five chapters. The first chapter, introduction, is the explanation of motivation and limits of the study. The study adopted the method of documentary analysis. In the second chapter, summary of The book of mounting, we examined the author and background of the The book of mounting, the edit situation, the content, and the development of mounting formats. In the third chapter, The book of mounting and modern mounting, based on the content of The book of mounting, we explored the causes and approach of Qi-Wa (up curl on the sides of paper) that often appears in modern mounting, the tools and materials of mounting, and the hanging scrolls of modern mounting. In the fourth chapter, The book of mounting and restoring painting and calligraphy of National Palace Museum, we analyzed the process of repairing painting and calligraphy in The book of mounting. And we investigated the inheritance and innovation of modern restoration of painting and calligraphy based on the restoration of painting and calligraphy of National Palace Museum. The fifth chapter is the conclusion, summarized the research experience and relevant proposal of it.
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Ya-HuiChiang e 江雅慧. "The Study on How Kang You-Wei’s Calligraphy and Chinese Painting Theory Transfer to Modern Style". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/32bjfh.
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博士國立成功大學
中國文學系
106
SUMMARY The main two texts of this study are Guang Yi Zhou Shuang Ji and Wanmu Caotang Canguha Mu. Both are Kang You-wei’s theory of Chinese calligraphy and painting. The 19th century was a turning point in Chinese society when the western civilization landed. Chinese calligraphy and painting face the problem of transformation. Kang You-wei who transformed the traditional theory of painting and calligraphy into a modern style. At the calligraphy level, Kang You-wei make ‘‘the philosophy of the form’’ as a theoretical basis；and the Tablet-Calligraphy theory as practice. At the painting level, he proposed ‘‘Theories of Chinese Artistic Decline’’ at first, and caused a great respons. Moreover, he put forward specific ways to improve Chinese painting. One of them is learning the strengths of Western painting；the other is to restore the Tang and Song Dynasties classic academic painting. Systematic philosophy of painting, history of painting, techniques of painting, prompting new development of Chinese painting. Thus, Kang You-wei is regarded as a pioneer of the modernization of Chinese calligraphy and painting. Scholars often choose one of Guang Yi Zhou Shuang Ji or Wanmu Caotang Canguha Mu as a research object. However, calligraphy is an unique form of art in China which is not available in foreign countries and its direction of reform lies only in retro to update. The theory of painting that Wanmu Caotang Canguha Mu proposes can be more clearly demonstrated the way of his artistic innovation, On the one hand is retro, the other hand is to learn the strengths of Western chemistry.This thesis combines both, Look forward to a comprehensive presentation of Kang You-wei’s direction of the art reform.
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LAI, YI-TING, e 賴羿廷. ""When the black or white", virtual real or real virtual-Abstract painting by mixing Calligraphy, Chinese ink and Ceramic materials". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/t2p6h7.
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碩士國立臺灣藝術大學
書畫系造形藝術碩士班
103
Abstract The title of the thesis: “When the Black or White”, Virtual Real or Real Virtual – Abstract Painting by Mixing Calligraphy, Chinese Ink and Ceramics Materials by the author Yi-ting Lai is a discourse on personal experimental creation in 2012-2015. With the personal perspectives of viewing nature’ vast skies, lamenting the impermanence of life, and realizing the pain of being separated in life and by death, the author employed the queries and remarks cited by oriental philosophy, the Lao-Zhuang (Laozi and Zhuangzi) school of thought, Zen (Buddhist) theory, along with Western aesthetic theory and ideas that combined nature and mind as the source of creation. The author pictured the possibility of modern abstract painting by mixing calligraphy, Chinese ink, and ceramic materials experimentally with specific skills in association with the preceding theory. First, the experimental means applied to mixing the materials. The means of spray, monotype, dripping and hand drawing applied to calligraphy and Chinese ink. The means of rollover and slab and coil molding applied to ceramics. The composition and modeling followed the abstract aesthetics of space stressed by Virtual and Real in When the Black or White in addition to the mixing axle of organic linear rhythm and series connections. The visual experience