Research on the Traditional Chinese Painting under the New Media Era Background

In this paper, we conduct theoretical research on the traditional Chinese painting under the new media era background. Each kind of art has its own language, has its performance tell their own special form of expression, if the dance art is by dancers from its own unique aesthetic consciousness and aesthetic ideal, by means of the human body, in the process of regular exercise to create a dynamic artistic beauty. That painting is the painter with his own eyes see the world, feel the beauty after understanding of beauty themselves by their own hands drawing on paper, as use this form to us leave world presents to the world. In the development of Chinese painting, pen and ink are inseparable, dependent, both in line shape, with luck, melts the things rather than the external object revealed the existence of ontology and ink lines, this is the spirit of Chinese painting. To enhance the development of the Chinese painting, we integrate the new media for innovative optimization.

Appreciation and Analysis of Traditional Chinese Painting＇s Freehand Brushwork Aesthetic Characteristics

Traditional Chinese painting possesses its own unique artistic style in the world＇ s art circle. Compared with the western painting, the freehand brushwork characteristics are very significant in traditional Chinese painting. In traditional Chinese painting, top priority is given to the expression of the creator＇s subjective interests, but not to the external colors and similar appearances. The masters in the world of traditional Chinese painting have always attached high importance to expressing the spirits with forms or appearance since the ancient times. In traditional Chinese painting, ＂similarity in form or appearance＂ and ＂similarity in spirit＂ are always dialectically unified with consciousness and unconsciousness, so that the art form with the ＂freehand brushwork＂ aesthetic characteristics is produced and significantly features Chinese spirit and oriental style. Also, the realm of art to express spirit with appearance is always pursued in traditional Chinese painting, and this is totally different from the ＂express appearance with appearance＂ in the western paintings. Moreover, expression is always stressed in traditional Chinese painting so as to express the feeling world of human using the ＂freehand brnshwork＂ aesthetics as the creation method. The ＂freehand brushwork＂ aesthetic characteristics of traditional Chinese painting are branded with a profound Zhuangzi philosophy.

Exploration of the Spiritual Pursuit of Traditional Chinese Painting Similarity and Dissimilarity

Chinese painting has a long history and distinctive national characteristics, self-contained in the field of world art. It is unique and become the mainstream of oriental art. Traditional Chinese painting is artistic conception as the soul, melting into poetry, books, paintings as a whole, poetic romance as the connotation, expressing feelings and thoughts. It exhibited virtual static beauty in thinking of Taoist philosophy of nature, becoming a unique Chinese aesthetic art. Artistic spirit is an important part and aesthetic standard of Chinese painting aesthetics, in the ＂paintings goods recorded,＂ ＂Lively spirit＂ is defined as the highest state of painting, artistic spirit is not a very mysterious thing, it was born from the pen and ink. NO pen and ink, no artistic spirit. Pursuing vivid artistic spirit, emphasizing ink skills, giving vent to feelings of oneself for its purpose, Chinese painting has generated a large number of outstanding works of art in thousands of years, constructed a unique cultural spirit, shaped the nation ＇ s aesthetic temperament and character.

Computational Approaches for Traditional Chinese Painting: From the “Six Principles of Painting” Perspective

Traditional Chinese painting(TCP)is an invaluable cultural heritage resource and a unique visual art style.In recent years,there has been a growing emphasis on the digitalization of TCP for cultural preservation and revitalization.The resulting digital copies have enabled the advancement of computational methods for a structured and systematic understanding of TCP.To explore this topic,we conduct an in-depth analysis of 94 pieces of literature.We examine the current use of computer technologies on TCP from three perspectives,based on numerous conversations with specialists.First,in light of the“Six Principles of Painting”theory,we categorize the articles according to their research focus on artistic elements.Second,we create a four-stage framework to illustrate the purposes of TCP applications.Third,we summarize the popular computational techniques applied to TCP.This work also provides insights into potential applications and prospects,with professional opinion.

