Ink Painting Research Articles

Çağdaş Kültürel ve Sosyal Yapıda Sanat Olarak Dövmelerin İncelenmesi

Body painting has been practiced in the wide variety of cultures which includes Tattooing, Marking, and Ink Painting. In this study, we have explored whether tattoos should be counted as art and if they should, their aesthetic characteristics have been extracted based on the Franz Boas analytical method in anthropology of art. In this study, we attempted to investigate two issues about tattooing: 1) How the common aesthetic characteristics in art theories could be understood in tattoo as an artwork, And 2) According to the fact that, in addition to the aesthetic features, tattoo is also associated with social and cultural dependencies, we sociologically attempted to look for the tattoo’s functions in the contemporary social and cultural structures. Furthermore, considering the similar features of tattooing art in the world, the cultural style of this art has been studied in our society. According to the observations in this study, tattoo not only has aesthetic value in a cultural context, but also has symbolic meaning which influences and is influenced by individual and social leaning. Keywords: Tattooing/ Marking, Anthropology of art, Aesthetic value, Symbolic meaning, Historical and cultural context.

A comparative study of oil paintings and Chinese ink paintings on composition

A comparative study of oil paintings and Chinese ink paintings on composition

Application of Emotional Factors of Ink Symbols Evaluated by Network Model in Modern Visual Image Design

Accurate and fast recognition of ink symbols can enhance the perception ability of intelligent ink symbols in the environment, provide information input for the operation of intelligent ink symbols, and improve the perfection of ink painting. This paper proposes an end-to-end deep neural network model based on YOLOv3 for overall and individual recognition of ink symbols from a computer vision perspective. Ink symbol images generated by the simulation software are used for learning the overall and individual ink symbol detection models. Experiments demonstrate that the YOLOv3 detection algorithm has a good detection effect on ink symbolic targets, and the recognition of individual ink symbols has higher accuracy and flexibility, which provides a preliminary solution idea to solve the ink symbol information perception problem.

Light on Fire: The Art and Life of Sam Francis

Light on Fire: The Art and Life of Sam Francis

The emergence of Liu Kang\u2019s new painting style (1950\u20131958): a multi-analytical approach for the study of the artist\u2019s painting materials and technique

Liu Kang (1911–2004) was renowned Singapore artist trained in Shanghai and Paris, and known for his contributions to the Nanyang style—an art movement practised by migrant Chinese painters in Singapore between the late 1940s to the 1960s. The style depicts aspects of the tropical way of life, synthetising the artistic traditions of the School of Paris and Chinese ink painting with remarkable stylistic innovations. The aim of this study was to characterise Liu Kang’s painting materials and technique by way of ten paintings from a significant period in his oeuvre, 1950–1958, during which his Nanyang style emerged. The selected artworks are from the National Gallery Singapore. A broad range of analytical techniques was employed to study the painting supports and paint layers. The results indicate the prevailing use of commercially prepared linen canvases with double-layered oil-based ground. Single- and triple-layered structures of the ground, as well as semi-absorbent ground, were used sporadically. The identified group of pigments partially overlaps with those already known from Liu Kang’s earlier practice and also incorporates some noteworthy peculiarities like manganese, cerulean and phthalocyanine blues, phthalocyanine green, zinc yellow, and naphthol red AS-D. Some of these newly identified pigments made a distinctive appearance in the individual artworks, but ultimately Liu Kang was not convinced about increasing their role in his painting practice of the 1950s as presented in this research. This study highlights the significance of drawing and photography as integral elements of his artistic process. It also delves into the artist’s different painting approaches and discusses their evolution, which culminated in the stylistic innovation that became Liu Kang’s signature for decades to come. The obtained data may assist art historians and conservators in authenticity and attribution studies, evaluating the condition of artworks and designing conservation strategies. Moreover, this study contributes to the growing body of knowledge about twentieth-century artists’ materials, which are characterised by the complex mixtures of inorganic and organic compounds. It also provides information about the availability of art materials in Singapore in the 1950s.

