Results for 'Ink painting, Chinese'

1000+ found
Order:
  1.  2
    The World Around the Chinese Artist: Aspects of Realism in Chinese Painting.Richard Edwards - 2000 - University of Michigan Center for Chinese.
    Studies three masters of Chinese painting.
    Direct download  
     
    Export citation  
     
    Bookmark  
  2.  1
    Chinese Landscape Painting and the Art of Living.Marcello Ghilardi - 2021 - Studi di Estetica 21.
    This article deals with the Chinese ink painting tradition, as a paradigm in which art and life are coupled and intertwined. In fact, in Chinese classical aesthetics, art and life do not produce a dramatic tension, but are inscribed in a common process of naturalness or spontaneity. The painter has to learn how the breath, or vital energy, that flows in every single image-phenomenon, can be enlivened by the brush strokes. Moreover, the paper builds a dialogue between the (...)
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  3. The Importance of Cultural Globalization in the Creation and Aesthetic Orientation of Chinese Painting.rui Yan - 2022 - Философия И Культура 6:1-9.
    Chinese painting has always been a unique product of our ancient civilization, which has survived to the present day. During its 2000-year development, Chinese painting has gradually turned into a unique and non-reproducible art form capable of expressing the thoughts and feelings of the artist. Over time, Chinese painting also demonstrates a new trend of inheritance and innovative development. Changes in Chinese painting occur simultaneously with the processes of globalization. This gives rise to new research on (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  4.  24
    Japanese Ink Paintings From American Collections: The Muromachi Period, An Exhibition in Honor of Shūjirō ShimadaJapanese Ink Paintings From American Collections: The Muromachi Period, An Exhibition in Honor of Shujiro Shimada.Donald F. McCallum, Yoshiaki Shimizu & Carolyn Wheelwright - 1979 - Journal of the American Oriental Society 99 (2):334.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  5.  4
    Contemporary Ink Paintings.Curtis L. Carter - unknown
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  6.  2
    Shitao and the Enlightening Experience of Painting.David Chai - 2021 - Dialogue and Universalism 31 (3):93-112.
    Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from (...)
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  7. On the Fundamental of Painting : Chinese Counterpoint.Jacques Taminiaux - 2009 - In Robert Vallier, Wayne Jeffrey Froman & Bernard Flynn (eds.), Merleau-Ponty and the Possibilities of Philosophy: Transforming the Tradition. State University of New York Press.
     
    Export citation  
     
    Bookmark  
  8.  10
    “The Sound of Urgent Bells and Drums” Gao Xingjian Ink Paintings.Curtis L. Carter - unknown
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  9.  1
    Huzhou Zhu Pai Yu Zhongguo Ren Wen Jing Shen.Bin Fan - 2012 - Zhejiang da Xue Chu Ban She.
    Direct download  
    Translate
     
     
    Export citation  
     
    Bookmark  
  10.  22
    Chinese Ink Brush Writing, Body Mimesis, and Responsiveness.Mathias Obert - 2013 - Dao: A Journal of Comparative Philosophy 12 (4):523-543.
    This essay aims at an elucidation of the performative relation connecting artistic mimesis with the living body. Encompassing art theory and phenomenology of the body, the scope is to evince a crucial link between aesthetic interpretation, body motion, and mimetic creativity, with general implications for reflection on the body, as well as a deeper understanding of a major element of ancient Chinese culture. By mainly analyzing Chinese texts on ink brush writing, as well as some testimony taken from (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  11.  28
    Zones of Indeterminacy: An Interview with Peng Yu.Sunil Manghani & Cheng-Chu Weng - 2015 - Theory, Culture and Society 32 (7-8):300-309.
    In ‘Zones of Indeterminacy: Art, Body and Politics in Daoist Thought’, Peng Yu foregrounds the concept of Xu from Zhuangzi’s philosophical writings, and relates this to questions about the political body. Xu refers to a Daoist notion of ambiguity, though it remains unclear as to how to fully define the term. The article explores its meaning through reference to debates of the body, but also liubai painting, which refers to the idea of ‘leaving blankness’, associated with Chinese ink painting. (...)
    No categories
    Direct download  
     
    Export citation  
     
    Bookmark  
  12.  34
    Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art.I. Gaskell - 2012 - British Journal of Aesthetics 52 (1):1-16.
    In response to globalization, is there to be a single, homogeneous set of aesthetic values governing the production and consumption of art? I focus on a newcomer to globalized contemporary art, China, and argue that artworld art is far from the only art currently being produced. I describe four connected kinds of art currently made in China: Modernist, traditional, and avant-garde, which are artworld art, and mass commercial, which is not. Practices in all four conform to expectations globally that (...) art of all kinds should exemplify imitation, emulation, and copying. Such conformity entails what Winnie Wong has termed ‘staging Chineseness’. I conclude with an examination of this process in two recent exhibitions before proposing that a proliferation of a variety of values is unavoidable while contemporary artworld practitioners continue to introduce local concerns, and while the self-claimed high status of artworld art is progressively challenged by the vitality worldwide of non-artworld art. While some of these values are resistant to Western globalizing homogenization, others conform to it. (shrink)
    Direct download (6 more)  
     
