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.

Exploring Taiwan’s China Landscape Painting Aesthetic Preferences Through Evaluation Grid Method and the Continuous Fuzzy Kano Model

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.

Study on Decorative Patterns of Ceramic Landscape Paintings in Qing Dynasty

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.

17-18世纪西方风景画发展对LANDSCAPE概念与实践的影响

17-18世纪是现代风景园林学科核心研究对象LANDSCAPE的风景概念形成与实践的关键时期。本文首先从词源学角度阐释LANDSCAPE的本源含义;然后通过详细分析风景画独立背景、理论方法、特点与辅助工具等内容,阐释其发展引起风景发现的原因与机制,此社会现实反馈至语言方面的表现是,LANDSCAPE在本源含义的基础上引入荷兰风景及其绘画含义转变为完整的风景含义;最后阐释风景画对自然式风景造园的指导作用机制,并且提出风景画、风景与土地实践之间的桥梁是基于自然之数的理性美学。

Application of Chinese Landscape Painting Ambience in Modern Residential Landscape

Planning and design of modern residential landscapes in China has experienced rapid growth, but many residential areas have simulated western landscape designs and lost the ambience of traditional Chinese landscape painting, and the designs have shown poor diversity, artistic quality or unification of landscapes and environmental effects. Hence, the paper proposed that modern residential landscape design should be integrated with Chinese landscape painting factors, and the concept of "human-nature oneness" should be demonstrated to create garden landscapes suitable for appreciating, sightseeing, living and enjoying, and also living spaces with picturesque scenery. Through analyzing landscape designs of "Century Sunshine Garden" in Hefei City, Anhui Province, the study explored the integration of modern residential landscapes and Chinese landscape painting ambience, so as to create green, ecological, healthy, practical landscapes for modern residential areas.

The Motif in Canadian Landscape Painting:From the Topographical to the Decorative

In Early 20th century,Canadian landscape painting had its roots in European art,especially in impressionism and subsequent developments.When Claude Monet took to working in a series to capture changing light,he sought to simplify his subject;the painter would focus on a motif:a passage of river,a tree,or a building facade.This editing out of landscape information led to a more abstract work where one might focus on the color or brushwork in the painting.This method led to a release from the task of measuring for accuracy for the viewer.Painting became sensory and not imitative where one was free to enjoy pure painting that spoke directly to a sensation or a delight in an unsuspected arrangement.At the end of the 19th century,Art Nouveau designs were printed in international journals,like The Studio and were studied in commercial design shops,like Grip Ltd.,Toronto.The nucleus of Canada’s leading painting group―the Group of Seven,was formed out of commercial art and,to some extent,designs one could see reproduced in magazines.Tom Thomson took these motifs;these abstracted forms and envisioned them in the landscape of Ontario through his plein air sketches.Lawren Harris stylized trees and mountain forms into abstractions of pure delight and A.Y.Jackson set his hills in the landscapes of rural Quebec where repeating rhythms trumped topography accuracy.This paper will highlight these Canadian painters as they introduced the motif that moved landscape painting to decoration of the most satisfying kind.

The Translation Strategies of “Winkle” in Chinese Landscape Painting

As one of China’s outstanding traditional cultures, Chinese landscape paintings are not only loved and admired by Chinese people, but also won favors abroad. In the face of China’s current international status, it is essential to carry forward its excellent things and increase cultural self-confidence. However, it is inseparable from translation, and through the translation of various languages, the world’s excellent culture can be promoted and passed down. Based on his many years of practical experience, the author tries to explore the English translation method of the Chinese painting landscape “皴(cūn)” from the two translation strategies of domestication and foreignization in order to provide reference for the spread of traditional culture.

Contemporary Expansion of Chinese Landscape Painting

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.

Image Style of the Tianping Mountain Landscape in the Ming Dynasty

Starting from the Tianping Mountain theme painting in Suzhou in the Ming Dynasty, we explore how did the painters and literati in this period shape the image of the Tianping Mountain through their works, thereby reflecting their understanding on many landscapes on the Tianping Mountain. By exploring a series of paintings and poems, we try to analyze the characteristics and cultural connotation of landscape paintings of the Tianping Mountain in the Ming Dynasty, which is conducive to improving position of the Tianping Mountain natural and humanistic landscape in Suzhou.

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.

Ancient Chinese Landscape Architecture

IN the past decade,the worldhas suddenly discovered thewonders of Chinese landscapegardening and garden architecture,and places like New York,Singaporeand London have all built Chinese-style gardens.The architectural stylespecial to Chinese gardens has,infact,developed·a“school”of itsown.In China,the landscaped gardenhas long been a part of culture,andliterature,painting,philosophy,cal-ligraphy and folk customs have alldealt with it at one time or another.Two categories of garden architec-ture exist:the imperial garden andthe private garden.The former is,ofcourse,grand and palatial and occu-pies large tracts of land,while

An Exploration of the Water Painting Method in Ancient China

In traditional landscape painting in China,water has always occupied an important artistic position and space,and painters in different ages had different ways to express water.Systematically sorting out the methods of water painting in Chinese painting is of great significance for us to gain a comprehensive understanding of the artistic styles,cultures and artistic languages of different times.It is also of great reference value for those learning Chinese painting.

从“隐喻”母题到“隐逸”主题——以《二十四史·隐逸列传》为分析路径

《二十四史·隐逸列传》是分析中国传统山水画“隐逸”主题的重要文献。尽管山水画的形态、风格固然众多,但图像的母题却是解读和阐释山水画主题的重要依据。如渔父、樵夫、蓧杖人等核心母题,具有隐喻性的文化特征,指向了隐逸主题。不同的母题(母题意象)组合,可能显现不一样的隐逸主题。母题的在场以及主题的出场,在不同时空的认知场域中有不同的结构与方式。有些母题可能是原隐喻的转喻,既是隐逸叙事的主题表达的依据,也是认定隐士身份的辅助性母题,如渔船、岩穴、茅舍、枯松、童子等母题。因而,核心母题与辅助性母题的配置与逻辑结构,构成山水画的隐逸主题。

工于逼肖·精于摹袭·成于一家——论北宋山水画家许道宁绘画风格的演变

许道宁是宋代河北画家中的翘楚,在北宋初年的画坛起到了承上启下的作用。许道宁的生命轨迹与其绘画创作有着紧密关系。许道宁早年在汴京卖药赠画,其绘画风格工整、精巧。中年进入画院,自觉以李成为师,画风萧疏、清旷,成为李成画派最有成就者。晚年游览名山,以自然造化为师,命意狂逸,开创“笔法简快”“峰头直皴”的山水技法和“峰峦峭拔,林木劲硬”的绘画风格,对后世山水画的发展影响深远。