Готові списки джерел за темами / Huang Binhong

Добірка наукової літератури з теми "Huang Binhong"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Huang Binhong"

1

Wang, Yiyan. "Friendship in Art: Fou Lei and Huang Binhong." Asian Studies Review 36, no. 3 (August 23, 2012): 413–15. http://dx.doi.org/10.1080/10357823.2012.712641.

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2

Wang, Keping. "Rethinking the Spirit of Chinese Aesthetics." Synthesis philosophica 36, no. 2 (January 20, 2022): 289–312. http://dx.doi.org/10.21464/sp36203.

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Анотація:
Duh kineske estetike duboko je ukorijenjen u koncepciji jedinstva između neba i čovjeka. Iz perspektive pragmatičnog vitalizma, njegov se mehanizam trajnosti može pratiti do vitalnog uzroka. Ovaj uzrok obuhvaća tri glavna aspekta: supstancijalni, primjenjivi i plodonosni, koji čine dijalektički interaktivan i međusobno povezan okvir. U praksi, ovaj okvir oslikava umjetnost naučenjačkog slikanja krajolika koje karakterizira progresivni proces. Taj je proces izložen trima primarnim strategijama ili činovima učenja: slijediti stare majstore u početnoj fazi, slijediti planine i rijeke u srednjoj fazi i slijediti Nebo i Zemlju u konačnoj fazi. Sve to, prikazano je u relevantnoj teoriji i umjetničkom stvaralaštvu za većinu kineskih slikara naučenjaka, od kojih su Dong Qichang, Shi Tao i Huang Binhong tri tipična predstavnika iz različitih razdoblja između 16. i 20. stoljeća.
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3

Bian, Zhaohui. "Discussion of theoretical value of Da Chongguang's "Calligraphy Raft"." BCP Social Sciences & Humanities 19 (August 30, 2022): 724–27. http://dx.doi.org/10.54691/bcpssh.v19i.1873.

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“Calligraphy Raft" is an important theoretical work of calligraphy written by Da Chongguang in the early Qing Dynasty. It has elaborated the multiple aspects of Chinese calligraphy, including bifa (using the brush method), tishi (form and structure) and bubai (space), i.e., dianhua (dots and lines), jieti (structure) and zhangfa (space). At the same time, it also clarified the essence of calligraphy on core issues such as the key points of learning calligraphy and the structure of brush and ink. In this regard, Wang Wenzhi, Huang Binhong, Lin Sanzhi and other masters all highly praised it. Obviously, from the overall point of view of the history of calligraphy, the position of this book is not prominent. However, as far as the discussion of this article is concerned, it is really penetrating and profound. The dialectical relationship of calligraphy mentioned by Da Chongguang is also worthy of careful appreciation by scholars of ancient and modern times.
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4

Claypool, Lisa. "Friendship in Art: Fou Lei and Huang Binhong. By Claire Roberts. Hong Kong: Hong Kong University Press, 2010. xv, 232 pp., 60 color illus. $49.95 (cloth)." Journal of Asian Studies 71, no. 1 (February 2012): 233–34. http://dx.doi.org/10.1017/s0021911811002555.

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5

Roberts, Claire M. "Metal and Stone, Brush and Ink: Word as Source in the Art of Huang Binhong." PORTAL Journal of Multidisciplinary International Studies 9, no. 3 (September 3, 2012). http://dx.doi.org/10.5130/portal.v9i3.2551.

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Анотація:
Like many of his contemporaries, scholar-artist Huang Binhong (1865-1955) received a classical education with deep foundations in text-based historical learning that engendered creative expression in the form of painting, calligraphy and seal carving. While based on cultural traditions of the past, these scholarly arts were directed at experiencing the present and imagining the future. Calligraphy and painting may be understood as the living embodiment of the artist who is vitally connected to the historical past, whereas the printed impression of words or images carved into stone conveys ideas associated with authenticity, longevity and artistic completion. When combined in a brush-and-ink painting there is an interesting tension between the spiritual and temporal; the historical and contemporary. During his lifetime, Huang Binhong was highly regarded as a scholar, art historian, art editor, collector and connoisseur, as well as an artist. His multiple identities formed an integral part of his creative practice. This paper will discuss aspects of Huang Binhong’s life as a scholar, connoisseur-collector and artist, referring to his writings on seals, first published in the Journal of the National Essence (Guocui xuebao) and his involvement with the Shanghai-based art magazine National Glories of Cathay (Shenzhou guoguang ji). It will also analyse some of Huang’s paintings in which, through colophons, he makes a direct connection between the study of ancient inscriptions in bronze and stone and contemporary creativity. Through this example it is possible to reflect on ways that contemporary Chinese artists have drawn on the mutual interdependence of word and image to create compelling works of experimental art.
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Дисертації з теми "Huang Binhong"

1

Kotewall, Pik-yee. "Huang Binhong (1865-1955) and his redefinition of the Chinese painting tradition in the twentieth century /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20294086.

