Traditional Chinese Painting Research Articles

Methods of Teaching Traditional Chinese Painting in China’s General Education System

Methods of Teaching Traditional Chinese Painting in China’s General Education System

풍자개(豊子愷) 만화의 예술 풍격 연구

Fengzikai(豊子愷, 1898-1975) is considered as the founder of Chinese Literati Cartoons(文人抒情漫画) and the father of Chinese Cartoons. He who had experienced directly the dramatically changing era of the modern China including the Sino-Japanese War and the birth of New China, expressed the feelings of happiness, anger, sadness, and merriness of life through the art genre of ‘cartoon’ and parodied metaphorically the realities at that tim. Fengzikai’s cartoons contain the literati style, and it was made of his highly literature training and skilled ink drawing and writing through the traditions and reflected the poetic feelings(詩情) and painting meanings(畵意) of the traditional Chinese literati painting. He emphasized that cartoon was a comprehensive art genre combining literature and painting, and created the artworks having dual meanings of beauties of forms and literature. His cartoons include natural poetic meanings with highly artistic senses, and this is a unique charm of his cartoons different from other ones, as being a powerful means to make audience think of it constantly. The poetic meanings that he tried to put in his artworks are universal living scenes of our lives, human feelings and emotions in daily life, and empathies among people’s hearts. Therefore, his cartoons provoke broad common feelings with sincere emotions and move people’s hearts. The original artistic style of Fengzikai’s cartoons like a kind of ‘poems’ is a new creation, holding the important position in the history of cartoons and arts and having tremendous influences on the next generations’ artists.

張錯《連枝草》現代題畫詩對中國古典水墨畫的文本關涉

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 題畫詩是中國古典詩傳統之一，然則在現代詩的創作場域中卻尚待開展。現代詩人觀中國古典水墨畫而爲現代詩，本身即涉及詩和畫之間媒體形式的互文關係轉换，特别是中國古典水墨畫自成一再現體系，現代詩人如何出入圖像進行辯證，實爲重要課題。學者張錯既有《風格定器物》之論著，詩人張錯亦有《連枝草》之詩畫創作，兩者交相輻湊，實深化出“在現代情境中古典水墨畫之美與美感經驗如何發生？並且透過現代詩話語予以體現？”此一問題意識。本文即透過“觀中遊：動態觀視”“天工與畫工：生成意識”論述進程，研究張錯現代詩與中國古典水墨畫間的互文現象。從中可見張錯在題畫過程中，一方面爲畫作投置主體，透過畫中山水空間的層次組合，建構主體感官與山水自然的互動關係，突破繪畫本身形式上的静態限制，以詩話語釋放繪畫潛存之動能；另一方面則運用畫法入詩，整合中國古典水墨繪畫傳統進行繪畫山水與人物的再現，使文本産生藝術品評的功能，並揉入自身審美品味，進而使繪畫與詩美學得以共進。
 Inscribing poetry on paintings is a tradition in classical Chinese poetic history, but it has been under-developed in the field of modern poetry. Classical Chinese painting, which involves a process of translation of language into the symbolic system, is viewed by modern poets as modern poetry. Notably, Chinese painting itself is a representation system；this therefore has given rise to an important issue concerning how modern poets enter and exit the images as a dialectic discourse. As a scholar, Dominic Cheung authored a monograph, Authenticating Art by Styles; as a poet, he created the poems and the painting in Clovers-Selected Poems. These two works are deeply intertwined and arouse the awareness of two questions: 1) how does the “experience” of the beauty and aesthetics of classical landscape painting take place in modern contexts? 2) how can it be embodied through modern poetic language？
 Through the two discourses on “Viewing in Tours: Dynamic Viewing” and “Work of Nature and Work of Painting: Generating Consciousness,” this paper examines the phenomenon of the intertextuality between modern poetry and classical Chinese painting. It can be seen that in the process of inscribing a poem on the painting, the layout and the composition of the landscape in the painting establish an interaction between the subject and nature, which breaks the limits of the static state of painting itself and releases the potential agency within the painting through poetic language. On the other hand, the integration of traditional Chinese ink painting techniques in representing the landscape and character shall enable the text to feature a function of aesthetic valuation and to further enhance the aesthetic appeal of the painting and the poem.

