Traditional Chinese Painting Research Articles

The Experience of Teaching Chinese Traditional Painting in Russian Art Education

The Experience of Teaching Chinese Traditional Painting in Russian Art Education

Image reconstruction of traditional Chinese painting works based on depth learning

Image reconstruction of traditional Chinese painting works based on depth learning

Inheritance and Development—Thinking and Exploration on the Current Situation of Chinese Meticulous Figure Painting

As an important part of traditional Chinese painting, meticulous figure painting has been accumulated for thousands of years. Up to now, many excellent works have made subtle changes to traditional skills and consciousness, integrating modern elements and making them more personalized. If Chinese meticulous figure painting wants to continue to develop in today's era, it must be inherited, which is also its inevitable choice. This paper discusses the development status and innovative ways of meticulous figure painting in China, hoping to provide some reference for its promotion and development.

The Cultural Value of Traditional Chinese Painting Lyu Chao

The Cultural Value of Traditional Chinese Painting Lyu Chao

Bringing Painting into Film: A Comparison of the Application of Chinese and Western Classical Painting Art in Movies

Film is an art form that appeared later than painting. One is moving and the other is static. However, to a large extent, film draws on paintings of different periods and genres to achieve better aesthetic value and emotional expression. In the history of traditional Chinese painting and Western classical painting, countless art masters have emerged. Due to the differences in history, culture, regional characteristics, economic development and many other aspects, they have produced different aesthetic connotations. By comparing the application of painting art in films such as "Yellow Earth", "Withered Trees Revive", "Return to Dust", "The Mill and the Cross", this paper analyzes the influence of Chinese and Western classical painting on film composition, color, light, emotion and so on, in order to provide reference value for the practice of film creation.

Taoist Painting during the Tang and Song Eras: The View of Russian Orientalists

The paper is an attempt to examine several key works of orientalists of the domestic (Soviet and Russian) schools of the last century, whose activities were aimed at analyzing the theoretical foundations, genre-typological, compositional aspects, and other aspects of both classical Chinese painting as a whole and its cult component, largely expressed by Taoist creativity. The comprehensive growth of interest in the spiritual culture of China, one of the oldest and most distinctive value systems, observed now (2023), as well as the gradual penetration of its basic features into modern life, prompt us to pay increased attention to the question of the degree of development of the relevant issues in the scientific environment of Russia. Undeservedly remaining for a long time on the periphery of the sphere of research of Russian sinologists, Chinese art needed Russian-language publications not only large monographs of a generalizing nature, but also works focusing on narrower issues, including coverage of the Taoist painting tradition. The period covered (1948-2004), the prerequisites of which were laid at the early stage of the existence of the Soviet state (20-30-ies, 20th century), became, despite the trend of long-termism, convincing evidence of the confident pace of development of the art direction of Russian orientalism. The result of the efforts of the authors presented on the pages (O. N. Glukharyova and B. P. Denicke (“A Brief History of Chinese Art”, 1948), E. V. Zavadskaya (“Aesthetic Problems of Painting in Old China”, 1976), N. A. Vinogradova (“Chinese Landscape Painting”, 1972)), which described the significant properties of Chinese art, was the formation of a strong framework, which with the advent of the 21st century allowed to open a new milestone in the field of cultural and historical research of Russian Oriental studies. The quintessence of this phenomenon is the publication in 2004 of a comprehensive manual by M. E. Kravtsova “World Art Culture. History of Chinese Art: Textbook”, which at the same time absorbed all the material accumulated during the 20th century and expanded the previously formed horizons of knowledge. Significant attention on the pages of the work is paid, among other things, to cult creativity as one of the most important engines of the processes of evolution of traditional Chinese painting.

Color Correction Method of Fine Arts and Traditional Chinese Painting Works Based on Color Space Decomposition

Color Correction Method of Fine Arts and Traditional Chinese Painting Works Based on Color Space Decomposition

The Development of the Twelve Flora Images in Mid-Qing Dynasty of China

The traditional Chinese “Twelve Flora” refer to the images of twelve flower gods corresponding to the twelve months of the Chinese lunar calendar. They are usually composed of celebrities in Chinese history and are the subject matter of traditional Chinese paintings, closely related to traditional flower and festival cultures. This paper mainly uses the research methods of iconography, formal analysis and prototype theory to study the images of the Twelve Flora in the middle of the Qing Dynasty. While examining the visual images, it uses the method of mutual verification of texts to sort out how the image of the Twelve Flora of the Qing Dynasty was initially formed and formed a relatively fixed creative mode.