of the Zen image was expected to trigger resonance in the audience and move them with the static visual stimuli. Chapter 1: Introduction: Motive, aim, framework and methodology are laid out. Chapter 2: Theory (Literature review): Oriental philosophy, namely Lao-Zhuang ideology and Buddhist theory serve as the basis. The main axle of the personal creation is covered by the virtual real dialectical aesthetics as stated in Yin-yang Theory, the Book of Changes (Yi), Being and Nothingness in Laozi’s Book of Ethics (Morality), dualist transcendence in Emptiness and Being of Zen and Buddhism, and virtual real discourse by When the Black or White of Deng Shi-ru as the oriental fundamental theory, and Wassily Kandinsky’s point and line to plane theory and Henry Spencer Moore’s virtual real sculpture as the fundamental Western theory. Chapter 3: Virtual Real and Theory of Space in Abstract Art: The virtual real and abstract ideas apply to illustration and interpretation. Theory of space applies to abstract art in the East and West and to investigation of abstract presentation of artists in the East and West. Chapter 4: Ideology of Creation: black and white in calligraphy refer to Yin and Yang, i.e. Virtual and Real. The three media of calligraphy, Chinese ink, and ceramics apply to the creation in an abstract form of virtual real and real virtual When the Black or White. Finally, the artwork was presented by mixing the three. Chapter 5: Procedures of Creation: A detailed elaboration applies to presenting the material employed and research on procedures and skills concerned, form of creation and way to present the theme and composition, and process of creation. Chapter 6: Illustration of Artwork: Calligraphy refers to a point and 1D line and 2D planar abstract form. Chinese ink refers to a 2D planar abstract form. Ceramics refers to a 3D abstract form. The significance of artworks, form of content, and skill of expression are queried by mixing the three in creation. Chapter 7: Concluding Remarks: The remarks on 5 dimensions are concluded as follows: 1: The characteristics and artistic value of the artworks created by mixing calligraphy, Chinese ink and ceramics; 2: What is acquired and perceived during creation; 3: Objectives achieved or not throughout the process; 4: Flaws and difficulties in the process; and 5: Future development and reflections, and plan for creation.
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CHEN, HSIU-YU, e 陳秀玉. "The Study on Customied Strategies for Integrating Chinese Painting and Calligraphy with Cultural and Creative Products-Case Study of Tai-Hwa Pottery". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2m4rg4.
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碩士環球科技大學
中小企業經營策略管理研究所
104
Chinese history, society, culture and aesthetics have had a big impact on Chinese painting and calligraphy. Painting and calligraphy have in turn been deeply affected by Chinese philosophy, religion, humanities and politics for a very long time. The variation of calligraphy techniques is deeply attached to Chinese spiritual values. Therefore, there have been many different types of painting and calligraphy representing each dynasty. The cultural and creative industry has become the fourth wave of economic power, following the third wave of the information industry’s economy in recent years. The cultural and creative industry not only became the hottest topic of international economic development and industrial research, but also is one of the most important aspects of product design and design research these days. The purpose of this study is to explore the customized strategies for integrating Chinese painting and calligraphy with cultural and creativity products. In my up close and personal interview I analyze Tai-Hwa Pottery by studying its business model in order to understand the current state of development of Chinese painting and calligraphy, especially as it relates to cultural and creative pottery products. In addition I analyze Tai-Hwa Pottery's marketing strategies and how it attracts consumers by customizing products. Based on an analysis of the interview I concluded the following: 1. Cultural and Creative products must embody the spirit and local culture of the artist. 2. By adding art work to crafts, factories can become galleries. 3. By exhibiting artists' works and cultural and creative products alongside pottery, the pottery store actually becomes an art center. 4. Customers' needs guide the options offered for customizing products.
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Pan, Yi Ling, e 潘怡伶. "A Research on Deterioration for Chinese Silk Painting Hanging Scroll with Case Study on the Calligraphy of a Early Qing Dynasty Artist - Wang Jie". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/88726235819217163850.