Classroom Teaching Evaluation of Chinese Painting as a Form of Fine Arts in Rural Junior High Schools

Teaching evaluation is an indispensable part of the teaching system of junior high school.In order to inherit the excellent traditional Chinese culture and arts,traditional Chinese painting has been paid more and more attention to in the fine arts curriculum of rural junior high school.This paper takes the classroom teaching evaluation of traditional Chinese painting as a form of fine arts in rural junior high school as the research object,and analyzes the problems existing in the classroom teaching evaluation of traditional Chinese painting in rural junior high school.This paper puts forward the corresponding improvement measures from the aspects of comprehensive evaluation object,concrete evaluation content,flexible evaluation language and diversified evaluation subjects,in order to improve the evaluation level of fine arts teachers'classroom teaching,improve students'aesthetic cognition and learning interest in traditional Chinese painting,and cultivate students'innovative thinking and spirit.

Poetic and Pictorial Splendor-Expression of Traditional Chinese Literati in Chinese Architecture

The expression of traditional Chinese literati is based on connection, seeking emotion and harmony. With various forms, though, this style of expression shares the same value in some art forms, like traditional Chinese poetry, calligraphy and paintings, and Chinese architecture. Based on the commonalities of various forms of literature and art, this paper offered an insight into Chinese architecture in light of poetic and pictorial expression of traditional Chinese literati. In order to illuminate the corresponding connection between traditional Chinese poetry, calligraphy and paintings, and Chinese architecture, this paper discussed the expression of Chinese architecture corresponding to the essence of traditional Chinese poetry, calligraphy and paintings respectively from the perspective of philosophy, aesthetics, and culture study of Chinese architecture. Via analogous analysis, which includes the analogy between the emotion of architecture and the feelings in traditional poetry, the analogy between the order of architecture and the spirit of calligraphy, and the analogy between the artistic conception and the picturesque scene, the poetic and pictorial expression of Chinese architecture was clarified. This paper emphasized that Chinese architecture needs to jump out of the concrete image, eradicate the interdisciplinary boundaries, and stress the integration of arts and humanities in a higher level, to express Chinese architecture in a Chinese way. That means making Chinese architecture modern in forms and techniques, and traditional in spirit and artistic conception.

Reverberating Chinese Traditional Folk Art in a Contemporary Context

Envisioned as a practice-based research, this paper explored Chinese traditional folk arts and crafts with a focus on traditional decorative patterns, vivid colors, and symbolic motifs that enliven Foshan style paper-cuttings, New Year wood block prints, paper kites, festival lanterns, and Shiwan pottery figures from the areas of Foshan and Shiwan, near Guangzhou, China. The goal of this research was to create a series of original paintings by investigating Chinese traditional folk arts and handcrafts and integrating them physically or ichnographically on Ho＇s new body of paintings. Chinese traditional motifs including Chinese characters and Buddhist iconographies had already been important motifs in the contemporary Western paintings of Kong Ho for the past 10 years. This paper examined not only the artistic, cultural, and historical values but also the impacts of Chinese traditional folk arts and era~ on Ho＇s painting through a personal research travel and studies of a certain amount of Chinese paper-cuttings, folk prints, pottery, and handcrafts found in the famous Foshan Folk Art Studio and Foshan City Shiwan Ceramics Factory in Foshan, China. Furthermore, this paper investigated the symbolic meanings founded in Ho＇s spiritual paintings with strong Chinese heritage and how he reinterpreted those artifacts in a contemporary context.

Naturalistic,Harmonious,and Emotional:An Aesthetic Study of Plants of Chinese Gardens in the Qing Dynasty

The Qing Dynasty was the mature period of traditional Chinese gardens,and the construction of royal gardens reached its peak.Using the method of image and text analysis,the landscape features of different seasons in the Chinese gardens were probed,the layout of its spatial elements and the method of plant landscaping was analyzed,and the artistic characteristics of the gardens in the Qing Dynasty was studied.The aesthetic conception of the gardens have been discussed from the following aspects,the integration of time and space,the harmonious relationship between the garden elements and the fusion of scenery and feelings.