The world of things in traditional Chinese painting

The relevance of the article. The formation of genre and the principles of genre classification in the art of East Asian countries is one of the least researched problems in the theory and history of art. It is generally accepted that still life appeared in the art of China as a result of the influence of the Euro-pean artistic system. Meanwhile, motifs related to the depiction of elements of the subject environment can be traced in other genres of Chinese painting. In modern artistic practice, still life is considered mainly as an element of academic education, but its creative potential remains little realized. Therefore, the relevance of the research is determined by the needs of both theory and artistic practice.
 The purpose of the article is to determine the main approaches to the depiction of things, their typological complexes, their role and significance in Chinese classical art.
 The methodology. In the research we used general scientific and special research methods. In particular, methods of systematization, content analysis and typology were applied; methods of formal, stylistic, semantic, comparative analysis.
 The results. The article outlines the main approaches to studying the origins of still life as a genre in the Chinese artistic tradition. As a result of the analysis of samples of easel and decorative painting, the main models of the representation of things were revealed, their typology, role and means of representation in the visual and content structure of the works were determined. The semantic aspects of pictorial motifs and their connections with the development of handicrafts, Confucian education, tastes and values of the privileged top of society and the development of collecting, are highlighted.
 The scientific novelty. For the first time, in the work we touched upon the issue of the formation of still life as a genre and its origins in Chinese painting, highlighted the previous artistic experience of depicting objects of the material environment, defined the main thematic complexes, established their role and significance in classical works.
 The practical significance. The results of the research can be used in the development of educational courses in the history of art and provide the necessary material both for creative experiments and for the development of various projects in the field of visual arts.
 Conclusions. The results of the analysis of various materials of fine art allow us to claim that in Chinese classical art, other, different from European, options for the representation of the world of things were formed. Typologically, they are represented by three models: a “portrait” of a thing (a close-up of one object with a careful depicting of form and decoration), a thing as a component of a portrait, a catalogue of things (a decorative composition on the theme “4 treasures of a scientist”, “4 noble arts”, “100 antiquities”). In all models, the depicted objects act as personifications of material and spiritual values of society, a sign of Confucian virtues, and as benevolent symbols. The “100 antiquities” complex, which was formed by XVIII century, combined previous lists of valuable things and became a reflection of craft achievements, educational tradition and awareness of its value, and the development of collecting.

The Application of Perspective Relations in the Spring Tour by Zhan Ziqian

As a famous painter in the Sui Dynasty, Zhan Ziqian painted the scene of people's spring outing in the south of the Yangtze River in early spring and February, when peaches and apricots bloom and leaves turn green. So far, this painting is the only one left by the painter Zhan Ziqian, and it is also one of the oldest landscape scrolls. The artist Zhan Ziqian is very important in dealing with the spatial perspective of his famous painting "Spring Outing". Next, this paper will analyze the development of perspective in the history of traditional Chinese painting by combining specific works, and further analyze the perspective relationship in "Spring Outing" for artistic analysis.

Tradition, Transmediality, and Modernity: Representation of the Double in Chinese Modern Visual Culture

ABSTRACT Films featuring look-alikes with contrasting attributes played by the same actor or actress were prevalent in both Republican cinema before 1949 and contemporary Chinese-language cinema. This trope of doubling is a focal point of this article. To examine the distinctiveness of the Chinese cinematic double, this article looks back on the pictorial and conceptual paradigm of traditional Chinese painting, as well as the photographic technology of the late nineteenth century. The interaction between cultural and aesthetic conventions of Chinese painting and the imported modern technology played a significant role in configuring the double in Chinese photography. The uncanny magic of the mimetic technologies that created the perfect doubles of man, culminated in Chinese cinema in the 1920s and 1940s. While this article focuses primarily on the relationship between the trope of the double and the history of media, it also examines the themes, technologies, mimesis, and identity that were inextricably interwoven with the figure of the double. From painting to photography and on to film, the intermedial and historical journey of doubling reflects the emergence of visual regimes of modernity which changed the optical experience, transformed perceptions of the real, and challenged social ideas about class and gender.