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碩士國立臺南藝術大學
古物維護研究所
97
Hanging scrolls, also known as vertical scrolls, are one of the most commonly used traditional mounting styles in Chinese painting. They have the characteristics of being rolled up for storage and unrolled for display. As discussed in the book Records of Historical Famous Painting written by Zhang Yan-Yuan during the Tang Dynasty, a well-made hanging scroll enhances the beauty of a painting and can be hung, rolled up well, and stored for very long periods of time. However, these paintings can also become damaged during the process of storing them as hanging scrolls. Some of the common causes of damage are uneven rolling, using a bottom roller size that is too thin, and inappropriate use of mounting materials. These methods create creases in the body of the paintings, which result in various forms of damage. These are the issues that need to be resolved when a painting is to be mounted in the form of a hanging scroll. Silk paintings in specific are usually harder to work with than paintings on paper because they have an alum coating and thicker pigments. Thus the conservation and restoration of silk paintings mounted as hanging scrolls are particularly difficult. In addition, some types of previous improper conservation hasten the deterioration of silk paintings, which make restoration and conservation even more difficult. The paintings may have serious creases, broken parts, and a loss of pigment, especially if they are often rolled and unrolled. Asian painting conservators try to repair past damage to these paintings, but also need to find proper rolling methods for future preservation so further damage is kept to a minimum. In order to research and apply proper conservation and restoration methods a case was chosen. This case, titled, “Silk Painting Hanging Scroll of the Calligraphy of the Early Qing Dynasty Artist Wang Jie”, provided the opportunity to research and determine the proper materials and procedures necessary to save similar works of art from future damage caused by inadequate conservation and restoration processes, so that these paintings, in the form of hanging scrolls, can be kept indefinitely.
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Wang, Fei. "Of master Hongyi's last calligraphic work". Thèse, 2013. http://hdl.handle.net/1866/10436.
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Hongyi (1860-1942) est le maître de l’école bouddhiste appelée « Terre Pure » en Chine moderne. Dans l'histoire du bouddhisme chinois, il est le seul maître bouddhiste qui peut se classer parmi les plus grands calligraphes chinois. Dans l'histoire de la calligraphie chinoise, il est le premier moine-calligraphe qui allie sa foi bouddhiste avec son art calligraphique tout en appliquant des principes de la peinture occidentale à son travail de calligraphie. Son art serve bien sa croyance religieuse et n’est pas indépendent de celle-ci, ce qui est extraordinaire dans l’histoire calligraphique. Il utilise le concept bouddhiste de «une forme sans forme» pour interpréter la calligraphie chinoise, et propose une série de théories calligraphiques bouddhistes pour guider sa pratique. D’ailleurs, sa calligraphie ne sert qu'à retranscrire les textes bouddhistes classiques et contemporains. Ses œuvres illustrent donc l'influence du bouddhisme chinois sur la calligraphie chinoise. Traditionnellement, la dernière œuvre d'un calligraphe est souvent considérée comme son chef-d'œuvre en fonction de deux critères: sa technique et son contenu moral. En outre, quelques-unes des dernières œuvres de grands calligraphes ont survécu. La rareté les rend encore plus précieuses. Bei xin ji jiao («悲欣交集») est la dernière œuvre de Hongyi, qui a été achevée trois jours avant son nirvana. Ce mémoire sera d'étudier et d'analyser l'influence de sa pensée bouddhiste sur le contenu littéraire et la forme artistique de cette œuvre, et d’expliciter qu’elle guide pleinement vers l'état ultime de sa pratique bouddhiste au plus haut niveau de sa calligraphie.Hongyi (1860-1942) is a Master of Pure Land Buddhism in modern China. In the history of Chinese Buddhism, he is the only Buddhist Master who can rank among the greatest Chinese calligraphers. In the history of Chinese calligraphy, he is the first monk calligrapher who combines his Buddhist faith with his calligraphic art, and applies Western painting principles in his work of calligraphy. His calligraphic art well serves his religious belief, not independent from the latter as it is in most cases in the history. He uses the Buddhist concept of “a form without form” to interpret Chinese calligraphy, and puts forward a series of Buddhist calligraphic theories to guide his practice. Moreover, his calligraphy serves only to transcribe classical and contemporary Buddhist texts. In this sense, his calligraphic work exemplifies the influence of Chinese Buddhism on Chinese calligraphy. Traditionally, the last work of a calligrapher is often considered as his masterpiece according to two standards: its technique and its moral content. Furthermore, few of the last works by great calligraphers have survived. Scarcity makes these works even more valuable. Bei xin jiao ji (“悲欣交集”) is Hongyi’s last calligraphic work, which was completed three days before his nirvana. This thesis will study and analyze the influence of Hongyi’s Buddhist thought on the literary content and artistic form of this work and expounds that his last work fully displays the ultimate state of his Buddhist practice and the highest level of his calligraphy.