Virtual interaction algorithm of cultural heritage based on multi feature fusion

During the traditional cultural heritage virtual interaction algorithm in the interaction action recognition, the database is too single, resulting in low recognition accuracy, recognition time-consumer and other issues. Therefore, this paper introduces the multi feature fusion method to optimize the cultural heritage virtual interaction algorithm. Kinect bone tracking technology is applied to identify the movement of the tracking object, 20 joints of the human body are tracked, and interactive action recognition is realized according to the fingertip candidate points. In order to carry out the judgment virtual interactive operation of subsequent recognition actions, a multi feature fusion database is established. The mean shift is used to derive the moving mean of the target’s action position and to track the interactive object. The Euclidean distance formula is used to train samples of multi feature fusion database data to realize the judgment of recognition action and virtual interaction. In order to verify the feasibility of the research algorithm, the virtual interactive script of ink painting in a cultural heritage museum is used to simulate the research algorithm, and a comparative experiment is designed. The experimental results show that the proposed algorithm is superior to the traditional virtual interactive algorithm in recognition accuracy and efficiency, which proves the feasibility of this method.

Exploration of "Modernity" in Contemporary Ink Painting

What is contemporary and what is traditional? Giving traditional ink painting a framework and telling it is traditional ink painting is not a contemporary thing. Art is a presentation carrier that reflects the times and people's hearts. Under this characteristic, we can deduce what is contemporary ink painting, that is, what is happening around people today, as well as people's most advanced and progressive ideas, It is they who give their paintings a kind of content. The content is then transmitted to the audience, so that people can know that the current advanced ideas, or some very self-contained things in the contemporary, very unique things, the reason why contemporary is contemporary is that it is constantly breaking the tradition.

Deep Learning in Computer Real-time Graphics and Image Using the Visual Effects of Non-photorealistic Rendering of Ink Painting

This study is to explore the effect of deep learning algorithms applied to the non-photorealistic rendering (NPR) of ink painting. The powerful processing capabilities of NPR technology and convolutional neural networks (CNN) in computer vision are analyzed. Aiming at the features of ink texture images, a new sample-based ink texture synthesis method is proposed. The feature representation of ink texture is calculated using the CNN model, and then an ink texture with the same feature representation is generated on a random image. In addition, a synthesis method of ink painting picture is proposed based on the CNN. The results show that the ink texture generated by the ink texture synthesis algorithm is very good, and the Visual Geometry Group Network (VGG-Net) model shows the best generation effect. For images generated by high-level networks lack a lot of pixel information, but retain the main feature information of the image. When the learning rate is 10, the effect of the ink image synthesized based on the content image is slightly worse; and the image generated by the fusion of multiple styles confirms the feasibility of synthesizing ink images of different "sizes and styles". Therefore, this ink image synthesized on the basis of the CNN model shows a better effect, which extends the possibility of computer creation of richer ink painting works.

Application of image processing technology combined with the CNN algorithm to improve the quality of the artwork

Deep learning algorithms have made great achievements in the fields of voice, image, text, and so on. Aiming at the current situation of image quality improvement, this study proposes an image quality improvement method for artworks integrated with a convolutional neural network (CNN). In this method, the images of ink painting artworks are generated by CNN, the image information and texture are extracted by a vgg-19 convolution neural network structure, and the images are transformed through red, green, blue (RGB) and hue, saturation, value (HSV) colour space. Under the ratio of three kinds of parameters, the accuracy of the VGg grid is improved compared with that of the illustration grid, and when the ratio of style picture influence factor to content picture influence factor is 5, the accuracy is improved the fastest, and the accuracy is nearly 20%. This research will be of great significance in the field of computer-generated high-quality ink painting art images in the future.

Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones

Cinematographers are trained to control and measure the relative difference in brightness between two parts of a scene, or a face, for expressive purposes. Painting is often referred to for inspiration as practitioners learn to compose and represent light and shadow in an aesthetically considered manner. In this respect, it is noteworthy that the painters generally studied by film-making students are mostly from Renaissance traditions and produced work featuring predominantly White models. This gap of racial representation in cinematographic pedagogy is stark and has long been overlooked. This article mounts an enquiry into the lack of diversity in cinematography education, examining how different aesthetic traditions, such as Asian ink paintings, could pave new ways for decolonising the conventional conceptions of lighting ratios. Drawing on qualitative and quantitative case studies undertaken in university workshops, I discuss how students respond to Black and Asian artwork as visual references when they are tasked with lighting models with non-White skin tones to accommodate the different reflectance of their skins. By comparing the learning outcomes and current industry techniques for optimising screen representation of Black, Asian and minority ethnic groups, the article evaluates how students respond to learning from modern artwork that promotes diverse identities, and argues for the benefits of integrating greater inclusiveness into cinematography.

Appreciation and Analysis of Liu Guohui's Realistic Ink and Wash Figure Paintings

Liu Guohui is one of the representatives of modern Chinese realistic ink and wash figure painting. He has been exploring the use of realistic ink painting for figure painting, trying to achieve both form and spirit. His paintings have diverse characters and focus on realism, which makes art and life closely linked, and is full of deep concern for people's real life. This paper analyzes the artistic characteristics of Liu Guohui's realistic ink and wash figure paintings from the problems of realistic ink and wash figure paintings and the inheritance and innovation of Liu Guohui's paintings.

서세옥의 수묵추상 전환과정과 조형의식

Suh Se-ok (1929-2020) is the first-generation main actor of Korean Painting(韓國畵), generated at the forefront of the ‘establishment of national art’, which was a newly born fatherland liberated in 1945. His performances after being nominated for the greatest award by the oriental painting session, a unit of the very first National Art Exhibition established in 1949, possess significance of leading a new world of creation as a shift from modern ‘Oriental paintings(東洋畵)’ to contemporary ‘Korean paintings’. Especially, he remonopolized abstract image, spread as a ‘global language’ in Western regions under cold war after the end of World War II, to Seohwa(書畫), XieYi(寫意) of literary painting, and the idea of ink painting. Furthermore, Suh utilized original paper, brush, and ink to pursue modernization and globalization, leading a pathway from ‘Korean painting’ to a nonfigurative generation. Under the context of radical change to ink abstract painting in fellow artist groups, Suh Se-ok sought for a more phased process of shift. Suh, in the initial stage of the new painting style in East Asia, amongst the period of 1954, possessed an attempt of reformation by pursuing a contemporary formation of XieYi. By the time of 1957, he sought for the transition to ink abstract painting and proposed it since early 1960 at ‘Mukrimhoe’ which he led to organize on his own. By the end of 1961, under the pathway of ‘muksang(墨像)’, it was developed into abstractive expression. Then, around the end of the 1960s, Suh created calligraphic abstraction by producing an image of mankind, passing through pictographic abstraction originating in rediscovered dots and lines of brushes and ink as an origin of creation. Thereby, he accomplished a distinctive method.

Application of Kano Model to Explore the Charm Factors of Meticulous Ink Painting about Flower in Vases

This study takes the topic of Flowers in Vases of the exhibition ‘Pure Offerings of a Myriad Plants: Paintings on Flower Vases and Potted Scenes’ which hold by National Palace Museum, Taiwan, 2018 as main axis. The thought process and construction of the aesthetics of Meticulous Ink Painting about Flowers in Vases and its charm factors were analyzed. By understanding these charm factors, the appropriate countermeasures for the application can be taken. In this study, we applied the evaluation structure method of charm engineering, interviewed with nine high-art-involved people(five males and four females). The questionnaire survey had been created to find out the satisfactory quality. Applying Kano Model and Refined Kano Model to classify quality and the results were analyzed, we highlight the importance of each quality and suggestions for improvement. The attributes of the charm factors that affect the audience’s appreciation which also have been explored and summarized. In this study, we established the foundation of the charm factors of Meticulous Ink Painting about Flowers in Vases which can be used as a reference for painting or product design.

