Chinese Painting Research Articles

Embodiment of Typical Images of Chinese Traditional Opera in Oil Painting

The article is devoted to the peculiarities of embodiment of typical images of Chinese traditional opera in works of oil painting. Depicting the actors in their stage roles, the artists strive to recreate the aesthetic impact that Chinese opera has on the viewer. However, they use a system of artistic and expressive means characteristic of the fine arts. The aim of the study is to determine the peculiarities of embodiment of typical images of Chinese traditional opera by contemporary Chinese artists. The works of Peng Xiaohan, Wang Qijun, and Yue Haitao serve as the object. Although the typical images of Chinese traditional opera are characterised by their own set of symbols and signs, each author depicts the plots and characters of the productions in their own way. Some of them strive for a realistic portrayal of what is happening on stage: they capture the expressive poses of the main character, capture the plot scenes of the production. Others create a collective image of a character or separate parts of the plot, using the symbolism of colour, costume, theatrical make-up. On the example of paintings by the above artists, the author identifies the main creative approaches to the embodiment of typical images of Chinese traditional opera in oil painting. These include following the iconographic canons of Chinese opera, combining the traditions of Chinese art with the tendencies of Western painting, etc. For the first time, on the basis of works by contemporary Chinese painters, different approaches to the reflection of typical images of Chinese traditional opera in oil painting were identified and the peculiarities of their embodiment in the language of fine arts were determined, which can be useful for further research in this area.

Nature's Poetry Unveiled: Exploring the Symbolism and Design Philosophy of Chinese and Persian Gardens through Metaphor and Art

This paper delves into the symbolism and design philosophy of Chinese and Persian gardens, revealing the profound depths of their metaphorical and artistic expressions. As landscape architecture, gardens act as conduits for cultural transmission, embodying an understanding of the cosmic order and reflecting the passage of history. Focusing on pre-modern Chinese and Persian gardens, this study explores their design philosophy and characteristics. Chinese gardens prioritise the harmonious coexistence of humanity and nature, exemplified through a deep reverence for the natural world. Meticulous treatment of the landscape seamlessly integrates gardens with their surroundings, drawing inspiration from elements found in Chinese landscape painting. Persian gardens, on the other hand, showcase the distinctive Chahar Bagh layout, providing glimpses into an ideal cosmic order. Influenced by the beauty of Persian poetry, these gardens take on the essence of living poems, evoking a sense of tranquillity and allegorical meaning. Waterways, pavilions, and lush vegetation create captivating oases within the arid landscape, inviting relaxation. By analysing the architecture, symbolism, and design philosophy of both Chinese and Persian gardens, this study uncovers the remarkable similarities and differences that exist between them. However, these gardens extend beyond their physical manifestations, beckoning visitors to engage with metaphorical realms. The integration of poetry, painting, and various art forms enriches the multidimensional experience, eliciting profound sentiments and unlocking the transformative power of nature's poetry. Ultimately, Chinese and Persian gardens embody the very essence of nature's poetry, serving as bridges between built environments, humanity, and the natural world. Through the harmonious fusion of art, design, and the intricate relationship between humans and nature, these gardens inspire awe and reveal the timeless beauty that resides within nature's realms.

The course teaching of rock color painting technique

Rock color painting is a kind of traditional painting in China, which has strong cultural heritage and artistic charm, and has attracted wide attention for its unique charm and artistic expression. The teaching of rock painting techniques is an important part of rock painting education. It aims to inherit and develop traditional Chinese painting skills, cultivate students' understanding of rock painting and creative ability, and guide students to master the basic techniques and expression techniques of rock painting through systematic teaching arrangements and practical operations to make them show individuality and innovation in creation and cultivate their unique sense and understanding of beauty. The purpose of this paper is to explore the teaching methods and strategies of rock painting techniques course, so as to improve students' understanding and application ability of rock painting techniques and promote the inheritance and innovative development of traditional Chinese painting techniques.