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"王世貞(1526-1590)藝術贊助的研究". Thesis, 2006. http://library.cuhk.edu.hk/record=b6074331.
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Chapter 1 reviews the background to the rise of art patronage studies and their development and its influence on studies of Chinese art history. It also provides alternative approaches to studying activities related to patronage and their influence and role in Chinese art history by criticising traditional analysis of Chinese art based on social and economic theories.Chapter 2 examines the life of Wang and explores the intentions and meaning to his patronage activities through studying his political involvement, literary activities and his social background and connections.
Chapter 3 discusses how Wang, given his knowledge in history and passion for art and its collection, reinterprets art history with reference to his private collection of art, and thereby consolidating his status as a leading figure of literary and cultural circle of his time.
Chapter 4 explains and reflects on the formation of the "artist-patron" relationship through examining the relationship and interaction between Wang and the literary circle and by appraising the financial background and standing of artists and calligraphers at the time.
Chapter 5 examines the direct impact that Wang, as a literary leader and patron of the art, has on the styles and subject matter of art work by examining and decoding several pieces of art commissioned by himself, thus revealing a distinct mechanism in which art was produced at the time.
Chapter 6 discusses the "artist-patron" relationship and the "trading of cultural resources" by examining diverse pieces of art work given to Wang as gifts by different individual artists and calligraphers.
Chapter 7 analyses the significance of the patronage activities of Wang and provides a new approach to understanding the issue of traditional Chinese art patronage in Chinese art history.
Through a case study of the life of Wang Shizhen, this research attempts to analyse the influence of literary leader and patron of the arts on the development of painting and calligraphy during the mid-Ming period. By analysing the "artist-patron" relationship, this paper attempts to explain alternative mechanism through which traditional Chinese art was produced. The thesis also examines art patronage activities in Suzhou during the sixteenth century and thereby attempts to examine these activities from the broader cultural and historical context at the time. This paper is divided into seven chapters:
鄧民亮.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 298-320).
Advisers: Tsung-i Jao; Kar Leung Mok.
Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0378.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 298-320).
Deng Minliang.
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Lin, Chun-Chen, e 林俊臣. "Analysis of Chinese Calligraphy -- People and Calligraphy". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/36786582589920662107.
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博士國立中興大學
中國文學系所
103
This paper focuses on the problematic consciousness of how to rebuild the relationship model between people and calligraphy nowadays, and seeks various possibilities to de-velop modern calligraphy research and calligraphy implementation inside the context of cross-culture study. This research reduces modern calligraphy into two directions of de-velopment including cultural calligraphy and art calligraphy. The foundation of cultural calligraphy highlights the tactile writing while the art calligraphy uses the bodily feeling caused by tactile feeling to surpass the calligraphy cognitive model using visual analysis. This viewpoint is mentioned throughout this paper, including the topics of “aged people and book”, “moving from method to skill”, and “relationship among emotion, people, and writing”. Moreover, the materiality factor produced by the physical touch in writing activities develops the microcosmic experience among people, materials and the world, and connects to classical languages. This research uses modern calligraphy as the discus-sion foundation of moral practice, and applies the tactile experience of calligraphy writ-ing as the simulation practice of deepening daily perceptual abilities. Calligraphy activi-ties thus become the training activities that contain democratic political connotation.
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Tang, Li-Chiao, e 唐麗嬌. "Chinese Calligraphy flavors- Tang, Li - Chiao 's discussion on the Creation of Chinese Calligraphy". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/95971170381283957253.
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碩士華梵大學
美術學系碩士班
105
"Culture and Creative Industry" is a combination of culture industry and creative industry. This research takes the combination of Calligraphy and Handmade Cultural-Creation as a research theme, and creates on different materials such as cloth, wood, porcelain, metal and plastic. The research contains the creations creating under the theme that use collage, printing and dying, and transfer printing to combine with Calligraphy's characteristics and techniques learning from the class during 2015 to 2017 studying in master's degree. This research start from analyzing the materials' characteristics and three kinds of handmade technique: Decoupage, Engraving Plate Printing Technique and Computer Transfer Printing, and then add the Calligraphy character and other techniques to expand the diversity of works, changing the traditional Calligraphy creating way which only uses single media. This research's method first analyze the ancient Calligraphy's creative applying. Then, by interpreting, understanding, analyzing and discovering the works combined with different character types, techniques and multimedias, integrate the opinions of Esthetics, Arts and Creativeness to develope Calligraphy's Cultural-Creative products. Let more people understand that Calligraphy is capable of integrating with other kinds of art, and promote the multiple values and new ideas of interdisciplinary of Calligraphy Culture.