The Significance of ‘Absence-Void Space’ In Chinese Traditional Painting

The purpose of this paper is to elucidate the formal idea of “absence,” the so called ‘void-white area’ or ‘negative space’ that can be perceived within any of the Chinese Ink Painting styles. This area describes the form in which the appeal symbol recognizes the existence of the positive – negative spaces, playing an important role in the visual hierarchy of a composition. Chinese Traditional painting (Guó Huà - 国画), examines the theory and practices of the ‘Six Principles of Chinese Painting’ (绘画六法 - Huìhuà Liùfǎ); and the quote: ‘emptiness is not empty’, has a special context, as a pure art form. It also examines the technical spirit of ‘one stroke, one painting’ detailed by Shih-t’ao (Shí Tāo - 石涛) from his writing (Huà Yǔlù - 画语录) ‘Comments on Painting’ or ‘painting quotes’, where he speaks of ‘a style of no style’ and the importance of a single brushstroke. It is an art form that reveals the truth and the meaning of the works and exposes the signifier's object of knowledge, where this signifies "absence." Shí Tāo (石涛), known as the founder of contemporary Chinese painting, uses the spiritual symbol "Painting may follow the heart: the rule is self-reliance" to represent the pure "harmonious" style of Chinese painting, which transmits the spirit of the union of the three faiths and the transcendence of mediocrity.

The aesthetic emotional expression of piano music art in the background of Internet of things.

Artwork, generally refers to the work of plastic art. Artwork is divided into many categories, pottery art, traditional Chinese painting, abstract painting, musical instrument, sculpture, cultural relic sculpture, sandstone, imitation sandstone, ornaments, iron art, copper art, stainless steel sculpture and so on. With the continuous influx of artistic works, there are more and more studies on their emotional expression. How to judge whether musical works can bring joy, anger, sadness and joy to people? Is it joy over anger or anger over joy? Now in the era of the Internet of Things, the Internet of Things uses various information sensors, radio frequency identification technology, GPS, infrared sensors, laser scanners and other equipment and technologies to collect any objects and processes that need to be monitored, connected, and interacted in real time. By collecting various information such as sound, light, heat, electricity, mechanics, chemistry, biology, location and so on, and using various possible networks to connect, it can achieve intelligent perception, identification and management of objects and processes. The Internet of Things is an information carrier based on the Internet, traditional telecommunication networks and so on., so that all normal physical objects that can be individually located which can be connected together. The application field of the Internet of Things involves all aspects. The application in the fields of industry, agriculture, environment, transportation, logistics, security and other infrastructure has effectively promoted the intelligent development of these aspects, which making the limited resources more rational use and distribution, thus improving the efficiency and benefit of the industry. The application in household, medical and health, education, finance and service industry, tourism and other fields closely related to life has been greatly improved in terms of service scope, service method and service quality, which has greatly improved people’s quality of life. Based on this, this paper mainly studies the aesthetic emotion expression analysis of piano music art in the context of the Internet of Things. It mainly talks about the classification of music characteristics, emotional theoretical models, and emotional induction methods. Finally, the experimental analysis of piano music and the use of brain wave technology are used to analyze the experimental data. The experimental results show that in the process of feature extraction and optimization, this paper optimizes the traditional feature extraction based on power spectral density through cognitive rules, and achieves the effect of feature dimension reduction on the basis of ensuring the recognition rate. This paper uses the topological properties of EEG to classify emotions. The results show that the emotion recognition rate under the four emotional states can reach 67.3%, which is much higher than the current highest level.

Study of Calligraphic Brushwork in Singapore Watercolor Art

This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

Study of Calligraphic Brushwork in Singapore Watercolor Art

This paper investigates the development of Singapore watercolor art. Although watercolor is a western painting medium, Singapore watercolor art adopted its concepts from both the traditional British watercolor and Chinese ink painting. While it inherited its painting techniques from the British watercolor, the concept of calligraphic brushwork was adopted in two diverse directions, one from the British watercolor and the other from the Chinese calligraphy and ink painting due to the diverse backgrounds of artists. The application of various forms of calligraphic brushwork and their developments have shown connections to their origins. However, deviations were observed as compared to contemporary western watercolor brushwork. The study has also uncovered how the abstraction of Chinese character design concept and ink painting compositions were adopted by contemporary regional artists. The outcomes have created potential applications in animation and digital painting, especially in the area of visual simplification.

Traditional Chinese Landscape Painting: Dwelling in the Fuchun Mountains and its Influence on the Design of Contemporary Landscape Projects in the Qiantang River Valley (China)

