Ancient Chinese Paintings Research Articles

Research on Emotion Expression in Painting Art Based on Resemblance Theory

In the face of paintings, people will have a variety of emotions, but it is not a matter of course that art can express emotions. Art itself cannot produce emotions, it is human beings who express emotions from the beginning to the end. Based on people's use of resemblance theory to express emotions through artworks, this paper probes into the nature of resemblance theory and the problems brought by the convention and seeks interaction of artists, audience and artworks in art expressing emotions. Art expressing emotion needs participation of the three, can not be one-sided demonstration. Resemblance theory is not invulnerable, but more of a hope to point to the root cause of this theoretical behavior, to thinking of the "mind", about this differentiating mind that defines emotion, the coexistence of empathy and prejudice, and so on. In addition, this paper also uses the uniqueness of ancient Chinese painting, which is different from Western art, highlights the connected forms of multi-emotion expression in painting art, and enriches and improves the research system of emotional expression in the field of Eastern painting art.

Research on Emotion Expression in Painting Art Based on Resemblance Theory

In the face of paintings, people will have a variety of emotions, but it is not a matter of course that art can express emotions. Art itself cannot produce emotions, it is human beings who express emotions from the beginning to the end. Based on people's use of resemblance theory to express emotions through artworks, this paper probes into the nature of resemblance theory and the problems brought by the convention and seeks interaction of artists, audience and artworks in art expressing emotions. Art expressing emotion needs participation of the three, can not be one-sided demonstration. Resemblance theory is not invulnerable, but more of a hope to point to the root cause of this theoretical behavior, to thinking of the "mind", about this differentiating mind that defines emotion, the coexistence of empathy and prejudice, and so on. In addition, this paper also uses the uniqueness of ancient Chinese painting, which is different from Western art, highlights the connected forms of multi-emotion expression in painting art, and enriches and improves the research system of emotional expression in the field of Eastern painting art.

Mapping gender patterns in “dynamic cultural spaces”: the case of Beijing’s open-air antiques “ghost market” at Panjiayuan

Despite the growing recognition of the importance of street vendors and informal markets for urban life and the economy globally, research attention has tended to focus on essential products such as food or clothes and paid less attention to cultural products, such as antiques where potential gender, and other socio-demographic, differences in vending and buying behaviours may systematically differ. To explore these issues, this study employed spatial–temporal behaviour mapping (STBM) and field observations (n = 8587) at Beijing’s Panjiayuan antiques “ghost market” a term reflecting its previously illegal/underground and mobile nature. We monitored four representative sites within the market, four times a day for six consecutive days. The data included five categories of behaviour, four age groups, and two genders. Data were recorded and analysed using ArcGIS. Results showed that, unlike common marketplaces, the antique market is primarily frequented by male vendors and buyers, replicating patterns seen in ancient Chinese paintings of men being involved in the trading of “non-essentials”. Nonetheless, we found differing gender balances depending on the time and day of the week, different age groups, and spatial settings in different market areas. We summarise the nuanced relationships between the emerging gender spatio-temporal behaviour patterns and three key factors, spatial characteristics, physical activities and the social division of labour, in the Chinese context. The study reveals how the varied spatial–temporal patterns of a large antique “ghost market” raise long-established issues of equity and inclusivity and provide empirical insights that could inform decision-making and urban planning, such as better use of dynamic lighting provision to encourage a more gender-balanced experience.

A Study on the Color Prediction of Ancient Chinese Architecture Paintings Based on a Digital Color Camera and the Color Design System

Color paintings such as painted facades and interiors are important decoration elements of ancient Chinese architectures. The color of the paintings usually fades over time due to exposure to strong light, high humidity, high temperatures, and other environmental factors. In order to restore or reproduce the color appearance of ancient architecture paintings correctly, it was necessary to study the color degradation process of such paintings. To meet the needs of on-site colorimetric measurement of the paintings on ancient Chinese architectures, we propose using a digital color camera and the CDS (Color Design System) to measure and evaluate the colors of such paintings. The CDS is a color order system recommended by the Chinese national technical committee for color standardization (SAC/TC 120) in 2017 (GB/Z 35473-2017). The current version of the CDS atlas contains about 2740 samples which were uniformly distributed on the whole color space, and can be used to set up the colorimetric characterization model for the digital camera. Particularly, the digital CDS lookup table contains over 400 thousand samples, and it can be used to express the color of paintings on ancient Chinese architectures. In the experiment, a digital color camera was used to capture the colors of the paintings on the ancient Chinese architectures of different years based on the CDS and polynomial transform method. Moreover, a linear interpolation method was proposed for calculating and predicting the color degradation of such paintings. The experimental results show that with the increase in years, the color hue of the paintings changes slowly, while the lightness and the chroma of them fade obviously. In the future, more ancient architectures of different years and from different places should be selected as experimental samples to improve the method and the results of the paper.