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LU, YU-TING, e 呂玉婷. "" Integrate Calligraphy with Painting" Information Media into the Primary 3rd Grade Calligraphy Creative Teaching". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/759pt5.
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碩士中華大學
資訊管理學系
106
The main purpose of this research is to explore the concept of “painting into calligraphy”. By using the Chinese painting imagery, using information media to incorporate the calligraphy creative teaching activities of the primary school ,and through the use of self-edited calligraphy materials and courses, use action research methods to explore the third grade of primary school students. Calligraphy creative teaching activities, student learning effectiveness and interest enhancement. The research findings are summarized as follows: 1.The innovative calligraphy teaching of information, diversification and daily life is suitable for the calligraphy learning activities of the third grade primary school students. 2.The " painting into calligraphy " information media into calligraphy creative teaching activities to help students seek innovation in the tradition and can stimulate students to actively explore and willing to learn the spirit. 3. The use of " painting into calligraphy " information media to integrate calligraphy teaching into the teaching of calligraphy can enhance the interest and learning effectiveness of calligraphy for the third grade students. According to the research results, it proposes future research directions as follows: 1. Expand the research object and implement a cross-grade teaching program. 2.Extend the research period and apply experimental methods to obtain more quantitative analysis data. 3.Teachers should have a systematic curriculum design, teaching material research and development capabilities and information media capabilities.
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Chen, Shiou-Liang, e 陳秀良. "The Study of Syu Yun’s Calligraphy and Ink-painting". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/72544219979845085049.
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碩士明道大學
國學研究所
99
Since Taiwan is located far away in sea, Sino culture was developed more lately there. After Shen Guangwun came to Taiwan during the late Ming dynasty, and started local education, then poetry and literature in Taiwan began to bloom. With the growth of population, the development of culture and education, the emphasis of examinations, the improvement of economics and politics, calligraphy and paintings became prosperous. Between Tongjhih and Guangsyu period, calligraphers and painters in provinces like Jhe, Min, and Yue along the seashore had all strived to enter Taiwan, which led to a booming scene, far better than before. However, it’s a pity that many accomplished calligraphers and painters, due to the transformation of authorities, are gradually forgotten. Moreover, it was the time when inner war occurred, so local officials couldn’t get fully involved in culture and education, and historical documents and books were incomplete as well. It resulted in the loss of memory of those literates who contributed a great deal to Taiwan. Alas! Syu Yun, after three teachers, had become the instructor of Lin Benyuan. My dissertation focuses on Syu Yun, his character, and the general development of calligraphy and painting in his time. Syu Yun, styled Lunting, was born in Ciyuan-jhou, Fujian. He was an ink-painting artist and calligrapher, who had ever visited and lived in Taiwan for several times during Sianfeng, Tonjhih, and Guansyu eras. His paintings were refreshing without habitual tendencies, including a variety of painting genres, such as landscape, figures, flowers and birds. He was qualified to be listed as the “master painter”, because few contemporary ink-painting artists can keep pace with him. His calligraphy reached high levels in different styles like Kai, Li, Hsin, and Tsao. Although few of his works have been handed down to posterity, his candid calligraphy style, following Yan Jenqing’s, is magnificent and vividly shown on the papers. In addition, his calligraphy and paintings have been treasured by collectors since Japanese ruled period, and have been published in the catalogues of exhibitions and collections. Strangely enough, Syu Yun looked like a hermit in ancient times, and no one knew where he came from and where he was heading. His life was fantastic and dreamlike, floating away like clouds and fog. That is really the uncountable loss of Taiwanese ink painting history, and the pity shared by all people who love calligraphy as well as ink paintings. In this dissertation, the author collects people and things relevant to him and therefore depicts his features. Besides, his calligraphy and painting inheritance, his achievement, and his impact on the next generation are also discussed to ensure his