Traditional Chinese Painting Research Articles

The study on the application of Traditional Chinese painting in modern space is analyzed through “riverside scene at qingming festival” - Centered on China's underground parking lot -

The study on the application of Traditional Chinese painting in modern space is analyzed through “riverside scene at qingming festival” - Centered on China's underground parking lot -

Research progress on and prospects for virtual brush modeling in digital calligraphy and painting

As the crown of the scholar’s four jewels, the brush has occupied a cherished position in the culture of traditional Chinese painting and calligraphy since its invention. In virtual painting, virtual brush modeling plays the most important role. A powerful virtual brush model can truly reflect the characteristics of a real brush and enhance the reality of virtual painting. By reviewing the state of the art in virtual brush modeling, we summarize the basic principles, merits, and drawbacks of typical modeling methods, and discuss simulation results based on empirical methods and physical methods separately. The influences of brush-paper, paper-ink, and human-computer interactive devices on virtual brush modeling are analyzed briefly. The main challenges and problems in virtual painting are analyzed, and the prospects for research on virtual brush modeling in the future are put forward.

전통 중국화 여백의 구조를 적용한 공공공간 시각 특성 연구

전통 중국화 여백의 구조를 적용한 공공공간 시각 특성 연구

Kolaborasi Budaya pada Lukisan Tradisional Tiongkok di Indonesia

Chiang Yu Tie is a female painter recognized with her Chinese painting technique. Few Chinese women are recorded in Indonesia fine art history. Chiang Yu Tie had qualified track record of exhibitionin 1900s.However, her name was not recognizable yet in national fine art. The aim of this research is to equip infrastructure of social fine art area in Indonesia relating to the visualization of Chinese female art works. This research uses qualitative method and case study. This research shows that the local genius of Chiang Yu Tie work can be appreciated through figure of the dancer and panorama collaborated with Chinese traditional painting style. The composition made by Chiang Yu Tieis convergence. This composition is used to state that the object is important. The colors highlighted in her painting are the natural colors such as light green, light brown, light blue, with black outlineas the confi rmation of the highlighted object. Keywords: Chiang Yu Tie, Chinese painting, fine art

The existence of orthopaedic clinic in the Qingming Shanghe Tu

Qingming Shanghe Tu(Along the River During the Qingming Festival) is a traditional Chinese painting created by Zhang Zeduan, a Northern Song Dynasty painter. The painting, which showed us the daily life of citizens in Northern Song's Bianjing(capital of the country), had an important value for studying the society and folkways of the Northern Song Dynasty.Therefore, many articles and books refer to the signboard with words "specialized in the bone-setting" as an evidence to prove the existence of orthopaedic clinics in Northern Song Dynasty.Through textual research, we found signboard with words "specialized in the bone-setting" did not exist in the Qingming Shanghe Tu, but in one of its facsimile titled "Qing Court Version" . The "Qing Court Version" depicted the daily life and culture of the Ming and Qing Dynasties. In conclusion: the previous inference that the orthopaedic therapy was widely applicated among the people of Northern Song Dynasty is inaccurate.

De ríos y montañas: la poética de la pintura tradicional en la arquitectura china contemporánea

<p>La pintura tradicional china –para nosotros similar a un tipo de dibujo– presenta rasgos inequívocamente modernos en su concepción; su poética construye el espacio y el tiempo de forma análoga a la arquitectura. Este artículo analiza la manera en que las estructuras visuales de esas obras crean una peculiar experiencia narrativa espacio-temporal. Veremos cómo diferentes arquitectos contemporáneos chinos idean, a partir de esa pintura, una serie de arquitecturas que toman de su tradición pictórica su base conceptual y su forma de expresión. Evitan imitar acríticamente modelos internacionales e incorporan sutilmente rasgos específicos de la propia cultura; dotan de significado a la arquitectura mediante el contraste entre conceptos modernos y tradicionales. La comprensión de la forma sutil en que estos recursos son aplicados a sus procesos de ideación, nos permite intuir, también en nuestro contexto occidental, la posibilidad de nuevas formas de enriquecer el proyecto, conectándolo poéticamente con elementos de nuestra tradición y corregir así su frecuente deriva hacia lo utilitario, lo icónico o la simple banalidad.</p>

‘Roots-searching’ and contemporary landscape photography in China

This article aims to discuss a discursive turn of Chinese visual arts, using landscape representations from old and contemporary photographs of China, as well as painting and film materials. The discussion starts from showing the differences of defining the term landscape between Western and Chinese painters, arguing that they point to two types of realism underpinned by two kinds of cultures of seeing. It then moves on to the anthropological analysis of the landscape and how this analytical framework is useful in terms of understanding the ‘emotive reality’ in traditional Chinese landscape paintings. Lastly, the essay attempts to point out that this legacy has been inherited by contemporary Chinese visual arts in form of a ‘roots-searching’ sentimentality, either in explicit or implicit ways, participating in the construction of the new reality and identity recognised by and shapes contemporary Chinese artists.