Evaluating volatile organic compounds from Chinese traditional handmade paper by SPME-GC/MS

Once printed, books are always accompanied by the smells of volatile organic compounds (VOCs) which are continuously emitted not only by inks but also by papers themselves throughout their lives. Although the VOCs from papers may bring mild discomfort to readers, they are considered as very important factors that feature the degradation of papers and show potential applications in cultural relic appraisal. In this study, an analytical approach based on solid phase microextraction combined with gas chromatography-mass spectrometry (SPME-GC/MS) was proposed for the evaluation of volatile organic compounds (VOCs) emitted by Chinese traditional handmade papers. The VOCs evaluations and artificial aging processes were both applied to recent-made papers and naturally aged papers from a traditional Chinese calligraphy and painting scroll (collected by the National Museum of China). To be noticed, a large number of aliphatic acids, aldehydes, ketones, furan derivatives, benzene series and terpenoid substances indicated that the VOCs signals not only reveal the degradation of paper but also tentatively reflect the storage environment along hundreds of years ago. The semi-quantitative evaluation of markers indicated that the historical paper is under a serious degradation due to the high capacity it releases. Our results provided a path way to get the degradation information of ancient paintings as well as potential realistic applications such as the conservation of paper-based relics and the environmental protection in libraries and museums.

Analysis of handmade paper by Raman spectroscopy combined with machine learning

AbstractHandmade paper is a major carrier and restoration material of traditional Chinese ancient books, calligraphies, and paintings. In this study, we carried out a Raman spectroscopy analysis of 18 types of handmade paper samples. The main components of the handmade paper were cellulose and lignin, according to the wavenumber and Raman vibration assignment. We divided its Raman spectrum into eight subbands. Five machine learning models were employed: principal component analysis (PCA), partial least squares (PLS), support vector machine (SVM), k‐nearest neighbors (KNN), and random forest (RF). The Raman spectral data were normalized, and the fluorescence envelope was subtracted using the airPLS algorithm to obtain four types of data, raw, normalized, defluorescence, and fluorescence data. An RF variable importance analysis of data processing showed that data normalization eliminated the intensity differences of fluorescence signals caused by lignin, which contained important information of raw materials and papermaking technology, let alone the data defluorescence. The data processing also reduced the importance of the average variables in almost all spectral bands. Nevertheless, the data processing is worthwhile because it significantly improves the accuracy of machine learning, and the information loss does not affect the prediction. Using the machine learning models of PCA, PLS, and SVM combined with linear regression (LR), KNN, and RF, the classification and prediction of handmade paper samples were realized. For almost all processed data, including the fluorescence data, PCA‐LR had the highest classification and prediction accuracy (R2 = 1) in almost all spectral bands. PLS‐LR and SVM‐LR had the second‐highest accuracies (R2 = 0.4–0.9), whereas KNN and RF had the lowest accuracies (R2 = 0.1–0.4) for full band spectral data. Our results suggest that the abundant information contained in Raman spectroscopy combined with powerful machine learning models could inspire further studies on handmade paper and related cultural relics.

Emotion Recognition of Chinese Paintings at the Thirteenth National Exhibition of Fines Arts in China Based on Advanced Affective Computing.