Decorative Representation in Modern Chinese Landscape Painting

Art changes with the change of the times, artists also jump out of the traditional comfort circle, try their best to express their subjective feelings and by the influence of modern aesthetic ideas, landscape painting has also changed greatly. This paper mainly analyzes the expression of modern landscape painting.

Study on the Symbol of Chinese Copper Pheasant in Court Painting in Song Dynasty

Chinese traditional painting is divided into palace painting, literati painting and painters painting according to class.In the Song Dynasty,the palace painting was mostly assigned by the emperor himself. In addition to the fine and beautiful royal aesthetic interest, the political meaning behind it was also the content of the palace painting.It is the most commonly used technique in Chinese literature and art, which is also a means to give political moral to court painting in Song Dynasty. Behind the symbols of the objects in the palace paintings of the Song Dynasty are the political meanings expressed by the rulers at that time.The emperor,for some reason, flaunted or warned them through paintings.The symbol of Chinese copper pheasant contains profound social culture and folk culture, which can fully reflect the cultural characteristics of Song Dynasty. This paper explores the meaning of Chinese copper pheasant symbol and better understands the deep meaning behind the image. It is helpful to study the flower and bird painting in Song Dynasty and provide a new perspective for the study of court flower and bird painting in Song Dynasty.

Spiritual Travel in Chinese Landscapes ---- Travelers Among Mountains and Streams and Murals from Yulin Caves

Chinese landscape painting is a non-negligible category in Chinese art history. Unfortunately, the intrinsic fragility of silk results in an obscure provenance of numerous existing silk landscape paintings from ancient Chinese art. Murals in Yulin Caves, located in the northwestern province of Gansu, China, emerge as an invaluable repository that complements these delicate silk paintings. This paper selects The Illustration of Samantabhadra from Caves 29 and 3 of Yulin Caves, both illustrations in caves were created after the Song Dynasty (960-1279 CE), to compare Travelers Among Mountains and Streams (Travelers) painted in the 10th to early 11th century by Fan Kuan (c. 950-1032). The visual comparison involves the panoramic view and the travel theme. The comparison based on the different mediums will discuss the elimination of physical constraints through painted landscapes with the contextualization of murals in situ. Natural light will also be considered as one external factor that influences the artwork viewing experiences of audiences. Comparisons involved in this paper aim to examine the underlying relationships between Song landscape paintings and the subsequent landscape murals, extend the conventional concept of travelers in Song landscape paintings by identifying mountains in murals, and explore how landscapes in silk paintings and murals encourage audiences to experience spiritual travel.

Typologising formal school-to-school collaborations—education collectives—in China through the metaphor of Chinese landscape painting

ABSTRACTIn China, formal school groupings known as ‘education collectives’ have become one of the most common forms of school-to-school collaboration, promoted by policymakers to narrow the achievement gap between schools and optimise resource allocation. Previous research has focused on the purposes and achievements of education collectives rather than their structural diversity. This article seeks to address this gap by typologising education collectives in China. We map the landscape of education collectives, illuminating how school-to-school collaboration and education collectivisation have been promoted and operationalised in China. To achieve this, we employ the metaphor of traditional Chinese landscape painting as a methodological tool. Through this, we promote a deeper understanding of the cultural and psychological roots of school-to-school collaboration in China. We conceptualise education collectives from three perspectives inspired by the features of landscape painting: power relations, legal status, and external institutional engagement. These three dimensions also illuminate the homogeneity, exclusion and unsustainability that the education collective may encounter in their development process. This typology places education collectives within the broader policy context of Chinese basic education and system reform and offers insights into the diversity of network and partnership structures among inter-school collaborations.