Sgrgan: sketch-guided restoration for traditional Chinese landscape paintings

Image restoration is a prominent field of research in computer vision. Restoring broken paintings, especially ancient Chinese artworks, is a significant challenge for current restoration models. The difficulty lies in realistically reinstating the intricate and delicate textures inherent in the original pieces. This process requires preserving the unique style and artistic characteristics of the ancient Chinese paintings. To enhance the effectiveness of restoring and preserving traditional Chinese paintings, this paper presents a framework called Sketch-Guided Restoration Generative Adversarial Network, termd SGRGAN. The framework employs sketch images as structural priors, providing essential information for the restoration process. Additionally, a novel Focal block is proposed to enhance the fusion and interaction of textural and structural elements. It is noteworthy that a BiSCCFormer block, incorporating a Bi-level routing attention mechanism, is devised to comprehensively grasp the structural and semantic details of the image, including its contours and layout. Extensive experiments and ablation studies on MaskCLP and Mural datasets demonstrate the superiority of the proposed method over previous state-of-the-art methods. Specifically, the model demonstrates outstanding visual fidelity, particularly in the restoration of landscape paintings. This further underscores its efficacy and universality in the realm of cultural heritage preservation and restoration.

Non-Destructive Prediction of the Mixed Mineral Pigment Content of Ancient Chinese Wall Paintings Based on Multiple Spectroscopic Techniques.

This study first developed non-destructive and accurate methods to predict the relative contents of mixed mineral pigments in ancient Chinese wall paintings using multiple spectroscopic techniques. The colorimetry, attenuated total reflection Fourier transform infrared spectroscopy (ATR FT-IR), ultraviolet-visible-near-infrared (UV-Vis-NIR) spectroscopy, and Raman spectroscopy were employed. Analyses were conducted including color difference, spectral reflection, ATR FT-IR spectra, and Raman mapping for simulated samples (malachite-lazurite mixed with rabbit glue samples) before and after aging. Models were then established for predicting the relative pigment contents of samples using UV-Vis-NIR and ATR FT-IR spectral data with Beer-Lambert law, and mathematical methods comprising principal component analysis (PCA) and nonlinear curve fitting. In particular, PCA and empty modeling methods combined with non-negative partial least squares were developed to predict the relative pigment contents based on Raman mapping data. The results demonstrated that approaches comprising PCA, mathematical model, and empty modeling based on the spectral data were effective at predicting the relative pigment contents. The predicted results obtained using the mathematical model based on UV-Vis-NIR spectra had an error of about 2%, and the best prediction based on ATR FT-IR spectra had an error of <3.6% at 1041 cm-1. The errors for the predictions using PCA and empty modeling based on Raman mapping data were 0.01-9.30% and 0.28-7.15%, respectively. However, the predicted relative pigment contents obtained based on ATR FT-IR data combined with the Beer-Lambert law had higher errors. The findings of this study confirm the strong feasibility of using spectroscopic techniques for quantitatively analyzing mixed mineral pigments.

Ancient Chinese painting style transfer based on CycleGAN

Style transfer aims to alter the visual aesthetic of images by giving them a different artistic style. With the rapid advancement of deep learning, style transfer tasks have made significant progress, introducing new perspectives and innovative potentials within the realm of image processing. This study seeks to explore style transfer methods based on Cycle-Consistent Adversarial Networks (CycleGAN), enabling contemporary landscape photographs to take on the form of ancient Chinese paintings. This endeavor opens up fresh possibilities for artistic creation, image editing and design applications. The research encompasses an exposition of the process involved in constructing the CycleGAN model, alongside presenting research findings. Furthermore, it delves into the discussion of crucial techniques employed during the model training process, specifically the utilization of cycle consistency loss in configuring the loss functions. Lastly, this study ventures into future research directions, including strategies for further enhancing the performance and expanding the application scope of this style transfer model.