Today, with the rapid development of economic level, people’s esthetic requirements are also rising, they have a deeper emotional understanding of art, and the voice of their traditional art and culture is becoming higher. The study expects to explore the performance of advanced affective computing in the recognition and analysis of emotional features of Chinese paintings at the 13th National Exhibition of Fines Arts. Aiming at the problem of “semantic gap” in the emotion recognition task of images such as traditional Chinese painting, the study selects the AlexNet algorithm based on convolutional neural network (CNN), and further improves the AlexNet algorithm. Meanwhile, the study adds chi square test to solve the problems of data redundancy and noise in various modes such as Chinese painting. Moreover, the study designs a multimodal emotion recognition model of Chinese painting based on improved AlexNet neural network and chi square test. Finally, the performance of the model is verified by simulation with Chinese painting in the 13th National Exhibition of Fines Arts as the data source. The proposed algorithm is compared with Long Short-Term Memory (LSTM), CNN, Recurrent Neural Network (RNN), AlexNet, and Deep Neural Network (DNN) algorithms from the training set and test set, respectively, The emotion recognition accuracy of the proposed algorithm reaches 92.23 and 97.11% in the training set and test set, respectively, the training time is stable at about 54.97 s, and the test time is stable at about 23.74 s. In addition, the analysis of the acceleration efficiency of each algorithm shows that the improved AlexNet algorithm is suitable for processing a large amount of brain image data, and the acceleration ratio is also higher than other algorithms. And the efficiency in the test set scenario is slightly better than that in the training set scenario. On the premise of ensuring the error, the multimodal emotion recognition model of Chinese painting can achieve high accuracy and obvious acceleration effect. More importantly, the emotion recognition and analysis effect of traditional Chinese painting is the best, which can provide an experimental basis for the digital understanding and management of emotion of quintessence.

A brief exploration on artistic conception of traditional Chinese painting art

Traditional Chinese painting, as a kind of bright artistic presentation in the Chinese traditional culture, has experienced nearly thousands of years of history. Up to now, we can still feel the unique beauty of rhythm and artistic conception existing in Chinese traditional culture through traditional Chinese paintings. As a kind of painting method of expressing mood and conception by specific things, traditional Chinese painting tries to make people perceive the beauty in the fantasy created by brush and ink so as to produce spiritual resonance. Therefore, traditional Chinese painting is more like a certain artistic conception than a painting, which contains all spirits of traditional Chinese painting. This paper will explore the deeper connotation of traditional Chinese painting by analyzing the artistic conception of traditional Chinese paintings.

Research on Emotion Analysis of Chinese Literati Painting Images Based on Deep Learning.

Starting from a pure-image perspective, using machine learning in emotion analysis methods to study artwork is a new cross-cutting approach in the field of literati painting and is an effective supplement to research conducted from the perspectives of aesthetics, philosophy, and history. This study constructed a literati painting emotion dataset. Five classic deep learning models were used to test the dataset and select the most suitable model, which was then improved upon for literati painting emotion analysis based on accuracy and model characteristics. The final training accuracy rate of the improved model was 54.17%. This process visualizes the salient feature areas of the picture in machine vision, analyzes the visualization results, and summarizes the connection law between the picture content of the Chinese literati painting and the emotion expressed by the painter. This study validates the possibility of combining deep learning with Chinese cultural research, provides new ideas for the combination of new technology and traditional Chinese literati painting research, and provides a better understanding of the Chinese cultural spirit and advanced factors.

Lighting quantity indexes for lighting traditional Chinese paintings based on pigments protection and substrates protection in museums.

In museum lighting, traditional Chinese paintings are the artworks with the highest light sensitivity. They are vulnerable to the color damage to pigments and the mechanical damage to substrates after the irradiation from light sources. As the basis of effective preventive protection, the research on the two lighting quantity indexes of illuminance and annual exposure (illuminance × time) is currently missing. In this study, the halogen lamp was used as the experimental light source to conduct a 1440 h irradiation experiment on the samples of paper and silk substrates under 4 illuminance levels, respectively, and the test of infrared spectrum was carried out on the samples every 240 h. The oxidation index of paper and crystallinity degree of silk were calculated then. Three-dimensional visual curved surface plots of mechanical damage to samples with the change of illuminance and time were established and then fitted into damage evaluation equations, which revealed and described mathematically the mechanical damage law of samples. Through the equations, the recommended values of illuminance and annual exposure for samples could be calculated. Combining the previous researches on pigments, the lighting quantity indexes of traditional Chinese paintings with different combinations of substrates and pigments were proposed.