Computer Aided Style Transfer and Creation Algorithm of Chinese Painting Based on Artificial Intelligence

Computer Aided Style Transfer and Creation Algorithm of Chinese Painting Based on Artificial Intelligence

Element Identification and Feature Extraction of Chinese Painting Based on Computer Vision and CAD

Element Identification and Feature Extraction of Chinese Painting Based on Computer Vision and CAD

Three Canons of Chinese Painting and Virginia Woolfs Painting Words in To the Lighthouse

Three Canons of Chinese Painting and Virginia Woolfs Painting Words in To the Lighthouse

Retracted: Application of Intelligent Image Color Technology in Teaching Chinese Painting Color

Retracted: Application of Intelligent Image Color Technology in Teaching Chinese Painting Color

THE RELATIONSHIP BETWEEN TIME FACTOR AND FIGURATIVE FACTOR IN CHINESE AND ITALIAN FIGURE PAINTING IN THE 15TH CENTURY

The Time factor used or emerged in painting is an issue that has been discussed for almost 1 century. However, there has never been any specific study related to time and figure painting. In addition, the author finds the time factor used in Italian and Chinese painting in the 15th century, which always depends on the figurative factor of the painting. So, this study is to explore the presentation of time factors in figure paintings in Italy and China from the 15th century to the 16th century and find out the rules between figurative factors and time factors in figure painting during this period.

Interpretation of the symbols of "snow painting" in Chinese art as a reflection of the process of changes in national religious, philosophical and aesthetic concepts

The article examines the symbolism of "snow painting" in the context of the development of a range of motifs and means of artistic expression, techniques of execution, which artists have chosen since the inception of this type of landscape genre to the modern situation. This analysis is implemented in the context of changes in the reception and reflection of elements of winter species caused by transformations in the worldview of people of a particular era occurring in the socio-cultural sphere. The object of research is the winter landscape in Chinese painting of the III – late XX century. The subject of the study is the symbolic system in the construction of artistic space in the winter landscape in Chinese painting of the specified period. The purpose of the study is to determine the features of spatial worldview in the "snow painting" of China in the context of national aesthetic and philosophical ideas. The research methodology is interdisciplinary and includes the study of the organization of space and the interpretation of its symbolic content in the paintings of Chinese landscape painters who turned to the image of winter and the motif of snow at different historical stages. When considering and analyzing works of Chinese painting, the iconographic method and stylistic analysis are used. The novelty of the study lies in the fact that it clarifies the concept of "snow painting" in the context of the development of Chinese fine art, identifies the circle of authors who addressed it, establishes a certain continuity in the artistic, stylistic and compositional techniques used by them, as well as the philosophical and aesthetic concepts behind them. The latter are directly related to the specifics of creating such works, as well as the means of modeling space by artists, which is revealed in the conclusions of the study. Within the framework of the analysis, the range of frequently used motifs and images is determined, their interpretation of the symbolic meanings associated with them are proposed. Snow in such painting is considered as a symbol of beauty, loyalty, nobility, as well as part of the "emptiness" in the artistic space of the painting.

Crianza simbiótica entre literatura, cultura y naturaleza en la Meta-Picto-Poesía del paisaje de Gary Snyder

Abstract: This article holds the opinion that some meta-picto-poetry of landscape, composed by American poet Gary Snyder, takes Chinese landscape painting as its subject matter with the characteristics of ancient Chinese poetry, shimmering with incomparable artistic charm and cultural substance. Poetry of this kind is a perfect combination of eastern and western elements, integrating the cultures, thoughts and arts of both sides. The appreciation of this poetry creates a complex experience with a hybrid of artistic forms and aesthetic spaces. Gary Snyder is not only an eco-poet, but also a stylist and a man of practice. His poetic works reveal the fostering relationship between literature, culture and nature. The article intends to make a cross-cultural, interdisciplinary and multi-field attempt in Snyder’s criticism, with analytical methods inclusive of eastern and western cultures, ancient and present visions as well as dynamic and static experiences.