Study on Carbonation of Porcine Blood Hydrogel in the Composite Mortar of Ancient Chinese Architectural Painting.

In the ancient Chinese recipe for composite mortar used in the construction of ground layers for architectural painting, the mixture of porcine blood and lime water is one of the constituent materials. Herein, according to the traditional recipe, the interaction between porcine blood and lime water was systematically and deeply investigated. The experimental investigation demonstrated that porcine blood mixed with lime water at the ratio found in the recipe can form a hydrogel with a hydrophobic surface. During air-drying, the lime water in porcine blood hydrogel can react with CO2 to form calcium carbonate. The crystal morphology of the formed calcium carbonate depends on the surrounding micro-environment of calcium ions in the porcine blood hydrogel. The formed morphology of calcium carbonate includes small calcite crystallites, small graininess calcite crystals with round features, calcite aggregates with layered ladder-like structures, and amorphous calcium carbonate (ACC). Interestingly, the calcium carbonate formed in the inner part of the porcine blood hydrogel exhibits lamellar distribution due to a Liesegang pattern formation. Based on the findings that the porcine blood hydrogel has surface hydrophobicity and brittleness, it can be predicted that in the preparation process of composite mortar for ancient building color painting base course, porcine blood used in the form of a hydrogel is not only easier to be dispersed in hydrophobic tung oil than in liquid porcine blood but also the affinity between porcine blood gel and tung oil is enhanced. As constituent material dispersed in the composite mortar, the layered distribution of calcium carbonate in the porcine blood hydrogel may presumably be beneficial to reduce the internal stress of the composite mortar material.

The Aesthetic Value of “Qi” in Ancient Chinese Painting

“Qi” (peculiarity, novelty or uniqueness in English) represents a vital aesthetic category in Chinese painting, initially influenced by philosophy, military strategy, and literature. Artists emphasized novelty in brushwork, composition, and content, striving for lively spiritual ambience in their artworks, resulting in paintings that surprise and captivate. In ancient Chinese paintings, “Qi” is primarily manifested in content, brushwork, composition, and spiritual ambience, showcasing the beauty of transcendence, the beauty of sorrow and resentment, the beauty of temperament, and the beauty of spiritual ambience.

The Positioning and Development of Reproductions of Ancient Chinese Calligraphy and Painting in the Cultural Market

The materials used in ancient calligraphy and painting, such as silk and paper, are susceptible to damage and aging. The practice of creating copies through meticulous imitation has been employed by ancient individuals to extend the lifespan of precious cultural artifacts. Reproductions continue to serve as an effective means of dissemination in museums, imparting functions such as appreciation and educational value to society. The replication of cultural artifacts extends beyond calligraphy and painting to include items like bronze ware, lacquerware, and ceramics, giving rise to activities such as collecting, buying, and selling replicas. As ancient calligraphy and painting reproductions proliferate in a rapidly evolving society, they have become favored by enthusiasts and cater to the needs of the wider public. This paper aims to explore the positioning and development of reproductions of ancient Chinese calligraphy and painting in the context of social development.

Oriental Consciousness in André Masson’s Automatic Paintings

André Masson has long been regarded as a representative figure of surrealist and automatism painting, but a closer look at his works makes it easy to find a dialogic nature with ancient Chinese calligraphy and painting. Influenced by Breton's concept of automatic writing, his works also draw on Chinese ink paintings of the Song Dynasty, abandoning perspective and playing the important role of white space. This paper tries to sort out the lineage of the emergence of Oriental consciousness in Masson's automatic paintings and explains the specific expression of Chinese painting in his art.

Feasibility analysis of children's game picture book creation in ancient Chinese paintings

Children's games are a long-standing historical and cultural phenomenon, and are an important form of social education for children and children's self-learning and development. China has a long history of development, and there are countless existing ancient books that record and describe children's games, many of which are still worth publishing in modern society but have been shelved and forgotten, these game methods deserve attention. By discussing the feasibility of picture book creation for classical Chinese games, this paper aims to enrich the theme of domestic picture books, arouse people's strong interest in Chinese traditional culture, and promote China's excellent traditional culture.