Immersive Spring Morning in the Han Palace: Learning Traditional Chinese Art Via Virtual Reality and Multi-Touch Tabletop

ABSTRACT We examine the user experience, learning effectiveness, learning behaviors, and learning motivation of 54 young adults in pairs using an immersive virtual reality (IVR) environment and a multi-touch tabletop (MTT) to gain a cultural-historical understanding of the traditional Chinese paintings, Spring Morning in the Han Palace and The Night Revels of Han Xizai respectively. We used mixed methods of knowledge assessments, questionnaires, observation, and interviews to collect and analyze data. The results reveal the IVR environment significantly increased the learning effectiveness and motivation compared to the MTT system, particularly in tasks related to recall of details or spatiality. The IVR design incorporates five learning scenes, and as part of this aspect, the qualitative results indicate users in the IVR condition (1) developed a variety of exploratory and embodied learning strategies; (2) quickly switched their attention to the central learning content, and (3) had equitable interactions in collaborative learning. This research contributes to the potential of IVR learning effectiveness and associated design considerations to learn traditional cultural heritage.

Analysis of photoaging characteristics of Chinese traditional pigments and dyes in different environments based on color difference principle

AbstractPhotocatalytic oxidation is one of the main factors leading to the aging damage of Chinese traditional dyes and pigments. In this study, in order to analyze the photoaging characteristics of traditional dyes and pigments commonly used in Chinese cultural relics in different environments, we used traditional Chinese painting pigments to make colored paper samples, and used traditional dye extraction and dyeing technology to make colored silk samples. By setting up nitrogen and atmospheric chamber and using LED, tungsten halogen lamp, metal halide lamp and fluorescent lamp as light sources, an accelerated photoaging contrast test on 16 kinds of dyes and pigments was carried out, and then the color difference of different samples in different light environment and atmosphere environment was obtained. Through systematic analysis, the results show that the type of light source and the gas environment will affect the photoaging rate of the samples. The nitrogen environment can significantly reduce the degree and speed of photoaging, especially for organic dyes and pigments.

THE CULTURAL CONNOTATION OF CALLIGRAPHY: AN AQUIFER OF THE HUAXIA TRADITION

In the programs of language teaching, culture and country studies for the third year students at University of Languages and International Studies – VNU, we have researched, analysed and published several articles on cultural and artistic values related to Chinese music, dance and traditional painting. In this article, we dedicate ourselves to explaining, comparing, analysing and elucidating “The cultural connotation of calligraphy - an aquifer of the Huaxia tradition” through the formation and development of Chinese calligraphy - the famous traditional art considered “a poem with no words, a dance with no steps, a painting with no pictures or music with no sound”. We wish to contribute a useful reference for teaching and learning Chinese language and culture for Vietnamese students, thereby promoting the aesthetic and humane values in education, improving creative thinking and nurturing the love of nature and patriotism.

Anchoring effects in the Chinese art market

Using a large auction dataset for traditional Chinese paintings, we test for anchoring effects in the art market. We find that bidders and auctioneers both anchor on past auction prices (which is an externally-provided anchor) and anchoring effects become stronger if time intervals between two auctions of the same paintings are relatively short. When a painting is reauctioned by the same auction house, auctioneers are influenced by both past auction prices (an externally-provided anchor) and auctioneers’ previous estimates (a self-generated anchor). If time intervals between two auctions are relatively short, the influence of the externally-provided anchor prevails over that of the self-generated anchor.

A Preliminary Study on the Intervention of Western Oil Painting Creation Imagery in College Art Teaching

With the development progress of modern technology and the continuous improvement of culture, each of us has become more tolerant of artistic expressions. Nowadays, the ways of expression in painting have become more diverse, different ways of expression in painting will converge with each other. Everyone is familiar with oil painting. It is a form of painting that originated in the West. In the process of growing up in our country for more than 100 years, the creation of oil paintings in university art education also has very significant characteristics. This has also determined a correct direction for the formation of the artistic style of the students in the future and laid a very good foundation. So how do we combine the creative image of Western oil paintings and guide students correctly in oil painting creation is very important. Based on my many years of teaching creation experience, I’d like to introduce the preliminary explorations in the following aspects of teaching, hoping to provide very good guidance for the majority of teachers and friends. We all know that the creation of works of art is a very high goal of art study, all the purpose is to make works of art and paintings with ideas come out. Then, this article will start with the enthusiasm of Western oil painting and traditional Chinese painting, it will conduct certain research and exploration of western oil painting creation image entering college art teaching.

