scholarly journals Research on the Influence of Artistic Conception of Chinese Painting on Creative Image Design

2019 ◽  
Author(s):  
Wei Bi ◽  
Zidong He
Keyword(s):  
Chinese Painting ◽  
Artistic Conception

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.

Le théâtre, image de l’esthétique proustienne

2020 ◽  
Vol 65 (2) ◽  
pp. 189-202
Author(s):  
Yvonne Goga
Keyword(s):  
Important Place ◽  
Complex Theory ◽  
Artistic Conception ◽  
Lost Time

"Theatre as an Image of Proust’s Aesthetic. In In Search of Lost Time, theatre holds an important place, especially in the first three volumes. Being part of the frequent activities of society, it gives many occasions to the narrator to express his thoughts about theatre shows. Our aim will be to demonstrate that those thoughts are one of the ways used by Proust to bring out his complex theory about novelistic creation – a theory which shows to what extent art’s aim is to access the essence of things through sensitive experience. Keywords: art, theatre show, sensitive experience, essence, artistic conception."

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.

Brief Analysis for the Aesthetic Form of Chinese Garden Art

2014 ◽  
Vol 584-586 ◽  
pp. 650-653 ◽  
Author(s):  
Bian Ling Zhang
Keyword(s):  
Development History ◽  
Artistic Conception ◽  
High Uniformity ◽  
Aesthetic Form ◽  
The World ◽  
The Aesthetic ◽  
Aesthetic Forms

Chinese garden art has developed gradually along with the neutralization--lasting appeal--artistic conception trend till to the peak, meanwhile, those aesthetic forms can be existed synchronously with historical advancement, logic arrangement in parallel and correspondence as well as abundance and deepening of the interior connotation and exterior extension, which represent the high uniformity of the development history and logics of Chinese garden art. Nowadays, the landscape garden development is required to probe its root, explore its cultural soul, so as to base itself upon the garden industry all over the world. Additionally, the function of traditional aesthetic form will show the powerful functions, declare publicly the deep influence of modernized landscape garden development.

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.

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