Compared with the previous generation,the ceramic art of the Qing Dynasty made a great breakthrough in modeling and decoration,reaching the peak of Chinese ceramic production.At this time,the ceramic decorative patter...Compared with the previous generation,the ceramic art of the Qing Dynasty made a great breakthrough in modeling and decoration,reaching the peak of Chinese ceramic production.At this time,the ceramic decorative patterns continued to innovate in inheritance and add new themes.Among them,the emergence of landscape painting decorative patterns reflected the unique artistic charm of ceramics in the Qing Dynasty,which not only found a new space for Chinese landscape painting,but also added new vitality to Chinese ceramic art.This paper makes a preliminary introduction to the development of ceramic landscape decoration in the Qing Dynasty.展开更多
The reclusive dwelling is an important part of the traditional philosophical culture of ancient China.The Chinese spiritual imagery of reclusion is mainly represented by narrative mediums of poems,paintings,and garden...The reclusive dwelling is an important part of the traditional philosophical culture of ancient China.The Chinese spiritual imagery of reclusion is mainly represented by narrative mediums of poems,paintings,and garden works,resulting in artistic visualization with poetic implication.The article analyzed six Chinese landscape paintings of reclusive dwelling theme,in terms of narrative medium,visualization,and implication.The intention is to conclude the reclusive dwelling schema of Chinese landscape painting and study a visualizing methodology involved spiritual implication on dwelling,which could be beneficial to both contemporary art and architectural creations.展开更多
The primary objective of this study is to apply the Evaluation Grid Method(EGM)and the continuous fuzzy Kano quality model to explore the cognitive preferences of Taiwan China residents regarding the beauty of Taiwan...The primary objective of this study is to apply the Evaluation Grid Method(EGM)and the continuous fuzzy Kano quality model to explore the cognitive preferences of Taiwan China residents regarding the beauty of Taiwan’s China landscape paintings.The aim is to contribute to the development of social and cultural art and promote the widespread appeal of art products.Through a literature review,consultations with aesthetic experts,and the application of Miryoku Engineering’s EGM,this paper consolidates the factors that contribute to the attractiveness of painting art products among Taiwan China residents,taking into account various aesthetic qualities.Simultaneously,the paper introduces the use of the triangular fuzzy golden ratio scale semantics,specifically the equal-ratio aesthetic scale semantics,as a replacement for the traditional subjective consciousness model.Departing from the traditional discrete Kano model that employs the mode as the standard for evaluating quality,this study applies triangular fuzzy numbers to the continuous Kano quality model to analyze the diverse preferences and evaluation standards of the public.The hope is that this research methodology will not only deepen Taiwan China residents’understanding and aesthetic literacy of painting art but also serve as a reference for the popularization of art products.展开更多
It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painter...It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painters of various periods in China.In this context,some representative paintings of Lijiang Painting School in different periods were collected in this paper as the research objects.The rewriting theory was applied in the study because Chinese readers and English readers have different cultural backgrounds and diverse thinking.Based on the rewriting theory,these representative paintings were translated and the explained in English.In the study,it is found that as an intersemiotic translation,the translation of the representative paintings of Lijiang Painting School should be focused on those target readers who can’t comprehend directly from the paintings.In addition,the artistic integrity should be considered first before details in paintings.Therefore,the overall perception of target readers gaining from the translations should be paid more attention to rather than metaphrase.The translation under the guidance of rewriting theory will be helpful for the target readers to understand the connotation of source culture with some cultural images of target readers.展开更多
Since ancient times,Chinese literati have a special dependence and belief in landscape painting,Since ancient times,Chinese literati have a special dependence and belief in landscape painting,Confucius’theory puts fo...Since ancient times,Chinese literati have a special dependence and belief in landscape painting,Since ancient times,Chinese literati have a special dependence and belief in landscape painting,Confucius’theory puts forward that“benevolent people enjoy mountains,wise people enjoy water”.The artistic form of landscape theme is the world outlook and outlook on life condensed by Chinese literati in thousands of years of social changes,and the way to view the way of the universe.This paper discusses how to innovate and expand the form of Chinese landscape painting in the contemporary context,how to effectively convey the painter’s feelings and ideas in the performance,and how to accept and recognize Chinese landscape painting on the international stage.The inheritance and innovation of Chinese landscape painting needs painters to have a keen sense of people’s psychological deficiencies and spiritual demands in this era,to refine the social cognitive level in life,to separate from the surface form that interferes with vision,to go deep into the nature of the problem,to find a way out of the Predicament and to achieve transcendence,to achieve“two forgets of things and one forgetting of man and nature”,and to lead the audience with Chinese landscape painting Enter the pure spiritual world to resist the impetuosity and alienation caused by the rapid pace of life in the era of information technology.展开更多
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...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.展开更多
The theme of this essay is expressed in a line from the Dao De Jing: "The great image has no form." The essay shows how this effacement, annulment, or withdrawal of form is realized in ancient Chinese painting (So...The theme of this essay is expressed in a line from the Dao De Jing: "The great image has no form." The essay shows how this effacement, annulment, or withdrawal of form is realized in ancient Chinese painting (Song and Ming Dynasties) and in the conception of the natural elements to which much of this painting is related. Certain resonances with this effacement of form are identified in the way that recent Continental thought focuses on an effacement of form as it was determined in ancient Greek philosophy.展开更多
文摘Compared with the previous generation,the ceramic art of the Qing Dynasty made a great breakthrough in modeling and decoration,reaching the peak of Chinese ceramic production.At this time,the ceramic decorative patterns continued to innovate in inheritance and add new themes.Among them,the emergence of landscape painting decorative patterns reflected the unique artistic charm of ceramics in the Qing Dynasty,which not only found a new space for Chinese landscape painting,but also added new vitality to Chinese ceramic art.This paper makes a preliminary introduction to the development of ceramic landscape decoration in the Qing Dynasty.