Impact of Group Art Therapy Using Traditional Chinese Materials on Self-Efficacy and Social Function for Individuals Diagnosed With Schizophrenia.

The purpose of this study was to examine the effect of group art therapy using traditional Chinese materials on improving the self-efficacy and social function of individuals diagnosed with schizophrenia. In China, little research has been conducted on patients to measure the effectiveness of group art therapy, especially using traditional Chinese materials. To address this research gap, 104 individuals diagnosed with schizophrenia were tested in a group art therapy program that included 30 treatment sessions and used a wide variety of materials, including traditional Chinese materials, such as Chinese calligraphy, traditional Chinese painting, Chinese embroidery, and Chinese beads. The effect of art therapy was analyzed using the General Self-Efficacy Scale (GSES) and Scale of Social Skills for Psychiatric Inpatients (SSPI). This study demonstrates that group art therapy using traditional Chinese materials can improve self-efficacy and social function, reducing social and life function problems, and promote the recovery of individuals diagnosed with schizophrenia.

A brief analysis of the relationship between chinese traditional painting "Guohua" and literature

A brief analysis of the relationship between chinese traditional painting "Guohua" and literature

Analysis of the Application Skills of Color in the Creation of Characters in Traditional Chinese Painting

The reason why Chinese painting can occupy an important position in the history of world painting lies in the unity of its lines and colors. The figure painting in Chinese painting is the perfect combination of color and line, creating the unique beauty of Chinese figure painting. Color has undergone many rounds of evolution in the process of Sinicization, and the entry of Western art has also had an impact on Chinese painting. This article combs the evolution of color in Chinese painting, and analyzes how to use color in Chinese figure painting.

The "Imitation Complex" in Paintings of Wang Yuanqi

"Pre-imitation" is the main way to learn traditional Chinese painting, and it carries learners' importance and attitude towards learning traditions. Wang Yuanqi, one of the four kings in the early Qing Dynasty, studied painting and inherited family studies. Under the influence of Wang Shimin and Wang Jian, he liked to copy masterpieces from the Five Dynasties to Yuan Dynasty, and finally formed a unique style of painting. This article discusses Wang Yuanqi's own way of copying from the aspects of writing, copying, and creating new ideas, and intends to explore the characteristics of his painting art.

The spirit of humanism embodied in the assessment system of traditional Chinese painting

The spirit of humanism embodied in the assessment system of traditional Chinese painting

Sentiment Analysis of Chinese Paintings Based on Lightweight Convolutional Neural Network

Chinese painting is one of the representatives of our country’s outstanding traditional culture, and it embodies the long history and intellectual wisdom of the Chinese nation. In the paper, we combine the artistic characteristics of Chinese paintings and use an optimized SqueezeNet model to study the sentiment analysis of Chinese paintings. To make full use of the advantages of lightweight convolutional neural networks, we make two optimizations based on SqueezeNet. On the one hand, expand the model width to obtain more effective Chinese painting sentiment features for classification tasks, thereby improving the classification accuracy of the model. On the other hand, introduce the idea of residual network to prevent gradient disappearance and gradient explosion in the training process, thereby enhancing the model’s generalization ability. To verify the effectiveness of the optimized SqueezeNet model used in the sentiment analysis of Chinese paintings, four kinds of sentiment classifications were carried out on the multitheme Chinese paintings downloaded on the Internet. The results of comparative experiments show that the optimized SqueezeNet model used in this paper can improve the accuracy of classification and has better generalization ability. Finally, the research results of this paper can be applied to the protection of traditional culture, the appreciation of traditional Chinese painting, and art education and training, which is conducive to the inheritance and innovation of the national quintessence and promotes the prosperity and development of traditional art and culture.