Traditional Chinese Painting Research Articles

The Style Transfer of Photos and Landscape Paintings Based on CycleGAN Combined with Nested Edge Detection Module

Chinese landscape paintings, especially Chinese landscape ink paintings have always been the treasure of the Chinese, or even the world culture. Due to the advancement of the science and knowledge, there are always interests for finding ways to produce Chinese landscape paintings through the way of the technology. In this paper, based on the original CycleGAN model, we are trying to transfer a real-world photograph to a typical Chinese landscape painting. To be specific, the brushwork in Chinese ink paintings contains enormous numbers of distinct and technical brush strokes which makes it extremely hard for CycleGAN to recognize and transfer Chinese ink painting. We improved the brushstroke effect of Chinese ink painting still by incorporating the Holistically Nested Edge Detection (HED) method into the CycleGAN model. The HED module puts the source image and the corresponding generated image into the convolution layer of five stages to generate their respective edge maps. The balanced cross-entropy loss calculated with edge maps is added to the total loss of CycleGAN to train the generator which is confronted with discriminator to improve output results. The addition of HED enables the extraction of edge features from the images, preserving the structural information and enhancing the accuracy of the style transfer, so the detailed of the Chinese ink painting can be transferred better in this sense. Experimental process with model building, training, validating, and predicting concludes that, complementing HED method into the original CycleGAN models well preserved distinct features in the conversion processes from real-world photographs to traditional Chinese landscape paintings.

MCCFNet: Multi-channel Color Fusion Network For Cognitive Classification of Traditional Chinese Paintings

The computational modeling and analysis of traditional Chinese painting rely heavily on cognitive classification based on visual perception. This approach is crucial for understanding and identifying artworks created by different artists. However, the effective integration of visual perception into artificial intelligence (AI) models remains largely unexplored. Additionally, the classification research of Chinese painting faces certain challenges, such as insufficient investigation into the specific characteristics of painting images for author classification and recognition. To address these issues, we propose a novel framework called multi-channel color fusion network (MCCFNet), which aims to extract visual features from diverse color perspectives. By considering multiple color channels, MCCFNet enhances the ability of AI models to capture intricate details and nuances present in Chinese painting. To improve the performance of the DenseNet model, we introduce a regional weighted pooling (RWP) strategy specifically designed for the DenseNet169 architecture. This strategy enhances the extraction of highly discriminative features. In our experimental evaluation, we comprehensively compared the performance of our proposed MCCFNet model against six state-of-the-art models. The comparison was conducted on a dataset consisting of 2436 TCP samples, derived from the works of 10 renowned Chinese artists. The evaluation metrics employed for performance assessment were Top-1 Accuracy and the area under the curve (AUC). The experimental results have shown that our proposed MCCFNet model significantly outperform all other benchmarking methods with the highest classification accuracy of 98.68%. Meanwhile, the classification accuracy of any deep learning models on TCP can be much improved when adopting our proposed framework.

The Application of Bian Embroidery in Modern Fashion Design

Bian Embroidery is one of the national cultural relics of Henan Province in China, originating in the Song Dynasty. Its original art form, which combines traditional Chinese painting and calligraphy with embroidery instead of painting, has a substantial artistic value and has impacted the history of Chinese embroidery. This paper takes the art form and craft characteristics of Bian Embroidery as the research object, compiles and refines the collected historical materials of Bian Embroidery through literature analysis, physical evidence, and case study, and innovatively applies its pattern themes, an art form, color characteristics and craft techniques to modern clothing design. The practical application shows that the application of Bian Embroidery elements to clothing design can produce high aesthetic and cultural values, aiming to inherit and protect the traditional folk art of Bian Embroidery and to find innovative points where traditional handicraft and popular design meet. At the same time, it can not only make the traditional Bian Embroidery handicraft derived in modern clothing design but also provide a new idea and direction for the future development of Bian Embroidery and can enrich the products of modern clothing, develop new technology and new style, meet people's increasingly high aesthetic demand, inject fresh blood into the clothing industry, and can improve the cultural connotation of clothing itself, and bring the traditional handicraft of the Chinese nation to the world. It will also enhance the cultural connotation of the garments and bring the traditional handicraft of the Chinese people to the world.