High‐performance enrichment of casein and ovalbumin in wall painting with immunomagnetic beads

AbstractThe detection of trace binding medium in wall paintings is usually challenging due to the aging and degradation of proteinaceous binding medium in a long time. Therefore, immunomagnetic beads (IMBs) with specific enrichment ability for casein and ovalbumin were prepared, and then the beads were applied for capturing target proteinaceous binding medium from ancient Chinese wall paintings. After optimization of experimental conditions, the enrichment performance of magnetic beads was confirmed by enzyme‐linked immunosorbent assay (ELISA) and sodium dodecyl sulfate polyacrylamide gel electrophoresis (SDS‐PAGE). In this experiment, archaeological wall painting samples were used to verify the accuracy of the construction enrichment method. The results showed that the OD450nm value of archaeological samples containing binding medium has increased to varying degrees after IMBs enrichment, effectively avoiding the occurrence of false negative results, indicating that the IMBs enrichment method developed in this work could be successfully applied for enriching ovalbumin and casein binding medium from ancient wall paintings for subsequently immunoassay detection.

Study on the Influence of Electron Beam Radiation Sterilization Method on Chinese Mural Pigment

Murals are one of the important cultural heritages of mankind. The microbial control of murals is an important subject in mural painting conservation. In recent years, electron beam radiation sterilization has attracted more and more attention in the field of cultural relic protection. Murals are immovable cultural relics, so conventional electron beam irradiation equipment can not be used. However, the development of small mobile electron beam irradiation equipment shows the potential of radiation’s application in the sterilization protection of immovable cultural relics such as murals. A feasibility study of radiation sterilization in mural paintings is needed to investigate the effect of sterilization and the influence of sterilization dose on the stability of mural painting pigments and bonding materials. In this paper, the radiation effects of typical bacteria in tomb murals and mineral pigment powder in ancient Chinese paintings were studied in a laboratory. Firstly, aeromonas hydrophila (Aer.h) and penicillium flavigenum (PNC) were selected as representative strains to determine the appropriate sterilization dose for murals. Then, the effects of radiation on seven kinds of ancient Chinese mineral pigments and white calcium carbonate in the ground layer were verified. The results are as follows: the radiation dose of 10 kGy can effectively remove the two typical strains. This sterilization dose will cause a color difference in calcium carbonate and lead white, while other color pigments are essentially stable. Based on the color difference and UV-vis intensities of the four white carbonate samples, the color change in two of them increased with increasing the dose up to 30 kGy, after which signs of saturation began to appear. X-ray diffraction (XRD), Raman spectra, X-ray photoelectron spectroscopy (XPS) and X-ray absorption near edge structure (XANES) spectra showed that the chemical structure of the samples did not change after irradiation. The formation of free radicals in treated samples was confirmed using an electron paramagnetic resonance (EPR) spectrum test. According to all characterization results, the color difference between the four white carbonate samples may be due to the combination of unpaired electrons and defects in the process of electron beam irradiation to form color centers. After forming the color center, the light absorption of the four samples changed. This is a reversible change, but the samples will take a long time to return to their original state. This study focuses on the influence of electron beam radiation on pigment composition, which is a preliminary exploration of whether radiation sterilization can be applied to the protection of ancient Chinese mural paintings, and the experimental results can provide basic data for later application.

Characterization of Freeze-Thaw Treatments Upon Binders in Ancient Chinese Wall Paintings by X-Ray Diffraction (XRD) and Attenuated Total Reflection – Fourier Transform Infrared (ATR-FTIR) Spectroscopy

This study investigated the physico-chemical properties of the binders used in ancient Chinese wall paintings under repeated freeze–thaw cycles. Gum Arabic, cow bone, and fish bladder glue samples were prepared before and after three, six, and nine freeze–thaw cycles. The surface morphology, crystallinity, and spectral characteristics were characterized using scanning electron microscopy (SEM), X-ray diffraction (XRD), and attenuated total reflection-Fourier transform infrared (ATR-FTIR) spectroscopy. The secondary structures of the protein binders were also analyzed before and after thaw–freeze cycles. The results show that the surface morphologies of the gum Arabic, cow bone, and fish bladder glue gradually changed from undulating to smooth as the number of freeze–thaw cycles increased. The intensities of the XRD peaks and crystallinity of the binders gradually decreased after six freeze–thaw cycles. ATR-FTIR spectroscopy indicated that no significant changes occurred in the original chemical compositions of the binders after multiple freeze–thaw cycles. The wavenumbers of the characteristic peaks remained unchanged but the intensities of the peaks changed significantly. Analysis of the secondary protein structures indicated that the α-helix contents of the cow bone and fish bladder glue samples decreased significantly, whereas the parallel β-sheet and random coil contents increased.

