Restoration of 18th century Chinese album

Цель данного исследования — познакомить специалистов, занимающихся изучением и реставрацией произведений китайской живописи, с опытом, полученным в Государственном Эрмитаже. В процессе изучения текстов «Альбома рисунков. Путешествие императора Цяньлуна на юг Китая» хранителем К.Ф. Самосюк была установлена дата его создания — 1751–1758 годы. Альбом с китайской живописью был исследован всесторонне: проведены физико-химические и биологические исследования, которые позволили определить методику его реставрации. В России мало информации о реставрации альбомов такого рода. Исследование и реставрация китайской живописи осложняется хрупкостью материалов — бумаги и шелка, а также утонченностью техники живописи, поэтому были выбраны неразрушающие методы исследования без взятия проб. Рассматривались также этические проблемы. Были применены физический, химический и биологический анализы для определения подходящего метода реставрации. Биологические исследования подтвердили необходимость замены старых, обветшавших страниц альбома новыми. Для реставрации и сохранения альбома были использованы традиционные китайские методы реставрации и собственный опыт. Об исследовании и реставрации китайской живописи и каллиграфии, помещенных в альбомы, не так много информации. Наряду с другими источниками впервые в отечественной практике было использовано «Иллюстрированное руководство по монтированию китайской каллиграфии и живописи» Янь Гуйжуна, 2013. В статье также рассматривается проблема адаптации альбомов с живописью и каллиграфией к новым требованиям хранения и экспонирования графики. Изменение исторической формы монтирования листов с изображениями было вызвано сильным разрушением конструкции альбома. Новая форма хранения позволила выставлять альбом отдельными листами на различных тематических выставках с возможностью их ротации на экспозиции. В данной статье показан логический ход выбора методики реставрации, основанный на результатах исследований памятника и сочетании традиционных и современных методов реставрации. The aim of the article is to share our experience of restoring the Album of Drawings. The Emperor Qian Long’s Tour of Inspection to Southern China. Curator K.F. Samosyuk has dated the album to 1751–1758. There is little information in Russia on restoring albums of this kind. Restoration of painting on paper and silk is complicated by the fragility of the support material and painting technique; we therefore chose non – destructive research methods without taking samples. Ethical problems were also considered. For the first time we used physical, chemical and biological analysis to determine the appropriate restoration method. Biological research led us to replace old, faded album pages with new ones. We then used traditional Chinese restoration methods and our own experience to restore and preserve the album. Along with other sources, for the first time in Russia, Yan Guirong’s Illustrated Instructions for the Mounting of Chinese Calligraphy and Painting, 2013 was used. The key factor, though, was the experience we gained during research secondments at Shanghai Museum. We also examine the problem of adapting painting and calligraphy albums to new requirements for the preservation and exhibiting of graphic art. Historically, album pages with illustrations were mounted in pairs and glued together. Because of the album’s severe state of deterioration we decided to mount the pages on separate sheets. This new form of preservation has enabled separate pages from the album to be shown at differently – themed exhibitions and for rotation to take place. The article shows the logical process involved in choice of restoration method based on our research findings and a combination of traditional and modern restoration methods. Chinese painting, calligraphy, album, Chinese paper, Chinese silk, conservation, restoration, physical and chemical research, biological research, exhibiting, oriental painting, State Hermitage Museum