Vizual'nyj analiz kitajskoj klassicheskoj muzyki i tradicionnoj zhivopisi

Both classical Chinese music and traditional painting are important components of traditional Chinese culture, and a visual study of them can deepen people's understanding and knowledge of Chinese traditional culture and further promote its inheritance and development. This article firstly defines the two and analyses their differences on this basis, and then conducts a specific study on the two from the perspective of visualization.

The influence of Shanghai Art societies on the development of fine arts in the early twentieth century

The object of the article is the artistic life of Shanghai at the beginning of the 20th century, in which the most attention is paid to the study of the activities of art societies in order to scientifically reconstruct the creative process of Shanghai of the last century. The topic of the research is the contribution of the artistic associations to the cultural life of the city. Their activities are aimed at introducing European painting techniques and modernist trends into the visual culture of the country. The article attaches particular importance to the unique character of the city, tolerant and open to experiments in the field of visual culture. The paper describes three vectors of art development through the activities of art societies: upholding the foundations of traditional Chinese painting, the active inclusion of the European visual language and the synthesis of these two seemingly mutually exclusive streams. Using the historical method, the author analyzes the activities of art societies that significantly influenced the formation of a new scenario for the development of the visual culture of Shanghai in the first third of the 20th century. Firstly, at the beginning of the last century, this metropolis became the largest economic and cultural center of China. Secondly, most of the local artists who joined public organizations received Western education. Thirdly, the activities of art societies have significantly enriched and expanded the creative possibilities of the masters, attracted the attention of the population to the fine arts, and modernized the painting traditions of China. The author of the article comprehends the influence of Russian artists on the cultural life of Shanghai, and also focuses on the emergence and development of "female" art in Chinese culture during the period under study. This research has not only theoretical value, but also practical significance, and allow to determine the scenario of the development of Chinese fine art at the present stage.

Principles and Practice of Landscape Design: An Application of Traditional Chinese Landscape Painting

As a unique artistic form, traditional Chinese landscape painting has aesthetic value and a close relationship with garden design. This study mainly explores the principles and practices of landscape design based on traditional Chinese landscape painting. Firstly, it introduces the brief history of the development of traditional Chinese landscape painting and its relationship with garden design. Then, it analyzes the characteristics of traditional landscape painting and garden design principles. Then, the application of traditional Chinese landscape painting in landscape design was analyzed, including landscape layout, plant selection, and matching, as well as the design of buildings and structures. In conclusion, applying traditional Chinese principles in modern landscapes presents inherent challenges that demand thoughtful consideration. As contemporary spaces evolve and adapt to changing needs, integrating traditional elements may face obstacles such as conflicting design philosophies, space constraints, and technological advancements. Addressing these challenges requires a nuanced approach that preserves the essence of traditional principles while accommodating the demands of modern living. This section explores strategies and innovative solutions to overcome these challenges and successfully apply traditional principles in the design of modern landscapes.

An Analysis of the Cultural Differences between China and Japan, Using the Example of Gleaning Shellfish at the Falling Tide and Busy with Crops

The two works, 'Gathering Shells at Falling Tide' and 'Busy with Crops', represent two different cultures and the context of their times. During the Ming and Qing dynasties, traditional Chinese woodblock painting techniques reached their peak, and the carving techniques also influenced Japan, a country separated from China by sea, with a profound impact on the development and evolution of Japanese ukiyo-e. Analyzing their works to find the similarities and differences between the two cultures in the same historical period is conducive to a better understanding and development of their respective cultures.

A new technique for the removal of red fungal stains on traditional Chinese painting on silk

The orange-red to reddish purple fungal stains on paintings and textiles are recalcitrant to be alleviated even by using oxidative methods that are corrosive to most organic materials. A novel approach of alternate applications of sodium borohydride solution with dilute acids were tested and successfully practiced on the removal of the red fungal stains on a severely disfigured traditional Chinese painting on silk. The new approach was compared with the conventional oxidative method of potassium permanganate—oxalic acid solution in terms of their effectiveness and the safety of the silk fabrics. 1% and 0.5% of sodium borohydride ethanol solution alternated respectively with dilute acetic acid and sulfuric acid were effective for the removal of the reddish fungal stains on an authentic traditional Chinese painting on silk as well as the silk fabric samples. The loss of tensile strength of the silk fabric samples induced by the new approach was much milder than did the conventional oxidative method of potassium permanganate—oxalic acid.

