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.

The Reproduction of Chinese Painting in the Digital Age

This paper investigates the reproduction of Chinese painting in the digital age. In particular, how does a website asan interface influence viewers’ response to a Chinese handscroll? The paper begins with a critical description of aweb interface of Freer Gallery of Art and Arthur M. Sackler Gallery, followed by an analysis of the originalpainting. Fishermen on an Autumn River, that the interface digitizes and displays. The last section points out theinfluence of digitization on the relationship between viewers and digital heritage.

The Changes of Chinese Painting Tools and the Combination of Water

The evolution of tools plays a very important role in promoting the development of a kind of painting and can even shape the development.In the process of the development of Chinese painting,the emergence and improvement of writing brush and xuan paper have directly led to the reform of the categories and methods of Chinese painting.During this period,the relationship between Chinese painting art and the medium of water is getting closer and closer.The uncontrollability of water also provides more possibilities for the uniqueness and changeable pen and ink effect of Chinese painting.It can be said that without the unique tools and medium of Chinese painting,the art of Chinese painting may lose its most important support.

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.

Discussing the Teaching of Impressionist Chinese Painting in the Context of Art and Cultural History

Ink freehand brushwork is the soul and the highest level of artistic spirit in art categories such as painting and sculpture.Sculpture art and Chinese ink painting art have their own commonalities.I attempted to investigate the stone carvings of Huo Qubing’s tomb in the Western Han Dynasty,combined with Tang Dynasty tomb carvings,which greatly helped me in the creation of Chinese ink painting art.I drew inspiration and nutrients from it,and realized what is art.What is the spirit of art?You can find the answer from it.

Brief talk about the application of Chinese painting elements on animation design

Animation design has comprehensive artistic features, so its unique creative and artistic modes decide that animation decision has a certain complexity. Whether in artistic conception design or expression design, Chinese paintings all have the unique mode of thinking. The application of the design elements, thinking elements and performance elements of Chinese painting in animations will let the form, content, style more abundant. Scientific use of Chinese elements can create animation works with Chinese cultural connotation and Chinese aesthetic emotion. It can express the aesthetic needs and aesthetic ideals of Chinese culture, thereby creating a classic cartoon art image with Chinese characteristics. The paper mainly analyzes the application of Chinese painting elements in animation design.

Zhang Qing and His Meticulous Chinese Paintings

ZHANG Qing was initially drawn to the bird and flower paint-ings of the Tang and Song dynasties (7th-12th centuries). Later,Qing Dynasty (1644-1911) artist Ren Bonian, famous for hispaintings of figures, also became an important influence.Although Zhang Qing considers his style to be firmly rooted in tradi-

The Art of Chinese Painting and Calligraphy Mounting

The history of Chinese painting and calligraphy mounting can date back to the Warring States period(475-221 BC).This unique craftsmanship saw its heydays in

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.

Video-based running water animation in Chinese painting style

This paper presents a novel algorithm for synthesizing animations of running water, such as water- falls and rivers, in the style of Chinese paintings, for applications such as cartoon making. All video frames are first registered in a common coordinate system, simultaneously segmenting the water from background and computing optical flow of the water. Taking artists＇ advice into account, we produce a painting structure to guide painting of brush strokes. Flow lines are placed in the water following an analysis of variance of optical flow, to cause strokes to be drawn where the water is flowing smoothly, rather than in turbulent areas： this allows a few moving strokes to depict the trends of the water flows. A variety of brush strokes is then drawn using a template determined from real Chinese paintings. The novel contributions of this paper are： a method for painting structure generation for flows in videos, and a method for stroke placement, with the necessary temporal coherence.

A Chinese Painting Legend

Born in August 1954 in Taian,Shandong Province, the renowned painter Wu Jinliang has been obsessed with painting since his childhood.Wu made a name for himself by creating a number of excellent paintings when he served in the army.After graduating from the Jinghua Fine Arts School,he continued his studies at the China Central Academy of Fine Arts. Wu received training from many painting masters,such as Dong Shouping,a great contemporary master of calligra-

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.

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.

Flood Overflows Jinshan Temple (Chinese Painting)

The Chinese painting Flood Ouerflows Jinshan Temple draws its subject from a beautiful and well-known legend,The white Snake.In the tale Jinshan was an islet in the Yangtze River of yesteryear.Inorder to aave her husband kept in a temple at the top of the isle.Bai Niangzi.incarnation of the whitesnake.bravely fought Monk Fahat.She borrowed the Yangtze River’s water to overcome Jinshan Templeand force Fahai to release her husband.

Qi Zilai's Chinese Painting

Qi Zilai inherited the painting skills of her grandfather Qi Baishi, a giant of contemporary Chinese painting. She is the only woman of the third generation of Qi family painters, Qi Zilai has been deeply influenced by