Reclusive Dwelling Schema of Chinese Landscape Painting:Narrative Medium,Visualization,and Implication

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.

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.

Cognitive Translation of Paintings of Lijiang Painting School Under the Guidance of Rewriting Theory

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.

Embodied Perception and Harmonious Unity： Aesthetic Experience in Merleau-Ponty's Theory of Painting and Chinese Song Dynasty Landscapes

This paper explores embodied perception and its relation to aesthetic experience based on French phenomenologist Maurice Merleau-Ponty＇s philosophy of painting. The discussion draws cases from both Western art, post-impressionist Paul Cezanne （1839-1906） and non-Western art, Chinese landscape paintings from the Northern Song Dynasty （960-1127）. As I argue, their general vision for the primacy of embodiment in perception is similar; artists in both practices aim at a balance between representing visible forms of nature and interpreting their invisible, yet deeper meanings for human existence. Further, I will argue, a focus on Chinese aesthetic thought helps us recognize the aesthetics of moral existence and hence contributes significantly to self-cultivation. Influenced by Chinese philosophical traditions, Chinese landscape paintings, compared with Cezanne＇s works, exemplify more strongly the indispensable role of the human body and indicate more explicitly a link between embodiment and moral ethics. The latter suggestion of the moral underpinnings in aesthetic perception and experience is particularly significant since Merleau-Ponty has not elaborated upon this point in any explicit manner.