Aesthetic style transferring method based on deep neural network between Chinese landscape painting and classical private garden’s virtual scenario

ABSTRACT Most of the existing virtual scenarios built for the digital protection of Chinese classical private gardens are too modern in expression style to show the aesthetic significance of their historical period. Considering the aesthetic commonality between traditional Chinese landscape paintings and classical private gardens and referring to image style transfer, here, a deep neural network was proposed to transfer the aesthetic style from landscape paintings to the virtual scenario of classical private gardens. The network consisted of two parts: style prediction and style transfer. The style prediction network was used to obtain style representation from style paintings, and the style transfer network was used to transfer style representation to the content scenario. The pre-trained network was then embedded into the scenario rendering pipeline and combined with the screen post-processing method to realise the stylised expression of the virtual scenario. To verify the feasibility of this methodology, a virtual scenario of the Humble Administrator’s Garden was used as the content scenario and five garden landscape paintings from different time periods and painting styles were selected for the case study. The results demonstrated that this methodology could effectively achieve the aesthetic style transfer of a virtual scenario.

The New Emperor's Clothes

Abstract This article contextualizes the visual intrigue that was created by the fifteenth-century Chinese poet and painter Sun Ai (ca. 1452–1536) when he broke from convention by using indigo blue to color the leaves of a cotton plant and a mulberry branch in a pair of paintings now in the Palace Museum, Beijing. The key to the meaning of this unique coloration lies in the poems inscribed by Shen Zhou (1427–1509) and Qian Renfu (1446–1526), as well as the socioeconomic connotations of silk, cotton, and indigo in those scholars' regions. It is argued that these paintings were made shortly after the Hongzhi emperor (r. 1487–1505) banned the submission of multicolored cotton and silk textiles. Considered in that context, the monochromatic use of indigo not only alluded to what cotton fibers and silkworms would ultimately produce—cloth and silk to be dyed indigo—but also stood in stark contrast to the kaleidoscopic appearance of the clothing banned by Hongzhi. The collaboration between Shen Zhou and Qian Renfu makes the paintings prominent examples of the layered nuance achieved in traditional Chinese painting through the interplay of color and poetry.

Automatic recognition of craquelure and paint loss on polychrome paintings of the Palace Museum using improved U-Net

Craquelure is the most common defect on ancient polychrome paintings, which may deteriorate further to paint loss. Previous image processing methods, which can accurately recognize paint loss, have limited precision and efficiency in segmenting craquelure. This paper proposes a semantic segmentation method, Res-UNet, for the recognition of craquelure and paint loss in the Palace Museum, Beijing. The residual structure of ResNet-50 enables the avoidance of network degradation, and image features can be fully extracted. Using the unique skip connection module of U-Net, features of different levels are fused to improve segmentation accuracy and provide smoother craquelure edges. Three loss functions are combined to accelerate stable convergence. The model was tested on a newly built dataset based on 600 images. Experimental results supported by statistical tests show that Res-UNet is a capable method of craquelure recognition, with an accuracy rate of 98.19%, and F1-score of 93.42%. Hence, the proposed hybrid approach is a promising tool to support the preservation and restoration of valuable traditional Chinese polychrome architectural paintings.

중국 전통 화조화를 모티브로 한 헤어아트

This study attempted to suggest a new direction for hair art and provide basic academic data by creating hairstyles based on flower-and-bird paintings. For this, a pilot study was performed on such traditional Chinese paintings, and books and Internet data were collected and analyzed. Then, among four seasons, spring and fall were chosen, and two hairstyles were created for each season, using diverse hairstyling techniques. For spring, ‘Peach Blossom & Turtledove Painting’ and ‘A Painting of Five-colored Parakeet on Blossoming Apricot Tree’ were created while ‘Bird-and-Fruit Painting’ and ‘A Painting of Valley Breeze and Comfort’ were designed for fall. It is anticipated hairstyles created with traditional Chinese flower-and-bird paintings as motives are valuable enough to be displayed as an art genre and that they would make a contribution to the growth and development of hair art.