The Image of the Yellow (Huang He) River in Chinese Painting

The article is devoted to the creative works of artists who have created pictures of life of the people living along the Yellow (Huang He) River in all nine regions of China. The Huang He River, as the main artery of the country, has long been the subject of study by historians, writers and painters. However, contemporary artists who dedicated their works to the river have not been researched. This work examines the collective image of the Huang He River in the works of Chinese artists from the 1980s to the present day in order to get acquainted with its peculiarities. The methodological basis for the study of contemporary art is the historical and cultural and socio-cultural approaches. The methods of historical-comparative and sociological analysis of art, biographical and iconographic analysis, semiotics and hermeneutics methods are used. For the first time the features of oil painting in different regions along the Huang He River are presented: the geomorphological characteristics, national characters and folk customs in the river basin, and the cultural protection function of painting. The names of a number of Chinese artists have been introduced into Russian art history, and the panorama of the development of painting in the works of Chinese masters painting on the Huang He River has been shown. The works of these artists are correlated with the traditional art and religious ideas of the people living along the Huang He River: the role of created paintings in preserving the cultural code of the inhabitants through the portrayal of national costume, folk and religious holidays is traced. The results can serve as a basis for historical and comparative studies of the artworks of Chinese masters and become the basis for courses on the history of Chinese art.

The Influence of Artificial Intelligence on Art Design in the Digital Age

With the advancement of technology represented by artificial intelligence, art creation is becoming increasingly rich, and content expression is intelligent, interactive, and data-driven, making the relationship between technology, art, and people increasingly close and bringing opportunities for the development of emerging interaction. Artificial intelligence technologies aim to perfectly replicate the human mind by enabling natural responses based on the surrounding environment, decoding emotions, and recognizing human traits within the energy range. Driven by AI technology, interactive art no longer focuses on a single audiovisual sensory experience but rather on integrated artistic expressions that are highly interactive, kinetic, and emotional, based on the study of natural human behavior and integrated senses, combined with intelligence. In this paper, we first sort out the intersection of AI technology development and interactive art expression streams on the timeline based on historical development and analyze the deconstructive relationship between the two from the macroperspective of the historical development of technology and art. First, based on the conceptual connotation, development history, technical application, and singularity outlook of AI, we identify the current characteristics and development trends of interactive art; second, based on exploring the advantages of AI technology, we propose the impact of AI on the creative thinking, creative mode, and artistic experience of interactive art and establish the paradigm of interactive art creation in the context of AI. It solves the problem that experts are unable to quickly locate the category of painters when facing different styles of unsigned digital Chinese painting images in the authenticity identification task.

The Application of Classroom Teaching Implementation of Chinese Painting in Primary and Secondary Schools in Art Teachers' Teaching Strategies

At present, the problem of emotional disorders in college student has attracted more and more attention from the society, and mental health problems have become a common problem in the process of young people’s growth, learning and life. Especially, the physiological characteristics of growth and development during university leads to the occurrence of anxiety, which require external intervention and guidance. Now, mental health education in China is generally absent, and the treatment of mental health is incomplete. There is a lack of scientific method guidance for mental health intervention and guidance for college students. The college students have just gone through the learning in universities. After entering the society, they are in a relatively relaxed state both in body and mind. This phase is also a stage when problems are easy to occur. This paper studies the relevant literature, analyzes the mechanism of college students' emotional disorder, and puts forward reasonable sports intervention programs.

Serenity: 3D Animation to Simulate Chinese Ink Painting

<p>Serenity is a computer generated ink-wash animated short in which the traditional aesthetics meets the new media. I combined theoretical research and physical experiment to convey a peaceful pleasant feeling with subtle movement. The focus of this thesis is to assess the possibility and capability of digital instruments in simulating the traditional Chinese ink painting and further transplant to three-dimensional (3D) platform. This thesis presents a new approach to practice Chinese painting and to compose an animation by using 3D techniques and non-photorealistic rendering (NPR). The aim for the composition portion of this project is to produce a refreshing animated visual style and to introduce the traditional methods of Chinese painting not only to the west, but also to the new Chinese generation who usually devote their time and energy to the subjects that might guarantee a better university or job. My research draws on the previous ink-wash animations and the visual reference on Chinese painting, and takes advantage of my personal experience in both traditional training and digital media design to exploit a potential path for ink-wash animation in the competitive commercial market. Expanding traditional ink painting into the digital field provides an opportunity for the archaic art form to be communicated and shared widely and efficiently worldwide.</p>