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2

蘇碧懿 and Pik-yee Kotewall. "Huang Binhong (1865-1955) and his redefinition of the Chinese paintingtradition in the twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238701.

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3

Hertel, Shao-Lan [Verfasser]. "The Inner Workings of Brush-and-Ink: A Study on Huang Binhong (1865–1955) as Calligrapher, with Special Respect to the Concept of Interior Beauty (neimei) / Shao-Lan Hertel." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1136903585/34.

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4

Roberts, Claire. "The dark side of the mountain: Huang Binhong (1865-1955) and artistic continuity in twentieth century China." Phd thesis, 2014. http://hdl.handle.net/1885/11334.

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Анотація:
This thesis is an interpretive study of the life and art of Huang Binhong (1865-1955). It uses empirical and textual analysis to examine the landscape paintings of Huang Binhong in particular and places them within the historical context of a period of unprecedented political and social change in China. The thesis explores the background to Huang Binhong’s creative practice and the development of his artistic style and vision. It investigates Huang’s training as a Confucian scholar and his multiple identities as painter, art historian, art editor, teacher, collector and connoisseur. The first two chapters place Huang within the cultural milieu of the Lower Yangtze Valley and his ancestral home in Anhui, noting the influence of Xin’an artists and examining paintings of Huangshan; Chapters Three and Four examine Huang Binhong’s working life and milieu in Shanghai, his art historical writings and his work to authenticate paintings in the collection of the Palace Museum, and considers the influence of his work as editor and scholar on his artistic practice. Chapter Five follows Huang’s travels to Guangxi, Guangdong, Hong Kong and Sichuan, exploring the effect of contact with different landscapes on the evolution of his artistic style. Chapters Six and Seven locate him in Beiping during the Japanese occupation, a period of artistic reflection and experimentation in which the artist’s interest in “darkness” intensified. Chapter Eight examines Huang Binhong’s move to Hangzhou in 1948 and the impact of the establishment of the People’s Republic of China on his life and his late artistic style. Chapter Nine is a detailed examination of paintings from 1952 to 1955. In Chapter Ten I briefly discuss the legacy of Huang Binhong and reflect on a visit to his ancestral home in Shexian, Anhui in 2004.
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Liou, Ruei-lan, and 劉瑞蘭. "A New Reading Of “Lush and Resplendent, Full And Round” Landscape Painting By Huang Binhong(1865-1955)." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/44319373407897534570.

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Анотація:
碩士
國立臺灣藝術大學
書畫藝術學系造型藝術碩士班
100
Huang Binhong (1865-1955) was a modern painter in the late Qing Dynasty to the early years of the Republic. “ Lush and Resplendent, Full and Round ” was his exploring a landscape painting style and creative spirit in his later years. The article aims at studying Huang Binhong embodied the landscape painting of “ Lush and Resplendent, Full and Round ” in his later years as a research object. The author will explore what were Huang Binhong’s painting of the appearance, pen and ink techniques and creative spirit. And what factors influenced his. Because Huang Binhong was not the first painter to explore the “ Lush and Resplendent, Full and Round ” in the history of Chinese painting. The author will compare the Huang Binhong and the predecessors of the landscape. To clarify what was a new reading of“Lush and Resplendent, Full and Round”Landscape Painting by Huang Binhong. This article is divided into chapters. The first chapter is the introduction, which contains research topic, literature review and analysis, to study the scope and sources of information. The second chapter is compiled Huang Binhong’s landscape development. The author based on the time of Huang Binhong “ Lush and Resplendent, Full and Round ” style points as the dividing line. The author divided Haung Binhong's painting career is divided into two stages, and to discuss. I studied epigraphy document, the Northern Song Dynasty painting and modern consciousness ,which affected Huanf Binhong. The fourth chapter is is to compare Huang Gongwang, Dong Qichang, four of the early Qing Wang, and Huang Binhong’s “ Lush and Resplendent, Full and Round ”, to clarify what was a new reading of“Lush and Resplendent, Full and Round”Landscape Painting by Huang Binhong. The fifth chapter is the conclusion.
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郭啟第. "Tradition and Innovation in Huang Binhong’s Landscape Paintings." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/21568371657842770107.

