Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture

2021 ◽  
Vol 7 (5) ◽  
pp. 3344-3351
Author(s):  
Xinquan Ma ◽  
Xiaofang Yao ◽  
Kwon Hwan
Keyword(s):  
Art History ◽  
Song Dynasty ◽  
Global Perspective ◽  
Chinese Art ◽  
Landscape Painting ◽  
Environmental Aesthetics ◽  
Northern Song Dynasty ◽  
Modern Cities ◽  
Northern Song ◽  
The Aesthetic

Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

scholarly journals Fu-lin dances in medieval Chinese art - Byzantine or imaginary?

2019 ◽  
pp. 69-94
Author(s):  
Angeliki Liveri
Keyword(s):  
Song Dynasty ◽  
Tang Dynasty ◽  
Chinese Art ◽  
Northern Song Dynasty ◽  
Northern Song ◽  
The Tang Dynasty ◽  
Written Descriptions

Chinese artists, active from the Tang dynasty to Northern Song dynasty, created famous paintings including Fu-lin musical and dancing scenes; as e. g. Yan Liben, Wu Daozi and Li Gonglin. The most of these works are unfortunately lost; thus, we have information only from written descriptions to reconstruct them. Some researchers identify Fu-lin with the Byzantines; others disagree with this interpretation. Therefore, it is worthwhile to study whether the musical and dance motifs that referred to Fu-lin and were used by the above mentioned Chinese artists and literati can be identified with Byzantine elements and their performers with Byzantines ones.

scholarly journals Rise and Fall of the Grand Canal in the Ancient Kaifeng City of China: Role of the Grand Canal and Water Supply in Urban and Regional Development

Water ◽  
2021 ◽  
Vol 13 (14) ◽  
pp. 1932
Author(s):  
Wenji Huang ◽  
Mingwang Xi ◽  
Shibao Lu ◽  
Farhad Taghizadeh-Hesary
Keyword(s):  
Song Dynasty ◽  
The Political ◽  
The South ◽  
Central Plains ◽  
Grand Canal ◽  
The North ◽  
Northern Song Dynasty ◽  
Political Center ◽  
Northern Song ◽  
The Grand Canal

In the long history of the feudal society of China, Kaifeng played a vital role. During the Northern Song Dynasty, Kaifeng became a worldwide metropolis. The important reason was that the Grand Canal, which was excavated during the Sui Dynasty, became the main transportation artery for the political and military center of the north and the economic center of the south. Furthermore, Kaifeng was located at the center of the Grand Canal, which made it the capital of the later Northern Song Dynasty. The Northern Song Dynasty was called “the canal-centered era.” The development of the canal caused a series of major changes in the society of the Northern Song Dynasty that were different from the previous ones, which directly led to the transportation revolution, and in turn, promoted the commercial revolution and the urbanization of Kaifeng. The development of commerce contributed to the agricultural and money revolutions. After the Northern Song Dynasty, the political center moved to the south. During the Yuan Dynasty, the excavation of the Grand Canal made it so that water transport did not have to pass through the Central Plains. The relocation of the political center and the change in the canal route made Kaifeng lose the value of connecting the north and south, resulting in the long-time fall of the Bianhe River. Kaifeng, which had prospered for more than 100 years, declined gradually, and by the end of the Qing Dynasty, it became a common town in the Central Plains. In ancient China, the rise and fall of cities and regions were closely related to the canal, and the relationship between Kaifeng and the Grand Canal was typical. The history may provide some inspiration for the increasingly severe urban and regional sustainable development issues in contemporary times.

A Systematic Approach to the Reconstruction of Ancient Chinese Escapement Regulators

2002 ◽  
Author(s):  
Hong-Sen Yan ◽  
Tsung-Yi Lin
Keyword(s):  
Mechanism Design ◽  
Song Dynasty ◽  
Design Procedure ◽  
Variation Theory ◽  
Original Design ◽  
Northern Song Dynasty ◽  
Mechanical Evolution ◽  
Time Period ◽  
Northern Song ◽  
The Ancient Chinese

It is generally believed that the first escapement regulator invented is the waterwheel steelyard-clepsydra device made in ancient China by Su Song during the Northern Song Dynasty (960~1,127 AD). The device, which was a unique feature of the ancient Chinese escapement regulators, was used in Su’s famous clock tower, Shui Yun Yi Xiang Tai (Water-Powered Armillary Sphere and Celestial Globe). Evidence found in certain historical literature, however, suggests that the astronomical clocks made before the Northern Song Dynasty were also equipped with escapement regulators. But due to insufficient literature on the specific design of the devices and the fact that none of the earlier escapement regulators have been recovered, it has been very difficult to recreate the original mechanism design. Therefore, in view of this problem, we wish to present a reconstruction design procedure for the ancient machinery in this paper. By combining the innovative mechanism design methodology with the mechanical evolution and variation theory, we can systematically recreate all feasible and appropriate designs that are consistent with the science theories and techniques of the subject time period. In this paper, the waterwheel steelyard-clepsydra device made by Su Song was adopted as the original design for the reconstruction of ancient Chinese escapement regulators. Utilizing the procedure proposed in this paper, the reconstruction designs we recreated included 12 six-bar and eight-joint waterwheel steelyard-clepsydra devices, among which 10 were with four-bar linkages and 2 were with rope-and-pulley mechanisms. These results can be further used in the study of ancient Chinese mechanical clocks, especially in reconstruction research.

Comparison of celadon from the Yaozhou and Xicun kilns in the Northern Song Dynasty of China by X-ray fluorescence and microscopy

2011 ◽  
Vol 38 (11) ◽  
pp. 3134-3140 ◽  
Author(s):  
Tiequan Zhu ◽  
Hong Huang ◽  
Hongmin Wang ◽  
Limin Hu ◽  
Xibin Yi
Keyword(s):  
Song Dynasty ◽  
X Ray ◽  
Northern Song Dynasty ◽  
Northern Song
Sign in / Sign up

Export Citation Format

Share Document