An Analysis of the Use of Brown Horse Chicken Subjects in Traditional Chinese Painting

An Analysis of the Use of Brown Horse Chicken Subjects in Traditional Chinese Painting

Research on the Influence of the Aesthetics of Traditional Chinese Painting on Contemporary Oil Painting Landscape Creation

The aesthetic ideas and expression methods of traditional Chinese landscape painting influence all aspects of contemporary oil painting landscape creation. It not only guides oil painting creators to pay attention to environmental issues, return to nature, and explore cultural connotations, but also reminds oil painting creators to pursue both form and spirit and profound artistic effects while expressing nature. The uniqueness of oil painting creation is highlighted, and the artistic value is enhanced. This article analyzes the aesthetic expression of contemporary oil painting landscape creation and the similarities and differences between traditional Chinese painting and contemporary oil painting landscape painting. Based on refining the aesthetic values in traditional Chinese painting, it studies the impact of traditional Chinese painting aesthetics on contemporary oil painting landscape creation, providing reference for related research.

Exploring the Origin of the Theme of "The Three Plant Friends of Winter" in Traditional Chinese Painting

In Chinese culture, “the three plant friends of winter” refers to the three plants "pine, bamboo and plum blossoms", which are symbols and imaginative mediums for expressing one's will through objects. They are used in literature, poetry, painting, architecture and other fields to express the pursuit of beauty and spirituality. Since "the three plant friends of winter" are used in a wide range of fields, this paper will only talk about this theme from the evolution of its concept and its use in traditional Chinese painting.

Multiscale style transfer based on a Laplacian pyramid for traditional Chinese painting

<abstract><p>Style transfer is adopted to synthesize appealing stylized images that preserve the structure of a content image but carry the pattern of a style image. Many recently proposed style transfer methods use only western oil paintings as style images to achieve image stylization. As a result, unnatural messy artistic effects are produced in stylized images when using these methods to directly transfer the patterns of traditional Chinese paintings, which are composed of plain colors and abstract objects. Moreover, most of them work only at the original image scale and thus ignore multiscale image information during training. In this paper, we present a novel effective multiscale style transfer method based on Laplacian pyramid decomposition and reconstruction, which can transfer unique patterns of Chinese paintings by learning different image features at different scales. In the first stage, the holistic patterns are transferred at low resolution by adopting a Style Transfer Base Network. Then, the details of the content and style are gradually enhanced at higher resolutions by a Detail Enhancement Network with an edge information selection (EIS) module in the second stage. The effectiveness of our method is demonstrated through the generation of appealing high-quality stylization results and a comparison with some state-of-the-art style transfer methods. Datasets and codes are available at <a href="https://github.com/toby-katakuri/LP_StyleTransferNet" target="_blank">https://github.com/toby-katakuri/LP_StyleTransferNet</a>.</p></abstract>

Research on the Integration of Huizhou Architecture and Chinese Painting Creation in the Context of Rural Revitalization

The strategy of rural revitalization is an important strategy proposed by the State, among which the traditional Chinese architecture represented by Hui-style architecture is a kind of inheritance and development of the traditional Chinese culture, which is of great significance in the Chinese architectural culture. Among the traditional Chinese culture, Hui-style architecture has become an indispensable part of Hui culture with its unique style, brilliant history and profound cultural connotation. The traditional Chinese architectural art as well as cultural connotation carried down by Hui architecture has made an important contribution to promoting the prosperity and development of Chinese traditional culture. In recent years, with the accelerating urbanization process, rural development has been affected to a certain extent, which makes the inheritance of Huizhou architecture face great challenges, and many problems and shortcomings have appeared in its traditional Chinese painting.

Landscape pastoral living space in traditional villages

Traditional Chinese landscape painting absorbs the philosophical thoughts of the ancients and depicts an ideal picture of the harmonious coexistence of human living environment and nature, showing the origin of ancient Chinese architecture and nature in every way. The space of the habitat of traditional villages also confirms this logical core. Only by adapting to nature and conforming to nature can we truly achieve harmony and unity between man and nature. By interpreting the painting, mood and habitat space in traditional landscape paintings, we compare whether the peachland wonderland depicted in landscape paintings fits with the habitat environment in traditional villages, and interpret the philosophical connotation of the unity of heaven and man inside and outside the paintings.

The Aesthetic Development of Traditional Chinese Landscape Painting in Contemporary Landscape Painting

The Aesthetic Development of Traditional Chinese Landscape Painting in Contemporary Landscape Painting

Prospects for the Development of Traditional Chinese Art Ji Style Inner Painting

Prospects for the Development of Traditional Chinese Art Ji Style Inner Painting