基金This paper is supported by the projects:Humanities and Social Sciences Project of the Ministry of Education of China(21YJCZH228)Research Startup Fund Project of North China University of Technology.
文摘The reclusive dwelling is an important part of the traditional philosophical culture of ancient China.The Chinese spiritual imagery of reclusion is mainly represented by narrative mediums of poems,paintings,and garden works,resulting in artistic visualization with poetic implication.The article analyzed six Chinese landscape paintings of reclusive dwelling theme,in terms of narrative medium,visualization,and implication.The intention is to conclude the reclusive dwelling schema of Chinese landscape painting and study a visualizing methodology involved spiritual implication on dwelling,which could be beneficial to both contemporary art and architectural creations.
文摘The primary objective of this study is to apply the Evaluation Grid Method(EGM)and the continuous fuzzy Kano quality model to explore the cognitive preferences of Taiwan China residents regarding the beauty of Taiwan’s China landscape paintings.The aim is to contribute to the development of social and cultural art and promote the widespread appeal of art products.Through a literature review,consultations with aesthetic experts,and the application of Miryoku Engineering’s EGM,this paper consolidates the factors that contribute to the attractiveness of painting art products among Taiwan China residents,taking into account various aesthetic qualities.Simultaneously,the paper introduces the use of the triangular fuzzy golden ratio scale semantics,specifically the equal-ratio aesthetic scale semantics,as a replacement for the traditional subjective consciousness model.Departing from the traditional discrete Kano model that employs the mode as the standard for evaluating quality,this study applies triangular fuzzy numbers to the continuous Kano quality model to analyze the diverse preferences and evaluation standards of the public.The hope is that this research methodology will not only deepen Taiwan China residents’understanding and aesthetic literacy of painting art but also serve as a reference for the popularization of art products.
基金This thesis is funded by Program 2018xwyj22,2019cps10 and 2020XYYCXS002。
文摘It is an important task to communicate Chinese culture with other countries in the more conflicting global world.Lijiang Painting School plays a very important part in Chinese art,and it greatly influences the painters of various periods in China.In this context,some representative paintings of Lijiang Painting School in different periods were collected in this paper as the research objects.The rewriting theory was applied in the study because Chinese readers and English readers have different cultural backgrounds and diverse thinking.Based on the rewriting theory,these representative paintings were translated and the explained in English.In the study,it is found that as an intersemiotic translation,the translation of the representative paintings of Lijiang Painting School should be focused on those target readers who can’t comprehend directly from the paintings.In addition,the artistic integrity should be considered first before details in paintings.Therefore,the overall perception of target readers gaining from the translations should be paid more attention to rather than metaphrase.The translation under the guidance of rewriting theory will be helpful for the target readers to understand the connotation of source culture with some cultural images of target readers.
基金Sorting out Chinese Huashan painting works and Research on aesthetic value,2017J020,Shaanxi Social Science Association,Shaanxi Social Science Fund ProjectResearch on aesthetic value of Huashan painting,17SKYB10,general program of Humanities and social sciences of Weinan Normal UniversityExploration and Research on the path of"Ideological and political course"in the teaching of art general course in normal universities,JG201936,Weinan Teachers College Educational reform project.
文摘Since ancient times,Chinese literati have a special dependence and belief in landscape painting,Since ancient times,Chinese literati have a special dependence and belief in landscape painting,Confucius’theory puts forward that“benevolent people enjoy mountains,wise people enjoy water”.The artistic form of landscape theme is the world outlook and outlook on life condensed by Chinese literati in thousands of years of social changes,and the way to view the way of the universe.This paper discusses how to innovate and expand the form of Chinese landscape painting in the contemporary context,how to effectively convey the painter’s feelings and ideas in the performance,and how to accept and recognize Chinese landscape painting on the international stage.The inheritance and innovation of Chinese landscape painting needs painters to have a keen sense of people’s psychological deficiencies and spiritual demands in this era,to refine the social cognitive level in life,to separate from the surface form that interferes with vision,to go deep into the nature of the problem,to find a way out of the Predicament and to achieve transcendence,to achieve“two forgets of things and one forgetting of man and nature”,and to lead the audience with Chinese landscape painting Enter the pure spiritual world to resist the impetuosity and alienation caused by the rapid pace of life in the era of information technology.
基金This work was supported by the Key Project of the National Natural Science Foundation of China(NSFC)under Grant 41930104National Key R&D Program of China under Grant 2021 YFE0112300+1 种基金Postgraduate Research&Practice Innovation Program of Jiangsu Province under Grant KYCX21_1336China Scholarship Council under Grant 202206860019.
文摘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.
文摘The theme of this essay is expressed in a line from the Dao De Jing: "The great image has no form." The essay shows how this effacement, annulment, or withdrawal of form is realized in ancient Chinese painting (Song and Ming Dynasties) and in the conception of the natural elements to which much of this painting is related. Certain resonances with this effacement of form are identified in the way that recent Continental thought focuses on an effacement of form as it was determined in ancient Greek philosophy.