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

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 andfive 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.

Spotless, Jade-like Personality (traditional Chinese painting)

The interpretation of the traditional Chinese paintings done by Xie Lijun vividly expresses a woman’s tolerance and silence. In traditional Chinese paintings black is the main component and the function of the color red is only to provide a striking contrast, so it is only used occasionally. On the contrary, in "Spotless. ,Jade-Like Personality." the color red is the main color in the painting. So different from its usual function, the red set against the quiet internal world passes from the expression of the figure’s eyes. The red color adds more elegance and inlplicit meaning to the work.

Zhang Leiping's Traditional Chinese Paintings

Though small and graceful, Zhang Leiping has a painting style that is straightforward and unconstrained. "Usually, I’m timid," she says. "But once I have the pointing brush in my hand, I become very bold." Inspired from within, this woman painter’s work is a natural revelation; her paint gives artistic life to the mountains, rivers, grasses and trees of her motherland.

基于绘画观赏视角的展陈光环境研究

为研究基于绘画观赏视角的展陈光环境参数,本文从参观者视觉体验和需求出发,在主观感受层面讨论绘画视觉外观的影响规律并提出分析工具。通过对山水、人物、花鸟类国画的研究发现,3000~5600 K色温展陈光环境更受偏爱,观赏效果与色温高低显著相关;照度50~300 lx时,国画观赏效果与照度显著相关,最佳色温照度组合为5600 K-300 lx。3000 K-50 lx光环境下较低反射率的背景和5600 K-50 lx光环境下较高反射率的背景都能提高观赏效果;3000 K-50 lx光环境下,国画展品的“可见性”和“质感”与展陈背景颜色深浅度相关;5600 K-50 lx光环境下,仅国画展品的“质感”与展陈背景颜色深度相关较强。

“写实”挑战下的艺境创构——从与徐悲鸿的对照看宗白华中国艺术意境论构建

“写实”作为引发“美术革命”的重要概念,不仅是徐悲鸿借以进行中国画改良的工具,也暗中构成宗白华中国艺术意境论构建的起点。虽然同样对罗丹雕塑的“写实”风格盛赞有加,徐悲鸿重视的是“写实”手法,而宗白华却运用了“使物质而精神化”的解释思路。正是通过将此思路运用于对徐悲鸿作品的评论,宗白华开启了对中国画的理论探索,所谓“能空灵而能写实”,便是他对中国画写实原理的初步表达。在抗战“写实”强化氛围下,二者的差异也得到进一步发展:徐悲鸿把专注点从肌肉组织扩展至社会生活,提升了“写实”手法的现实主义品质,而宗白华则通过将既有思路运用于对“常人欣赏艺术的形式”的阐发,拓展了围绕文人画展开的中国艺术意境论构建。写实、传神、妙悟三境界的提出,标志中国艺术意境论构建的达成。

数字国画产品设计在采摘机器人动作仿真中的应用

首先,介绍了数字国画的产品设计,并将其应用在采摘机器人动作仿真中;然后,分析了采摘机器人机械臂运动学和动力学模型,对机械臂的驱动控制进行了深入研究;最后,基于Matlab对采摘机器人动作“掰”进行了仿真分析。结果表明:随着姿态角β或γ的增大,苹果与果枝连接处产生的力矩都会发生变化;而使用动作“掰”采摘苹果时,改变姿态角γ更容易采摘到苹果。

基于传统文化的皮革制品绘画图案设计

在皮革制品工艺设计中,绘画图案设计备受关注。绘画图案能够丰富产品外观设计,提升商品的市场表现,吸引更多的消费者,从而带动产品销售量的增长。同时,良好的外观设计能够显著增强用户体验,使消费者在享用产品时产生强烈的满足感。优秀的图案设计不仅会提升产品的使用价值,还会增大其附加价值。本文以中国传统文化为切入点,深度探讨了如何将中国传统元素巧妙地融入皮革制品的绘画图案设计中。通过发掘传统文化元素的潜在价值,为皮革制品设计在绘画图案设计环节提供理论支撑和实践指导。

