From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment...From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment of Chinese literati.As a diverse and comprehensive aesthetic art,landscape expressed material and spiritual culture doubly,the spiritual connotation of which was inextricably linked within ancient Chinese poetry and paintings.In addition,ancient Chinese poetry and paintings can be directly used in landscape composition,such as the widely used in plaques,inscriptions,couplets,poems and inscriptions,carved beams and painted pillars,painting with words and so on.Chinese literati integrated the ethereal realm of poetry and paintings into garden art,making landscape endow with poetic charm.Therefore,the landscape revealed the traces of literature and arts in aesthetic idea and taste,pushing Chinese garden to a higher aesthetic realm.This study pointed the right way to the future of modern landscape which advocated ecological and harmonious development.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
Nowadays, the landscape paintings dominated by Taoism' s thoughts are highly controversial among people in the aspects of theory and practice along with the constantly intensified collision and blending of the easter...Nowadays, the landscape paintings dominated by Taoism' s thoughts are highly controversial among people in the aspects of theory and practice along with the constantly intensified collision and blending of the eastern culture and the western culture, and the interaction of arts. In the process of development from the tradition to the modem times, the original source of contemporary landscape paintings' artistic spirit should be traced, and the corresponding historical stages should be objectively and rationally analyzed, so that contemporary landscape paintings can better adapt to the present conditions, and then their real existence and creative development can be really realized.展开更多
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
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 pa...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.展开更多
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...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.展开更多
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 i...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.展开更多
The paintings in the Yuan Dynasty, because oft.heir unique characteristics of the times, have made a deep and superexcellent track in the history of the Chinese painting, among which the literati landscape paintings r...The paintings in the Yuan Dynasty, because oft.heir unique characteristics of the times, have made a deep and superexcellent track in the history of the Chinese painting, among which the literati landscape paintings represented the subject of the paintings in the Yuan Dynasty. And in the literati paintings, Ni Zan's paintings are the most representative. The application of the pen and ink in his works is concise and thinly scattered, and the artistic conception is cold and desolate. In this paper, with "Map of a fishing village in an autumn sunny day after the rain" as an example, the author analyzes Ni Zan's painting style and the causes of its formation.展开更多
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
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
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 refle...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.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
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 ...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展开更多
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 o...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.展开更多
文摘From the perspective of culture-based source,the author considered that the ancient Chinese poetry and paintings not only embodied the harmony and unity thought of man and nature,but also were the emotional attachment of Chinese literati.As a diverse and comprehensive aesthetic art,landscape expressed material and spiritual culture doubly,the spiritual connotation of which was inextricably linked within ancient Chinese poetry and paintings.In addition,ancient Chinese poetry and paintings can be directly used in landscape composition,such as the widely used in plaques,inscriptions,couplets,poems and inscriptions,carved beams and painted pillars,painting with words and so on.Chinese literati integrated the ethereal realm of poetry and paintings into garden art,making landscape endow with poetic charm.Therefore,the landscape revealed the traces of literature and arts in aesthetic idea and taste,pushing Chinese garden to a higher aesthetic realm.This study pointed the right way to the future of modern landscape which advocated ecological and harmonious development.
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.
文摘Nowadays, the landscape paintings dominated by Taoism' s thoughts are highly controversial among people in the aspects of theory and practice along with the constantly intensified collision and blending of the eastern culture and the western culture, and the interaction of arts. In the process of development from the tradition to the modem times, the original source of contemporary landscape paintings' artistic spirit should be traced, and the corresponding historical stages should be objectively and rationally analyzed, so that contemporary landscape paintings can better adapt to the present conditions, and then their real existence and creative development can be really realized.
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.
文摘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.
文摘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.
文摘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.
文摘The paintings in the Yuan Dynasty, because oft.heir unique characteristics of the times, have made a deep and superexcellent track in the history of the Chinese painting, among which the literati landscape paintings represented the subject of the paintings in the Yuan Dynasty. And in the literati paintings, Ni Zan's paintings are the most representative. The application of the pen and ink in his works is concise and thinly scattered, and the artistic conception is cold and desolate. In this paper, with "Map of a fishing village in an autumn sunny day after the rain" as an example, the author analyzes Ni Zan's painting style and the causes of its formation.
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.
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Sponsored by the General Project of Humanity and Social Science in Colleges and Universities of Jiangxi Province(YS18126)the Jiangxi Postgraduate Innovation Fund Project in 2018(YC2018-S149)
文摘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.
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.
文摘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
文摘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.