The Style and Characteristics of Flower-and-Bird Painting in The Western Fujian Province in Modern Times

The 20th century was a period of change in the development of Chinese flower-and-bird painting. Traditional brush and ink painting blended with Western painting colors and concepts to present new forms of painting. Following the peak of Ming and Qing Dynasties’ development in Minxi (the western of Fujian) painting, a group of freehand flower-and-bird painters represented by the “four Masters of Shanghang” Li Shaoqi, Luo Xiaofan, Qiu Tian, and Song Shengyu, who inherited the Minxi painting style of the Ming and Qing Dynasties, learned the new painting language combines the styles of Paintings of Shanghai school, Lingnanism, and Lingdongism. The unique new style of painting highlights the posture of Minxi flower-and-bird paintings, thus influencing the modern times changes of flower-and-bird paintings of Fujian.

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.

Self-Adaptive Computational Aesthetic Evaluation of Chinese Ink Paintings Based on Deep Learning

<p indent=0mm>Computational aesthetic evaluation of artworks has become an active research direction in recent years. However, current works mainly focus on oil paintings and photographs, there have been few attempts in quantitative aesthetic evaluation of Chinese ink paintings. Chinese ink painting uses ink blended with water and a variation of brushwork to depict picture, which differs significantly from photographs and oil paintings in visual features, semantic features, and aesthetic principles. Aiming at this problem, we propose a framework of self-adaptive computational aesthetic evaluation of Chinese ink paintings based on deep learning technique. Firstly, we build an aesthetic evaluation standard dataset for ink painting images. Secondly, according to aesthetic principles of Chinese ink paintings, we design a multi-view parallel deep neural network by taking global images and local patches as multi-column inputs to extract deep aesthetic features. Finally, we build a self-adaptive deep aesthetic model of Chinese ink paintings based on subject query mechanism. Experimental results show that, compared with the basic VGG16 architecture, our multi-view network that contains six paralleled subject convolution groups has higher aesthetic evaluation performance, the deep aesthetic features outperform the traditional hand-crafted features, and our proposed self-adaptive model can predict human aesthetic decision with highly significant Pearson correlation of 0.823, with mean squared error of 0.161. Moreover, interference experiments show that our network is sensitive to painting factors including composition, ink color, and texture. Our work not only offers a deeply-learned-based reference framework for quantitative aesthetic evaluation of Chinese paintings, but also reveals the relationship between human aesthetic perceptions and deeply-learned features extracted from Chinese ink paintings.

The Application of Ink Painting Elements in New Media Art - Focusing on the Work “Different Appearance of Running Water”

초록·키워드 목차 오류제보하기 This study first analyzes the relationship between “ink” and "soul" in ink painting, and emphasizes the importance of ink. The production process of the new media art-work “Different Appearance of Running Water”, is then examined, with a focus on the ways in which the artist combines the characteristics of ink painting with new media art techniques to create a vivid work with soul and flavor. This case study is used to understand the ways in which new media technology can expand older from of artistic expression. In today"s rapidly changing world, only by virtue of its own civilization, history-endowed experience and cultural characteristics, can Chinese culture obtain a dominant position in the international cultural environment through creative practice and theoretical analysis, and thereby promote the modernization of Chinese painting. #Ink painting #Ink #Soul #Different Appearance of Running Water #New media Abstract1. Understanding "ink" and "soul" in ink painting2. Production and exhibition of the work "Different Appearance of Running Water"3. Meaning of the work4. ConclusionReferences

Soar: A Glimpse of Hope During the Pandemic.

Description This original watercolor and ink painting features a cardinal with its wings spread against a blue sky. The cardinal symbolizes pivotal moments, and we as a nation find ourselves at a pivotal moment with regards to our handling of the coronavirus pandemic. The bird with its wings spread against the sky gives a vision of anticipation. These feelings of hope and anticipation mimic those that many are starting to feel as vaccine distribution has ramped up. Health workers should take a moment to acknowledge this extraordinary state that we have reached while continuing our care and following CDC guidelines. We hope that we will soar into a new tomorrow where we are able to tackle the pandemic and we appreciate that we are allowed a glimpse of hope into a return to normal.

Artistic License: Celebrating the talents of students and educators

This monthly column features an alcohol ink painting of a classmate by student Nicole Morikawa.

A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun

Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.