传统国画元素对当代手工皮具产品的设计提升研究

以传统国画为例,对传统国画中的图案、色彩、故事等元素在当代手工皮具设计中的应用进行分析,通过案例分析对传统国画元素提升当代手工皮具文化内涵的方法、路径等进行总结,认为传统国画元素与皮具设计的融合能够在充分提升手工皮具文化内涵的同时带动手工皮具实现个性化设计,从而提升手工皮具的市场竞争力。

“内美”与“国画民学”——黄宾虹的绘画美学思想与民族文化建构及其当下意义

黄宾虹浑厚华滋的绘画风格所诠释的“内美”,和他所建构的“内美”与“国画民学”学术系统,是一位坚守民族文化传统和民族精神传承的知识分子面对20世纪上半叶国家动荡、民族危亡贡献出的文化救国、救亡良策。形而上的“内美”,既具体表现为个人内在的精神修养和国家民族所呈现出的民族修养,亦是“国画民学”萃取的中国绘画蕴藏的巨大文化价值,是对中国古典画论中“传神”“技进乎道”等思想的继承和发展。黄宾虹以“内美”为核心范畴,使传统画论中零散的、渗透在审美各方面的重“内美”观念或倾向有机联系在一起,并“以金石入画”的实践证明了“内美”与“国画民学”在当代实行的可能。对“内美”的价值追求不仅内部推动中国画语言的革新与创造,亦使得民族文化精神得以永续。

浅谈工笔画元素在古风人物插画中的应用

在互联网迅速发展的今天,插画在人们的日常生活中扮演着越来越重要的角色,插画的作用已经不仅限于对书面文字的支持和补充,它已经被广泛应用到广告、动画设计、消费品等各个行业,是各个行业中常用的元素。在这样的时代大背景下,本文希望通过工笔画元素用于古风人物插画设计中所产生的视觉装饰效果来探讨中国传统工笔画的创新应用方法以及这种融合可以带给中国插画行业的发展。笔者将以市场的需求和当代中国消费者的审美理念为依托,结合案例分别从工笔画元素在古风人物插画中的应用目的以及运用方法两个方面进行分析,将中国传统工笔画的民族性通过现代设计手法与插画设计相融合,以适应当代古风人物插画设计的需求。

刍议中国传统绘画艺术对16世纪波斯细密画的影响——以霍顿版《列王纪》为例

以16世纪波斯细密画黄金时期的代表作—霍顿版《列王纪》为线索,分析了书籍撰写的时代背景以及当时艺术家风格,并对其艺术特点进行概要描述。总体论述了中国传统绘画艺术对16世纪波斯细密画的影响,并着重从霍顿版《列王纪》细密画的构图、造型、笔法、纹样等视角,探究了其对中国传统绘画的借鉴方式,从而条分缕析地将中国传统绘画对16世纪波斯细密画发展的影响进行理据切实的阐述。

TCPVis:基于谢赫六法的传统中国绘画画派可视分析系统

传统中国绘画(国画)在历史的发展中形成了多种多样的画派体系。对画派的分析有助于人们更好地理解与赏析国画的价值。然而,现有工具无法直观高效地表现画作集合的绘画风格等一系列代表性特征。基于“谢赫六法”,提出了一个国画画派可视分析系统TCPVis,以支持用户分析国画画派的笔法、物象、赋彩等多维度特征。系统能够自动分析画派作品在六法维度上的特征共性,并推荐维度的权重。同时,它可视化了六法维度的标签分布以支持用户验证。基于六法维度权重,系统对画作集合进行降维聚类展示,帮助用户探索更多风格相似的画作,并支持画作的画家关联性分析。通过两个案例研究和领域专家访谈,证明了该系统对于分析画派特征与探索画派更多画家的有效性与可用性。