중국 전통 회화의 여백 원리를 이용한 세계유산 중국 맥적산 석굴 포스터 디자인 응용 연구

중국 전통 회화에서 여백의 미학 원리를 광고 디자인에 적용하는 것은 정보를 전파하고 영향력을 확대하는 효과적인 방법일 뿐만 아니라 삶의 질과 심미적 가치를 높이기 위한 일종이 방법이다. 본 연구에서는 세계 유산인 중국 맥적산 석굴의 포스터 디자인을 중심으로 중국 전통 회화의 여백 원리를 맥적산 석굴 포스터 디자인에 적용했다. 우선 이론 고찰을 통해 중국 전통 회화에서의 여백 원리 및 ‘여백’ 과 광고 디자인과의 관계를 정리했다. 다음으로 실지 조사, 인터넷 자료 조사 및 설문 조사를 통해 맥적산 석굴의 지역적 특성과 광고 디자인 현황을 조사했다. 그런 다음 포스터 디자인의 개선 방안을 제시하고 이 방안을 시행했다. 중국 전통 회화의 여백 원리를 맥적산 석굴 포스터 디자인에 적용함으로써 현재 맥적산 석굴 광고 디자인의 현 상태를 개선하고 광고 디자인의 심미적 가치 및 세계유산 관광지의 이미지와 인지도를 제고하려 힘썼다. 이는 관광 시장의 개척 및 지속 가능한 발전과 이용에 유리하게 작용하며 더 나아가 가시적인 경제적 효과를 창출하는데 기여한다. 기존 연구를 토대로 향후 관광산업에 대한 광고 디자인의 심미적 기능 향상에 의미 있는 결론과 참고가 되기를 기대한다.

The Value and a Preliminary Study of the Integration of Traditional Chinese Painting and Calligraphy & Modern and Contemporary Art in Primary School Art Teaching

Finding a unique way to help students better accept between traditional Chinese Painting and Modern and Contemporary Art is an increasing concern in primary school art teaching. The purpose of this study is to investigate fine art education field according to analyze the current situation of Chinese traditional painting and calligraphy together with Modern and Contemporary Art in the art curriculum of primary schools: shallow embedded curriculum, shortage of Class Hours and relatively simple teaching method. Based on the key competence of the disciplines, it discusses the value of integrating those two in art teaching of primary schools, proposes a Bridge to connect the Chinese painting and calligraphy& Modern and contemporary art and provides a curriculum construction model that connects the artistic language with the concept of disciplines. This study takes the work of artist A.R.Penck as the theme, starting from the big idea, looking for basic problems, designing a curriculum with the integration of two kinds of art forms, and teaching practice at The China Soong Ching Ling Science & Culture for Young People. This study not only answers the feasibility of the curriculum construction model but also gives some critical thinking about it.

Effects of Illumination on Paper and Silk Substrates of Traditional Chinese Painting and Calligraphy Measured with Raman Spectroscopy

ABSTRACTAs the substrates of traditional Chinese painting and calligraphy, paper and silk are susceptible to optical radiation in museum illumination, resulting in mechanical damage, the origins of which are changes in microscopic molecular structure. However, there is no effective method of quantitatively evaluating the microscopic molecular structural changes caused by irradiation. In this study, Raman spectroscopy was introduced for illumination research on the paper and silk substrates in museums. Four narrow-emitting light sources with different peak wavelengths, red (650 nm), amber (583 nm), green (510 nm), and blue (450 nm), which together constitute the spectrum of a white light emitting diode (LED), were used as experimental light sources. As experimental specimens, paper and silk substrates were irradiated by the four light sources. The Raman spectra of the specimens were collected before and after the illumination. By analyzing the variations in characteristic Raman peak intensities, the relative damage coefficients of the four light sources on microscopic molecular structures in the specimens were studied. Then, we were able to design the white LED spectral irradiance distribution of the two substrates according to the corresponding damage coefficients. In conclusion, a research method for studying the microscopic molecular structural changes in the substrates of traditional Chinese painting and calligraphy based on Raman spectroscopy has been proposed, finding a solution to the long-standing challenge of how to quantitatively evaluate illumination-induced mechanical damage of substrates. These results are instructive for designing the spectral ratios of white LEDs suitable for illumination of traditional Chinese painting and calligraphy in museums.