Séjour dans les monts Fuchun est une peinture de paysage traditionnelle chinoise de Huang Gongwang (1269-1354), qui représente les paysages des deux rives de la rivière Fuchun, et c’est l’une des dix plus célèbres de Chine. L’analyse de l’œuvre et de son message philosophique permet de comprendre sa position artistique majeure en Chine et les raisons qui expliquent qu’elle serve d’inspiration à d’innombrables projets d’aménagement urbains et ruraux, dans la région représentée dans la peinture ou ailleurs en Chine. La rivière Fuchun et ses montagnes riveraines, représentées ici par Huang Gongwang il y a plus de 670 ans, sont situées dans la partie médiane du fleuve Qiantang, l’un des berceaux de la civilisation chinoise, où plusieurs sites ont été reconnus comme patrimoine mondial par l’Unesco pour leurs paysages culturels vivants. Rivière pittoresque rendue célèbre en Chine en raison des nombreuses peintures et œuvres littéraires majeures en Chine qui en font les louanges, son très riche patrimoine paysager, culturel et historique reconnu depuis des siècles est aujourd’hui soumis à d’importantes transformations (urbanisation, mise en valeur agricole, endiguement…). L’analyse de différents projets tente de saisir comment, aujourd’hui, les aménagements paysagers contribuent à restaurer l’harmonie entre habitants et nature, en s’inspirant de celle présentée dans Séjour dans les monts Fuchun.

The Supreme Goodness is Like Water

In China, there are mainly two philosophies that had tremendous impact on our civilization, which are Confucianism and Taoism. Taoism is the only belief system native to China, which had a grander perspective, about the relationship among the universe and human as well as human and human. The most important literature of Taoism is Tao Te Ching. The main doctrines of Tao Te Ching include: a natural state of being and Non-action.To Laozi, the way of water is completely different from the way of people with desire. As the source of life, water nourishes all living things on Earth. Water contributes to the world without regard for gain of loss. Remaining low, level, and quiet, water embraces and reflects everything under heaven. Water is invincible because it desires nothing and contends for nothing. It’s soft but not weak, instead, it’s full of strength. Water has three important virtues we can learn from, Which is “H2O”——humility, harmony and openness. The influence of Taoism lies in every single aspect of Chinese culture, such as traditional Chinese painting, music and Taiji(an ancient but popular Chinese self-defense art). Beyond that, Taoism has broken the boundaries of nations and attracted global attention and recognition. Of all ages, Taoist ideas have invested Chinese culture and art with a unique tone and an aesthetic beauty that emphasize inner spirit rather than outward forms.

Research on Chinese traditional culture development art innovation design and development system

Seeking the integration and innovation of traditional culture and modern technology, through the digital innovation and design research of traditional Chinese culture, the traditional Chinese ancient painting art and contemporary digital technology will go from parallel to active intersection and construct a new era from traditional Chinese culture: expressive form and symbol novelty. While realizing the creative concept design of contemporary Chinese traditional culture, the establishment of an infrared interactive projection system has been completed, and innovations have been made to meet the interactive projection requirements of traditional Chinese traditional culture for complicated technologies such as separation of pen touch points from background images and target tracking of pen touch points, with the breakthrough. They combined interactive projection technology with traditional Chinese culture for re-creation and re-expression, breaking through the inertial cognition of traditional Chinese culture with vision as the main body, emphasizing the correlation between hearing and traditional Chinese culture, and realizing conceptual innovation by designers and architectural designers. Technical personnel cooperate and communicate across borders and finally complete the multi-sensory new experience of digital art expression, providing a new way for digital innovation of traditional art.

Online Simulation of Illustration Patterns Based on Digital Art Design

Illustration art is an important part of graphic design, and is an intuitive means of artistic expression. Based on the gradual development of social networks and modern illustration art, digital illustration technology has become the main means of expression in modern graphic design. Starting from the basic concept of illustration art in the digital age, this study analyzes the application of digital illustration art and promotes the innovative development of the artistic expression of graphic design in China. This study will combine the traditional Chinese painting language with digital illustration creation in an inquiry-based manner, optimize the standard genetic algorithm, verify it through experimental simulation, and find that the model is more innovative based on the original model. This study provides a certain theoretical basis for the development of digital illustration in China and has a certain propaganda effect on the traditional Chinese painting language.

Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management

Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture and painting. For the interoperability between sculpture and painting artworks, artists only rely on professional knowledge and aesthetic ability to discover some interoperability in patterns, colors, and lines, which is insufficient for understanding Chinese sculpture and painting. This study designs a novel hybrid CNN-LSTM method to study the interoperability of Chinese sculptures and paintings in terms of patterns, colors, lines, and cultural information. CNN can extract patterns, colors, and line features of Chinese paintings and sculptures. The cultural characteristics of Chinese sculptures have obvious temporal characteristics, which can be mined by LSTM technology. The research results show that the hybrid CNN-LSTM method has good feasibility and accuracy in studying the interoperability of traditional Chinese sculpture and painting. In terms of average error, the largest error is only 3.03% and this part of the error comes from the prediction of Chinese sculpture and painting cultural information. All other features of traditional sculpture and painting are predicted to be within 3%. For the prediction of color features, the error is only 1.13%. Prediction errors for patterns, colors, and lines are within acceptable limits.