Determination of Peach Gum in Ancient Chinese Paintings by Biotin–Streptavidin-Enzyme-Linked Immunosorbent Assay

ABSTRACT Peach gum was the most common and widely used exudate gum in ancient China. In this study, polyclonal antibodies to peach gum were prepared using the protein of peach gum as the antigen. The polyclonal antibodies were used to identify peach gum with high sensitivity and specificity by biotin–streptavidin-enzyme-linked immunosorbent assay (BA-ELISA). The binders used in the ancient paintings of the Forbidden City and the Dazu Rock Carvings were detected by enzyme-linked immunosorbent assay (ELISA). The results showed that the binders of the Dazu Rock Carvings were diverse, including collagen, ovalbumin, casein, peach gum, and lacquer, and that collagen and peach gum coexisted in most samples of the Forbidden City. This study demonstrates ELISA's high efficiency in analyzing binders in ancient paintings.

Vechnyj duh sozidaniya: ob ekologo-esteticheskom vzglyade na kartiny drevnekitajskih pisatelej

Ancient Chinese literati paintings artistically interpret the relationship between man and nature by introducing a sense of human morality into the consideration and treatment of the relationship between man and nature, the ecological aesthetic aspirations of individuals are expressed. The ecological aesthetic concept in ancient Chinese literati paintings still has modern significance.

An Ancient Chinese Painting Restoration Method Based on Improved Generative Adversarial Network

During the long-term preservation process of ancient Chinese paintings, there are various degrees of damage. Manual repair methods are inefficient, professional, and prone to secondary damage. Aiming at the above problems, a UGAN ancient painting restoration model based on an improved Generative Adversarial Network (GAN) is proposed. The model uses GAN as the overall framework. The generator in the framework adopts a U-shaped network (U-Net), and adds a dilated convolution-gated residual block (DCGR-Block) in the middle, which enhances the model’s ability to extract the shallow and deep feature information of the image. In the experiment, the test results are compared with the current mainstream methods. The comparison results show that when repairing the overall deletion, the peak signal-to-noise ratio (SPNR) and structural similarity (SSIM) of UGAN are improved by 8.14% and 4.79% on average compared with the global and local consistency image inpainting (GLCIC). When the rate is higher, the performance of the network model in this paper is also better than that of similar mainstream algorithms.

Research on Archaeology and Digital Restoration of Costumes in DaoLian Painting

Costume restoration is one of the important ways to study costume history and culture. The purpose of this paper is to show the characteristics of Chinese costumes more than 1000 years ago, through the research on the costume in the famous ancient Chinese painting DaoLian painting, and provide strong technical support for the research of Chinese ancient costume culture. DaoLian painting is the work of Xuan Zhang, a famous painter in Tang dynasty (618–907), China. From the perspective of clothing engineering, we analyzed the characteristics of costume style, color, and pattern and used the virtual fitting technology to realize digital restoration of the costume of 12 characters in the painting. The results show that it is a practical method to study costume from paintings. The colors, patterns, and character gestures in the paintings provide sufficient information for the archaeology and restoration of ancient costumes. The research results of this paper can provide a new idea for costume archaeology and a reference for modern fashion design and materials for the VR Museum of Ancient Costumes.

An Analysis of the Influence of Ancient Chinese Frescoes on Modern Traditional Chinese Realistic Painting

Ancient Chinese fresco painting has a long history and is one of the important art forms of traditional Chinese painting. As a traditional genre of painting in China, traditional Chinese realistic painting has always adhered to the spirit of the times. This paper examines the relationship between ancient Chinese fresco painting and modern Chinese realistic painting, summarising the artistic characteristics of ancient Chinese fresco painting from three perspectives: composition, materials, technique and style, and exploring the inheritance and development of modern Chinese realistic painting on ancient Chinese fresco painting.