Das Bild als Phänomen

Abstract This article discusses the traditional approaches to creating images in China and Europe, which basically relate to two different understandings of truth and perception. On the basis of the concept mimesis, classical European paintings concentrate on a rigorous correspondence to the visually perceived reality. In contrast, literary paintings – one of the representational forms of traditional Chinese painting – take a different approach. In order to avoid a radical differentiation between image and phenomenon, it does not strive for a precise imitation of external forms. Given the influence of the concept of change, the primary task of Chinese painters is to reveal the vitality that permeates all existence and the dynamic interaction of opposing elements. This does not mean that imitation can be completely abandoned in the artistic creation. Instead, imitation is a fundamental step towards progress.

Discovering the effect of alum on UV photo-degradation of gelatin binder via FTIR, XPS and DFT calculation

In the field of cultural heritage, a growing interest is focused on the UV photo-degradation of organic binders induced by mineral pigments. But the effect of alum on the UV photo-degradation of gelatin binder remains unclear, which are two of the most common materials in traditional Chinese painting and calligraphy. This paper investigated alterations in composition, the secondary structure and morphology of gelatin under the individual or compound action of UV light and alum. Results showed that alum can obviously accelerate the alterations in the secondary structure and morphology of gelatin. The results of FTIR, XPS and DFT calculation confirmed that alum can directly or indirectly provide active hydrogen atom and O2· radicals, so the initiation and propagation process of gelatin photodegradation were promoted. The paper discovered the mechanism of the degradation of protein binders in Chinese traditional cultural heritage, and provided important theoretical basis for find suitable treatments for conservation or targeted materials for protection.

Chromaticity changes of inorganic pigments in traditional Chinese paintings due to narrowband spectra in four-primary white light-emitting diodes

The spectral power distributions of white light-emitting diodes can be adjusted according to various demands. Thus, it is meaningful to explore the influencing law of monochromatic lights mainly in constructing white light-emitting diodes. Four kinds of typical red, yellow, green, and blue monochromatic lights were used to illuminate typical inorganic pigments. CIE XYZ coordinates were examined periodically, and then the color parameters—dominant wavelength, luminance, and excited purity—of the pigments were calculated through the data. The changing laws of the colors of the five pigments under different monochromatic lights were obtained. The relative influence values of the four monochromatic lights were also acquired through calculating and comparing the changing degree of the color parameters. The achievements can provide a data basis and reference for research on traditional Chinese paintings pertaining to color damage and the rendering effect of illumination.

Fast generation method of 3D scene in Chinese landscape painting

The three-dimensional (3D) modeling of Chinese landscape painting is of great significance for the digital protection of cultural heritage and the production of virtual reality content. A fast modeling method to create 3D landscape scenes for traditional Chinese painting is proposed in this paper, based on integrated terrain modeling and the water flow rendering algorithm. A height map generation algorithm based on auxiliary lines is first proposed to carry out fast modeling from a simple two-dimensional contour to create a 3D mountain model. A realistic flow simulation that fits the topography is then undertaken, based on a flow chart which is calculated using the particle force in the normal grid of topography, and the theory of smoothing particle hydrodynamics. Finally, a stylistic scene that conforms to the artistic concept of traditional Chinese painting is acquired by optimizing the parameters. The interactive modeling platform of the integrated algorithm is tested in this study, and compared with existing research. Results show the method can achieve real-time rendering and realistic rendering to rapidly generate a 3D scene model consistent with a traditional painting scene, and provide support for the follow up development of virtual reality applications.

Classification of traditional Chinese paintings using a modified embedding algorithm

Although existing research on classification of Chinese paintings is limited to consideration of the relationship between paintings and labels, we propose a convolutional neural network (CNN)-based feature description, feature-weighted, and feature-prioritized algorithm to achieve overwhelmingly better classification performances. In comparison with the existing research on Chinese painting classifications, where the distribution information of paintings is often ignored and the influence of the feature importance on the calculation of distribution information is not considered, we extract the features of Chinese paintings by CNN models and propose a joint standard and normalized mutual information to allow features being prioritized via their level of importance. Following that, an embedded machine learning is further integrated to formulate an embedded classification algorithm, namely joint mutual information-based and data-embedded classification (JMIDEC), and the support vector machine is finally applied as the classifier to optimize the classification results. Extensive experiments show that the proposed JMIDEC algorithm outperforms a number of representative methods with stronger robustness.

