A Roman Influence upon Chinese Painting

1943 ◽  
Vol 38 (1) ◽  
pp. 13-19
Author(s):  
Homer H. Dubs
Keyword(s):  
Chinese Painting

scholarly journals Nonlinear Mixing Characteristics of Reflectance Spectra of Typical Mineral Pigments

Minerals ◽  
2021 ◽  
Vol 11 (6) ◽  
pp. 626
Author(s):  
Shuqiang Lyu ◽  
Die Meng ◽  
Miaole Hou ◽  
Shuai Tian ◽  
Chunhao Huang ◽  
...  
Keyword(s):  
Nonlinear Model ◽  
Experimental Approach ◽  
Spectral Characteristics ◽  
Chinese Painting ◽  
Mixing Models ◽  
Nonlinear Mixing ◽  
Shortwave Infrared ◽  
Fully Constrained Least Squares ◽  
Spectral Mixing ◽  
Continuum Removal

Hyperspectral technology has been used to identify pigments that adhere to the surfaces of polychrome artifacts. However, the colors are often produced by the mixing of pigments, which requires that the spectral characteristics of the pigment mixtures be considered before pigment unmixing is conducted. Therefore, we proposed an experimental approach to investigate the nonlinear degree of spectral reflectance, using several mixing models, and to evaluate their performances in the study of typical mineral pigments. First, five mineral pigments of azurite, malachite, cinnabar, orpiment, and calcite were selected to form five groups of samples, according to their different mass ratios. Second, a fully constrained least squares algorithm based on the linear model and three algorithms based on the nonlinear model were employed to calculate the proportion of each pigment in the mixtures. We evaluated the abundance accuracy as well as the similarity between the measured and reconstructed spectra produced by those mixing models. Third, we conducted pigment unmixing on a Chinese painting to verify the applicability of the nonlinear model. Fourth, continuum removal was also introduced to test the nonlinearity of mineral pigment mixing. Finally, the results indicated that the spectral mixing of different mineral pigments was more in line with the nonlinear mixing model. The spectral nonlinearity of mixed pigments was higher near to the wavelength corresponding to their colors. Meanwhile, the nonlinearity increased with the wavelength increases in the shortwave infrared bands.

Aesthetic Consciousness of Literati Painting and its Application in Urban Planning

2019 ◽  
Vol 44 (3) ◽  
pp. 92-95
Author(s):  
Hua Wei
Keyword(s):  
Development Process ◽  
Landscape Design ◽  
Chinese Painting ◽  
Landscape Model ◽  
Natural Landscape ◽  
Literati Painting ◽  
Artistic Conception ◽  
Residential Landscape ◽  
Aesthetic Consciousness ◽  
Classical Philosophy

In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

EXCEPTION TO THE RULE: HOW ADAPTATION GENIUS MATTEO RICCI FAILED TO UNDERSTAND CHINESE PAINTING

2020 ◽  
pp. 126-135
Author(s):  
Dinara V. Dubrovskaya ◽  
Keyword(s):  
Host Country ◽  
Qing Dynasty ◽  
Second Generation ◽  
Interesting Case ◽  
Chinese Painting ◽  
Great Opportunity ◽  
Matteo Ricci ◽  
Jesuit Mission ◽  
Visual Materials ◽  
Painting Techniques

The article looks into an interesting case of artistic accommodation, which for a number of reasons did not happen during the time of the leader and one of the founders of the Jesuit mission in China, Matteo Ricci (1552–1610), a successful preacher and author of the so called ‘Matteo Ricci Rules’, justifying the need to adapt missionary activities and preaching to the beliefs, traditions and culture of the host country. The author proposes for her analysis two opposite figures — the Chinese Jesuit of the second generation, provincial landscape painter Wu Li (1632–1718) and Italian painter who worked at the court of the emperors of the Manchu Qing dynasty Giuseppe Castiglione (Lan Shining; 1688–1766), trying to show the long way of the adaptation of artistic techniques from the time of the mission’s founder Matteo Ricci, who did not accept and did not understand Chinese painting, and Wu Li, who did not see the value of European painting, to Lan Shining and his patrons, the Qing emperors, who created a sophisticated ‘Occidentalist’ style, combining features of Western and Chinese painting. The author concludes that Matteo Ricci, even though he used visual materials in his sermons as an aid to verbal preaching, missed the great opportunity of preaching through the brush, while Giuseppe Castiglione and his colleagues, European masters working at court, essentially continued to use ‘Ricci’s Rules’ and the accommodative method of preaching through the adaptation of European painting techniques to the Chinese ones, using the appropriate direct wishes and orders of the crowned representatives of the non-Chinese dynasty.

Reading Wen Zhengming: metaphor and Chinese painting

Word & Image ◽  
2009 ◽  
Vol 25 (1) ◽  
pp. 96-102
Author(s):  
Craig Clunas
Keyword(s):  
Chinese Painting

scholarly journals The influence of the traditions of eastern art on the painting of Michael Guyda

2020 ◽  
Author(s):  
Dong Min
Keyword(s):  
Semantic Analysis ◽  
General Structure ◽  
Deep Penetration ◽  
Chinese Painting ◽  
Artistic Style ◽  
History Of ◽  
Unique Experience ◽  
History Of Culture ◽  
High Standards ◽  
Historical Comparative

The purpose of the article. To analyze the work of Ukrainian painter Mykhailo Huida in the context of cultural integrations of China and Ukraine in the last decades of the XX - beginning of the XXI century. as an expression of trends in contemporary art. Methodology. General scientific research methods, chronological and historical-comparative, historical-biographical, figurative-stylistic, semantic, analysis are applied. Theoretical and art terminological structures are used. The scientific novelty lies in elucidating the peculiarities of Mykhailo Huida's work and the formation of the meaningful, compositional, stylistic and aesthetic beginnings of his painting in the context of cultural integrations of China and Ukraine in the last decades of the XX - early XXI centuries. Conclusions. The peculiarities of the creative path of the Ukrainian painter Mykhailo Huida, his unique experience of work in China, which became the basis for the creation of the artist's personal artistic style, are analyzed. The study of works of art by Mikhail Guida revealed the consistent formation of features and peculiarities of his painting over the decades as a result of: a) acquaintance with the art of the East in Japan; b) stay in China, including among Chinese cultural and artistic figures; c) study the history of culture and art of China; d) deep penetration into the world of China through understanding of its nature, customs, traditions due to travel, stay in different provinces of the country, teaching in Chinese universities. The figurative and artistic content of his works reveals an innovative combination of European, including Ukrainian, and Chinese stylistics, artistic means and various linguistic methods of traditional Chinese painting. It is also important for the artist to comprehend the semantic foundations of Chinese traditional and modern art, which turned out to be in agreement with Mikhail Guidi as a person. It was found that the imagery of Mikhail Guida's painting has an internal form that embodies the image in the general structure of the subject-spiritual world. It is concluded that the involvement of the traditions of Chinese and Ukrainian art in a single work involves a philosophical understanding of the artistic heritage of both countries and their transformation into modern forms. The artist's creative path, discovering the techniques of painting in the East, enriched and elevated his work to exceptionally high standards.

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