In this paper, we conduct research on the landscape painting in Ming and Qing dynasties of the art of Wu School. The Wu School of art is full of creativity, they worship nature, between large vigorous refined landscap...In this paper, we conduct research on the landscape painting in Ming and Qing dynasties of the art of Wu School. The Wu School of art is full of creativity, they worship nature, between large vigorous refined landscape painting in the real world with fast red green courtyard, this spirit of the innovation to future generations of artists with great inspiration, Wu school opened up the artistic development for future generations, direct and profound infi uence after the landscape painting and flower and bird painting. Today, we are in the pursuit of the traditional Chinese painting of change, innovation, modernization, “Wu door school” this group of literati painter to do a historical retrospect that is a positive significance. Based on this historical time, we analyze the corresponding theories to provide the systematic research that will be meaningful.展开更多
Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, Engl...Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China,展开更多
The process described here is well at the heart of the appearance of pigmentary materials and their interactions with light. It is indeed based on the property of colored materials to reflect, in a selective way, the ...The process described here is well at the heart of the appearance of pigmentary materials and their interactions with light. It is indeed based on the property of colored materials to reflect, in a selective way, the colored radiations of light. The innovation is here based on a more subtle and more complete process, using the trichromy, i.e., all the possibilities of the white light, which is split in three primary radiations： red^een--blue. One can, indeed, animate a pigmentary surface by the alternate projection of these three colors, and thus reveal three different images on the same support, or create a motion effect. However, in this process, the weakness of bhie, compared to green and red, might constitute an obstacle. But that will be compensated by the use of fluorescent colors, instead of ordinary colors. This process may provide very spectacular applications in the fields of lighting, architecture, design, scenography, booths, display windows, etc.. We shall propose a step-to-step approach.展开更多
We often see different time and space scenes, different stories and different viewpoints change organically through one lens converge to form a complete film in the movie, and one of a series of the shearing lens elem...We often see different time and space scenes, different stories and different viewpoints change organically through one lens converge to form a complete film in the movie, and one of a series of the shearing lens elements and convergence is the montage technique. Such a method actually also often exists in different scenes in our ancient literature and different scenes and jumping thinking thoughts form a series of montage in the mind, and then it can be expressed through poetry. This case is the same as it in art, different time and spaces, the characters appear in a scene in a picture, and we distinguish them with a series of symbols to convergence in each scene. Therefore, we can say that if the montage was born after his birth of firms in the twentieth century, then it has existed since ancient time, and it has always existed in the fine arts, however, such thinking played an important role in the development of Chinese art, especially in the convergence and performance practices screen scene.展开更多
In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions...In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions of the Mulian story in these countries, and comparison shows close proximity of several such works. All of them are related to the narrative texts that represent elaboration of the originally scriptural story （it originated in the apocryphal Buddhist scripture that circulated in China） in vernacular languages. Images of the Mulian story in the countries of East Asia had diverse nature： they could appear as separate scenes in devotional religious paintings, multi-scene handscrolls, and illustrations in the manuscripts and editions. I argue that the subject of Mulian rescuing his mother was of primary importance in the popularization of Buddhist ideas among different layers of society. The related images were used for both storytelling and reading practices and helped different audiences to comprehend the Mulian story.展开更多
文摘In this paper, we conduct research on the landscape painting in Ming and Qing dynasties of the art of Wu School. The Wu School of art is full of creativity, they worship nature, between large vigorous refined landscape painting in the real world with fast red green courtyard, this spirit of the innovation to future generations of artists with great inspiration, Wu school opened up the artistic development for future generations, direct and profound infi uence after the landscape painting and flower and bird painting. Today, we are in the pursuit of the traditional Chinese painting of change, innovation, modernization, “Wu door school” this group of literati painter to do a historical retrospect that is a positive significance. Based on this historical time, we analyze the corresponding theories to provide the systematic research that will be meaningful.
文摘Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China,
文摘The process described here is well at the heart of the appearance of pigmentary materials and their interactions with light. It is indeed based on the property of colored materials to reflect, in a selective way, the colored radiations of light. The innovation is here based on a more subtle and more complete process, using the trichromy, i.e., all the possibilities of the white light, which is split in three primary radiations： red^een--blue. One can, indeed, animate a pigmentary surface by the alternate projection of these three colors, and thus reveal three different images on the same support, or create a motion effect. However, in this process, the weakness of bhie, compared to green and red, might constitute an obstacle. But that will be compensated by the use of fluorescent colors, instead of ordinary colors. This process may provide very spectacular applications in the fields of lighting, architecture, design, scenography, booths, display windows, etc.. We shall propose a step-to-step approach.
文摘We often see different time and space scenes, different stories and different viewpoints change organically through one lens converge to form a complete film in the movie, and one of a series of the shearing lens elements and convergence is the montage technique. Such a method actually also often exists in different scenes in our ancient literature and different scenes and jumping thinking thoughts form a series of montage in the mind, and then it can be expressed through poetry. This case is the same as it in art, different time and spaces, the characters appear in a scene in a picture, and we distinguish them with a series of symbols to convergence in each scene. Therefore, we can say that if the montage was born after his birth of firms in the twentieth century, then it has existed since ancient time, and it has always existed in the fine arts, however, such thinking played an important role in the development of Chinese art, especially in the convergence and performance practices screen scene.
文摘In this paper, I analyze pictorial representations of the Buddhist story of Mulian rescuing his mother in China, Japan, and Korea in the pre-modern and early modern periods. I have collected several pictorial versions of the Mulian story in these countries, and comparison shows close proximity of several such works. All of them are related to the narrative texts that represent elaboration of the originally scriptural story （it originated in the apocryphal Buddhist scripture that circulated in China） in vernacular languages. Images of the Mulian story in the countries of East Asia had diverse nature： they could appear as separate scenes in devotional religious paintings, multi-scene handscrolls, and illustrations in the manuscripts and editions. I argue that the subject of Mulian rescuing his mother was of primary importance in the popularization of Buddhist ideas among different layers of society. The related images were used for both storytelling and reading practices and helped different audiences to comprehend the Mulian story.