Inspiration From Chinese Painting: A Feasibility Study of Using Chinese Ink as Pigment Colorant for a Wearable Art Collection

Pigments are the most commonly used colorations, due to their ease of accessibility, and have been used for textile printing and pad-dyeing processes for many decades. This research on pigment dyeing was conducted as part of a wearable art design project inspired by the techniques and aesthetics of traditional Chinese painting. To preserve the spirit of the Chinese paintings, silk and cotton fabrics were used in submersion pigment dyeing and direct painting experiments with Chinese ink to determine their color strength, colorfastness, and fabric properties. Due to the results, the researchers were confident in the viability of using Chinese ink as the pigment colorant for dip dyeing and direct silk painting in the wearable arts. This research was also intended for students and designers as an example of how to use practical concepts of textile testing in innovative apparel design projects.

Illumination in Museums: Four-Primary White LEDs to Optimize the Protective Effect and Color Quality

Traditional Chinese paintings (TCPs), which are characterized by enormous storage and high value, are prone to suffering from radiation damage from museum illumination, such as color fading, discoloration, and color vanishing, especially for the most light-sensitive traditional Chinese paintings that are painted with organic pigments (op-TCPs). Thus, the development of light sources that minimize the damage to TCPs is essential. Meanwhile, the color quality of light sources is also of great importance, and there is a lack of methodology for obtaining light sources with optimized spectra to simultaneously achieve the protective effect and ensure the color quality. Here, changing curves of the CIE DE2000 color differences of pigments were shown as a function of the exposure duration by calculating the periodically measured color parameters in a long-term illumination experiment under four monochromatic lights. Relative spectral responsivity functions of the op-TCPs were deduced by fitting the experimental data and obtained the corresponding equal-illuminance relative damage formulas. Then, damage laws to the op-TCPs and the lowest color damage spectral power distributions that satisfy the color quality requirements of a four-primary white LED model were obtained. Our results can provide the theory and application basis to manufacture white LEDs that are suitable for illuminating op-TCPs; the method can be further used in preparing white LEDs for other cultural relics.

Four-component, white LED with good colour quality and minimum damage to traditional Chinese paintings

A correlated colour temperature tunable, four-component, LED system suitable for illuminating traditional Chinese paintings painted with inorganic pigments (iop-TCPs) has been designed. This light source can meet the requirements for protective illumination and colour quality in museum illumination. The damage to iop-TCPs caused by the individual 450 nm, 510 nm, 583 nm and 650 nm monochromatic LEDs used to construct the LED system were obtained through a long-term illumination experiment. Then, we calculated the damage resulting from the corresponding four-component white LEDs with various spectral power distributions, the intensities of which were iterated by a brute force algorithm. The constructed spectral power distributions were evaluated by the damage and colour quality formulae. The results showed that the better colour quality spectral power distributions with higher correlated colour temperatures cause less damage to iop-TCPs. The lowest damage spectral power distributions, satisfying colour quality requirements with correlated colour temperatures ranging from 2700 K to 4000 K, were obtained by calculating the corresponding parameters of the formed spectral power distributions and further selection. This paper not only provides a colour temperature tunable, four-component, white LED system suitable for illuminating iop-TCPs but also sets out a methodology that can be used to identify white LEDs suitable for other cultural relics based on damage limitation and visual requirements.

Rebuilding Legitimacy: Hwang Chun Pi and His Landscape Paintings in Postwar Taiwan

Born in Guangzhou in 1898, Hwang Chun Pi (Huang Junbi, 1898–1991) was best known for his landscape paintings. Although Hwang was considered a traditionalist, he encouraged the modernization of Chinese painting through the incorporation of elements of Western art and advocated that traditional Chinese painting should change along with time. With his well-to-do social background, Hwang exerted a far-reaching influence on the art scene in postwar Taiwan, leading to his followers being called “The School of Clouds and Water.” More importantly, Hwang’s powerful brushworks were of great use for the Nationalist Government when carrying out its political ideas and reinstating its legitimacy.

Development of "Water" in Chinese Painting of Modern Times and the Contemporary Age

In traditional Chinese painting, "water" is not only the medium for the harmony of brush and ink, but also the object of landscape painting. It is also the best assistant for Chinese painters to create realms with temperament in artistic creation, while "ink painting" of the contemporary age has already broken through the limitations of tradition, and has become a broader cultural concept or even the pronoun of Chinese elements. It incorporates contemporary art in a more conceptual form, and brings the oriental spirit it represents into the art fields of installation art and experimental art. It combines with new materials to make Chinese paintings show infinite new possibilities. In the future artistic creation, "water" will always play an important role. This paper will reinterpret its value in modern and contemporary art from the aspects of material properties and spiritual values of "water".