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Анотація:
碩士
國立高雄師範大學
美術學系
96
radition and Innovation in Huang Binhong’s Landscape Paintings Abstract This research aims to discuss the landscape paintings of Huang Binhong, an artist from the early republican period and explore the traditional and innovative elements involved in his work. Huang Binhong tried to reform the painting process during Chinese art modernization via cultural inheritance／development and he did make a difference. What attributed Huang Binhong’s success in bringing a new look to traditional Chinese literati landscape paintings was not merely the natural change in time and artistic development, but his consciousness of making innovation reality. Such consciousness played a key role from a broader and deeper cultural perspective and understanding. In terms of the media used in his work, the brush and colored ink are the typical of Chinese traditional painting and the spirit of Chinese art was also a key to his innovative painting style. However, it was not merely because of his excellence and whimsy in techniques that led to his innovative style. The brand-new presentation found in his works also came from a change in the visual construction. As a result, traditional and innovative elements coexisted in Huang’s works and created both a contradictory and harmonious look, adding more complexity to Huang’s landscape paintings. The complexity and conflict between old and new are the issues to be cleared in this research. Based on relevant studies on the Sociology of Art and Formalistica, this research presents the cultural ambience, discusses the roots of his styles, and compares the differences between his style and conditional style. There are four chapters in this research paper. The first chapter focuses on the contemporary trends in Huang’s times, such as “classical literature renaissance,” “academic independence,” and “flexible historical perspective” of the “Chinese culture quintessence” clique in Shanghai, with which Huang had frequent and active cultural exchanges. In addition, the chapter also explores the cultural concept of “innovative tradition” that Huang promoted in the movement to preserve Chinese cultural quintessence. The second chapter talks about traditional literati esthetic thinking, which Huang Binhong had long stuck to, with focus on the use of brushes and colored inks that symbolizes the spirit of the Chinese people. The third chapter explores the traditional origin of Huang Binhong’s painting language and the changes observed in his works and how Huang used and experimented with the brush-and-colored-ink tradition and then transformed it into a language of his own. The last chapter compares the forms, structures, and characteristics of the landscape paintings created during Huang’s later life and modern works, as well as the elements created due to the structure and the use of brush and colored inks, to find out reasons why Huang’s works created later in his life were different from the traditional style in visual structure.
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WU, YA-LING, and 伍雅鈴. "The Studies of Huang Binhong’s Aesthetic Point of View for Calligraphy and Painting, and The Characteristics of His Practice." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/vt5an4.

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Книги з теми "Huang Binhong"

1

Huang Binhong. Shanghai: Shanghai shu hua chu ban she, 2000.

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2

Hong, Xin, ed. Huang Binhong. Changsha Shi: Hunan mei shu chu ban she, 2004.

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3

Huang Binhong. Beijing: Ren min mei shu chu ban she, 2003.

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4

Huang, Binhong. Huang Binhong. 8th ed. Beijing: Ren min mei shu chu ban she, 2003.

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5

Bai nian ju jiang: Huang Binhong = Century masters : Huang Binhong. Lanzhou Shi: Gansu ren min mei shu chu ban she, 2013.

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6

Huang Binhong zi shu. Beijing Shi: Wen hua yi shu chu ban she, 2006.

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7

Zhejiang ren min mei shu chu ban she., ed. Huang Binhong hua ji. [Hangzhou]: Zhejiang ren min mei shu chu ban she, 1992.

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8

Huang, Binhong. Huang Binhong hua ji. 8th ed. Taibei Shi: Hua zheng shu ju, 1987.

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9

Huang Binhong hua ji. [Hangzhou Shi: Zhejiang ren min mei shu chu ban she, 1985.

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10

Huang Binhong shi ji. Jiulong: Xu bai zhai, 1993.

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Частини книг з теми "Huang Binhong"

1

"In Memory of Huang Binhong." In Liu Kang, 63–64. National Gallery Singapore, 2011. http://dx.doi.org/10.2307/j.ctvk3gncv.17.

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Roberts, Claire. "Huang Binhong and Fou Lei." In Friendship in Art, 48–62. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0004.

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Roberts, Claire. "Huang Binhong: The Artistic Legacy." In Friendship in Art, 158–79. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0008.

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4

Roberts, Claire. "Friendship in Art: Fou Lei and Huang Binhong." In Friendship in Art, 194–202. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0009.

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Roberts, Claire. "Huang Binhong’s First Solo Show Curated by Fou Lei." In Friendship in Art, 74–75. Hong Kong University Press, 2010. http://dx.doi.org/10.5790/hongkong/9789888028405.003.0005.

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Тези доповідей конференцій з теми "Huang Binhong"

1

Feng, Ruizhen, Rong Zhuang, and James Chen. "One Conception, Two Worlds A Comparative Study of Styles of Claude Monet and Huang Binhong." In 2nd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/iccessh-17.2017.127.

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Li, Wenxiu. "Analysis on the Art Style Formation about Huang Binhong's Landscape Painting." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.86.

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