Serenity: 3D Animation to Simulate Chinese Ink Painting

<p>Serenity is a computer generated ink-wash animated short in which the traditional aesthetics meets the new media. I combined theoretical research and physical experiment to convey a peaceful pleasant feeling with subtle movement. The focus of this thesis is to assess the possibility and capability of digital instruments in simulating the traditional Chinese ink painting and further transplant to three-dimensional (3D) platform. This thesis presents a new approach to practice Chinese painting and to compose an animation by using 3D techniques and non-photorealistic rendering (NPR). The aim for the composition portion of this project is to produce a refreshing animated visual style and to introduce the traditional methods of Chinese painting not only to the west, but also to the new Chinese generation who usually devote their time and energy to the subjects that might guarantee a better university or job. My research draws on the previous ink-wash animations and the visual reference on Chinese painting, and takes advantage of my personal experience in both traditional training and digital media design to exploit a potential path for ink-wash animation in the competitive commercial market. Expanding traditional ink painting into the digital field provides an opportunity for the archaic art form to be communicated and shared widely and efficiently worldwide.</p>

Emotion Recognition of Chinese Paintings at the Thirteenth National Exhibition of Fines Arts in China Based on Advanced Affective Computing

Today, with the rapid development of economic level, people’s esthetic requirements are also rising, they have a deeper emotional understanding of art, and the voice of their traditional art and culture is becoming higher. The study expects to explore the performance of advanced affective computing in the recognition and analysis of emotional features of Chinese paintings at the 13th National Exhibition of Fines Arts. Aiming at the problem of “semantic gap” in the emotion recognition task of images such as traditional Chinese painting, the study selects the AlexNet algorithm based on convolutional neural network (CNN), and further improves the AlexNet algorithm. Meanwhile, the study adds chi square test to solve the problems of data redundancy and noise in various modes such as Chinese painting. Moreover, the study designs a multimodal emotion recognition model of Chinese painting based on improved AlexNet neural network and chi square test. Finally, the performance of the model is verified by simulation with Chinese painting in the 13th National Exhibition of Fines Arts as the data source. The proposed algorithm is compared with Long Short-Term Memory (LSTM), CNN, Recurrent Neural Network (RNN), AlexNet, and Deep Neural Network (DNN) algorithms from the training set and test set, respectively, The emotion recognition accuracy of the proposed algorithm reaches 92.23 and 97.11% in the training set and test set, respectively, the training time is stable at about 54.97 s, and the test time is stable at about 23.74 s. In addition, the analysis of the acceleration efficiency of each algorithm shows that the improved AlexNet algorithm is suitable for processing a large amount of brain image data, and the acceleration ratio is also higher than other algorithms. And the efficiency in the test set scenario is slightly better than that in the training set scenario. On the premise of ensuring the error, the multimodal emotion recognition model of Chinese painting can achieve high accuracy and obvious acceleration effect. More importantly, the emotion recognition and analysis effect of traditional Chinese painting is the best, which can provide an experimental basis for the digital understanding and management of emotion of quintessence.

Study of Digital Painting Media Art Based on Wireless Network

Digital media art mainly studies the methods and techniques of using information technology for artistic processing and creation. Through theoretical study, professional skills training, etc., people can master the use of digital media software and have the ability to use digital technology to perform artistic processing on various types of works. This article is aimed at studying the art analysis of digital painting media based on wireless networks. In the past few years, as the country pays more and more attention to it, the level of science and technology in our country is constantly improving. At this stage, it has entered a new media environment using digital media. In the method part, this article proposes wireless network technology. It is believed that digital painting and traditional painting are very different in expression form and artistic concept. Digital painting transforms the static expression of traditional painting into digital form, so that they are no longer limited to the static expression of the plane. In the algorithm part, this article uses the algorithm of virtual technology to make a long-term plan for the development of digital painting media art. The experimental results of this paper show that the proportions of digital media art materials in practical technology, visual experience, and Chinese painting are 50%, 61%, and 73%, respectively, and their proportions are constantly increasing, occupying an important role in the field of digital media art.