Poetic Dwelling in Landscape: A Cross-Disciplinary Study on the Poetic Evocation in Chinese Landscape Painting

Poetic Dwelling in Landscape: A Cross-Disciplinary Study on the Poetic Evocation in Chinese Landscape Painting

Особенности цветовой композиции китайской живописи и их учет в контексте подготовки студентов-художников

Painting of the Celestial Empire is a reflection of the wisdom of its people in art and characterizes the Chinese civilization as one of the most developed in the world of classical culture. The use of color in Chinese painting has been appreciated by artists for thousands of years. If artists use the visual and aesthetic psychological per-spective of color in their paintings, they can better reflect and express their true feelings, which greatly enhanc-es the artistic meaning and significance of their works, and meets the aesthetic requirements and sensory needs of modern people. Color composition is a way for artists to convey their ideas, emotions, moral and oth-er psychological feelings through color patterns and color combinations. At the same time, the use of color is subjective and emotional. In Chinese painting, artists tend to always focus on the atmosphere created by the tone of the painting, without the influence of the inherent color of the object itself. This paper will use the con-trast method to study color composition, allowing students to make full and reasonable use of the contrast be-tween the composition and color agreed upon so that the painting can enhance and emphasize the need for color effect. This paper attempts to study the basic.

Reclusive Dwelling Schema of Chinese Landscape Painting: Narrative Medium, Visualization, and Implication

Reclusive Dwelling Schema of Chinese Landscape Painting: Narrative Medium, Visualization, and Implication

Wang Shu’s promenade of strolling in shan-shui and its dialogue with Le Corbusier’s concept

ABSTRACT The architectural promenade, developed by Le Corbusier, is also a significant design concept in the contemporary architectural works of Wang Shu. This paper focused on Wang Shu’s and Le Corbusier’s promenade concepts aiming to illustrate how Wang’s promenade of strolling in Shan-shui establishes a cross-cultural dialogue with Le Corbusier’s theory. These two promenade approaches appear to have emerged from distinct historical and cultural contexts, with Le Corbusier’s approach rooted in Western modernism and Wang’s approach reflecting the aesthetics of traditional Chinese landscape painting. Seemingly unrelated, a thorough case analysis of Le Corbusier’s Villa La Roche and Wang’s Ningbo Tengtou Pavilion unveiled commonalities in creating picturesque spaces and spatial movement. Furthermore, both promenade approaches trigger discussions on architecture. Whereas Le Corbusier’s architectural promenade facilitated the creation of “new” architecture, Wang was inspired by Le Corbusier’s way of thinking, but aimed to “rebuild a kind of Chinese vernacular architecture” in response to the status quo of China’s urban architectural development. Wang Shu’s promenade opens a spectrum between traditional landscape painting and Le Corbusier’s ideas, showcasing a fusion of influences and inspirations from diverse cultural contexts, while also contributing to an understanding of the integration of Eastern and Western architecture in contemporary discourse.

Философско-культурологические предпосылки современной китайской неореалистической масляной живописи

The philosophical foundations of modern art are inextricably linked to the development of culture and the pecu-liarities of a particular artist's creative process. Chinese neorealist painting is a representative reflection of the philosophy of the “new period” epoch in the national culture, which focused the society's attention on the signif-icant changes in the fine arts of the Celestial Empire in the post-reform period. It is proved that the philosophi-cal and cultural preconditions of the artistic concept of neo-realist art were the theories of neo-Kantianism. Phil-osophical ideas of a new reality of human existence, a different quality of social relations actualized the ideas of humanistic ideals of professional activity of the modern artist, the value of national identity. The concept of neorealist painting in China is an expression of world and traditional national philosophy in art, due to which it acquires a number of specific features, one of the most important among which is the assumption of subjectiv-ism in the interpretation of reality.

Teaching Chinese Painting Colour Based on Intelligent Image Processing Technology

Abstract This paper constructs a Chinese painting color teaching platform based on intelligent image color processing technology. Firstly, the region segmentation method is used to reasonably segment the pixel points according to the similar values of color and texture parameters of the image. Then, the image’s primary color grayscale parameters are fuzzy, detected, equalized, and fused by color difference values. Finally, the gradient optimization algorithm is combined to identify and control the image color parameters. The results show that the highest value of peak signal-to-noise ratio can reach 73.4db for the images processed by the method of this paper, and the mean value of STRESS is kept between 0-10%. The intelligent image color processing technique has been proven to enhance the aesthetics and innovation of Chinese painting colors in students.