important position in Taiwanese art history. Syu Yun is the main thesis of my dissertation. In the first chapter, I will generally describe the reasons of my research, and the surroundings of his calligraphy and painting. In the second chapter, it starts from the aspect of Taiwanese calligraphy and painting in Ming and Ching dynasties, and then depicts the development of calligraphy and painting in Taiwan in order to understand the field of calligraphy and painting in Syu Yun’s era. Since there are some differences in the model of Taiwanese calligraphy and paintings, and the development of calligraphy becomes mature and prosperous with time. Therefore, it was described by dividing the developing process into the period of origin, the period of development, and the period of maturity. As for paintings, according to the characteristics of Taiwanese painting, I’ll describe the cause and its effect. Syu Yun lived in Taiwan for several times during Sianfeng, Tonjhih, and Guansyu eras, especially when he qualified as the instructor of Lin Benyuan, after the masters such as Lyu Shihyi, Ye Huacheng, and Sie Guanciao. His ability of art and culture are approved, but his character and deeds are seldom known. Hence, in the fourth chapter, I’ll trace the performance of Syu Yun in Taiwan so as to know more about him and his ability. In the fifth and sixth chapter, I’ll analyze, discuss, and compare the calligraphy and paintings left by Syu Yun, and dig up more about his style of calligraphy and paintings. Also, I will compare him with some important calligraphers and painters to ensure his value and influence.
49
HUANG, LI-FEN, e 黃麗芬. "The Research on Shen Yao-Tsu’s Calligraphy and Painting". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/44392921456512077717.
Texto completo da fonteResumo:
碩士華梵大學
美術學系碩士班
105
The art of painting has its origins far back in China’s long history. After thousands of years of enrichment, revolution, and development, from these models created the variety of styles we have today, be they plain and primitive, bold and vigorous, delicate and regular, or flowing and beautiful. The freehand style of Chinese painting is now commonly used by Taiwanese painters─Shen Yao-Tsu─an artist who was born and grew up in an environment that promoted calligraphy and painting─Zhaoan County, Fujian Province, and who received painting instruction from his clan─SHEN JING HU, and has developed his own style of freehand painting. During Shen Yao-Tsu’s childhood, he lived in poverty and haphazardly learnt various painting techniques. Despite the hardships in his life, he persisted in his painting and creation. By imitating others, he inherited and absorbed the traditional techniques of the great ancient painters. Although His freehand flower and bird paintings drew on the painting techniques of Xu wei, Zhu Da and wu changshuo, impressionistic, but the similarities between them ?So in addition to exploring the Shen Yao-Tsu’s background, biography, and artistic education, this paper analyzes his thoughts regarding painting from six dimensions to identify how unique styles within traditional painting can be created by blending knowledge and temperament. Since ancient times, calligraphy has been inseparable from painting in China; thus, techniques that integrate calligraphy into painting were also identified. Shen Yao-Tsu have suggested that calligraphic skills are indispensable for proficient painting.Wish the results of this study can serve as a crucial reference for future research regarding the artist’s painting concept and modes of thought. With the academicism of art institutes being westernized in the 20th century, how we should change this traditional art form and ensure it is passed on to future generations, are problems we need to discuss as a society. Keywords: Shen Yao-Tsu, freehand flower and bird paintings
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Tseng, Pei-Hua, e 曾珮華. "The Research of Shi lu's Painting and Calligraphy Arts". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/01399280991436627289.
Texto completo da fonteResumo:
碩士國立臺灣藝術大學
書畫藝術學系
101
Shi Lu(1919-1982)is an excellence artist. Shi Lu extremely emphasis sketch, sketch is the basis of paintings, he argue that painter should be preceded by thorough life to understand the nature and object of knowledge before sketching, by asking questions and answer to finding subject. Sketch as thinking process, to explore the new subject when we sketching. From Shi Lu’s aesthetics theory, this research to explore relation of social and his personality. Thus, this research focuses on his life background, and developed his art knowledge. Moreover through his art, to analysis relation of brushes and ink, composition, color, subject of creative style. In addition, try to understanding the differences of creative style before and after Shi Lu in schizophrenia, to point out the painting style factor.