    Export citation  
     
    Bookmark  
  13.  7
    Chinese Landscape Painting and the Study of Being: An Imagined Encounter Between Martin Heidegger and Xia Gui.Tyson E. Lewis & Li Xu - 2020 - Studies in Philosophy and Education 39 (3):309-320.
    In this paper, we pose a speculative encounter between Heidegger and the Chinese Song Dynasty landscape painter Xia Gui. Our intention is to reassess Heidegger’s theory of the fourfold. By placing the concept in a cross-cultural context, we argue that Heidegger was essentially correct in that the world is structured as a fold between interrelated elements. At the same time, we challenge the quantity and quality of the folded elements. If one turns to the work of Xia Gui in (...)
    Direct download (2 more)  
    Translate
     
     
    Export citation  
     
    Bookmark   1 citation  
  14.  3
    Images of Life: Merging Into Landscape.Marcello Ghilardi - 2022 - Journal of Aesthetics and Phenomenology 7 (2):129-138.
    The article deals with Chinese ink painting and some aesthetic notions, in particular those of xiang 象 and shanshui 山水 (literally: “mountains-waters”, i.e. landscape...
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  15. Classical Chinese Landscape Painting and the Aesthetic Appreciation of Nature.Matthew Turner - 2009 - Journal of Aesthetic Education 43 (1):pp. 106-121.
  16.  43
    Chinese Art: How Different Could It Be From Western Painting?David Carrier - 2012 - History and Theory 51 (1):116-122.
    ABSTRACTWhen encountering something unfamiliar, it is natural to describe and understand it by reference to what is familiar. Commentary on Chinese landscape painting usually relies heavily upon analogies with Western art. James Elkins, concerned to understand the implications of this procedure, asks whether in seeing and writing about this art we ever can escape our Western perspectives. His problem is not just that he himself does not know Chinese. Even bilingual specialists or native Chinese speakers employ this (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  17.  11
    Early Chinese Texts on Painting.Susan Bush & Hsio-yen Shih - 1987 - Philosophy East and West 37 (4):466-468.
  18. Chinese Paintings Catalogue of the Thirteenth Unesco Traveling Exhibition = Peintures Chinoise : Catalogue de la Trezième Exposition Itinérante de l'Unesco = Pinturas Chinas : Catálogo de la Décimotercera Exposición Circulante de la Unesco. Unesco - 1979 - UNESCO.
     
    Export citation  
     
    Bookmark  
  19.  1
    The Master: The Way to Fulfilment.Chao-Hsiu Chen - 2002 - Connections Book.
    At times making the right life-choices can feel like an overwhelming pressure. In this delightful book, a wise Master leads a young pupil on a journey through China, dispensing wisdom & sound advice at every turn. The pupil gains experience of life's ups & downs, & eventually achieves fulfillment. Chao-Hsiu Chen's reflective account is a pleasure to read. You will quickly associate with the lessons for life learned by the pupil, & enjoy the glimpses of everyday rural China revealed along (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  20.  9
    The Painted Dragons in Affective Science: Can the Chinese Notion of Ganlei Add a Transformative Detail?Louise Sundararajan - 2009 - Journal of Theoretical and Philosophical Psychology 29 (2):114-121.
    I propose for emotion research a dynamic approach to truth in which folk theories, no matter how much they may be infested with magical thinking and peculiar beliefs, can function as potential competitors and valued interlocutors on the platform of theory construction. For demonstration, I present the ancient Chinese notion of ganlei as a counterpoint to Western metaphysics. Potential contributions of this indigenous belief system to theory and research on emotions include bringing greater clarity to existing concepts of empathy (...)
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  21.  13
    Chinese Temple Frescoes, a Study of Three Wall-Paintings of the Thirteenth Century.Derk Bodde & William Charles White - 1942 - Journal of the American Oriental Society 62 (1):83.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  22.  6
    The Chinese on the Art of Painting: Translations and Comments.Shio Sakanishi, Osvald Sirén & Osvald Siren - 1936 - Journal of the American Oriental Society 56 (4):531.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  23.  5
    Chinese Painting as Reflected in the Thought and Art of Li Lung-Mien, 1070-1106. Agnes E. Meyer.George Sarton - 1925 - Isis 7 (1):145-147.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  24.  7
    Chinese Calligraphy and Painting.Zhiyong Mo - 2018 - Renascence 70 (4):297-302.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  25.  5
    Chinese Painting as Reflected in the Thought and Art of Li Lung-Mien, 1070-1106 by Agnes E. Meyer. [REVIEW]George Sarton - 1925 - Isis 7:145-147.
  26.  16
    Chinese Landscape Painting in the Sui and T'ang Dynasties.Paul W. Kroll & Michael Sullivan - 1983 - Journal of the American Oriental Society 103 (4):798.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  27.  2
    Chinese Painting.Richard Edwards - 1962 - Journal of the American Oriental Society 82 (1):122.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   2 citations  
  28. Generativities: Western Philosophy, Chinese Painting, and the Yijing.Eric S. Nelson - 2013 - Orbis Idearum 1 (1):97–104.
    Western philosophy has been defined through the exclusion of non-Western forms of thought as non-philo-sophical. In this paper, I place the notion of what is “properly” philosophy into question by contrasting the essence/appearance paradigm governing Western metaphysics and its deconstructive critics with the more fluid, dynamic, and participatory forms of encountering and performatively enacting the world that are articulated in Chinese thinking and made apparent in Chinese painting. In this hermeneutical contrast, Western and Chinese thinking themselves are (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  29.  4
    Chinese Painting and Its Audiences by Craig Clunas.Jonathan Hay - 2018 - Common Knowledge 24 (3):444-445.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  30. The Painted Screen+ Medium and Representation in Chinese Painting.H. Wu - 1996 - Critical Inquiry 23 (1):37.
     
    Export citation  
     
    Bookmark  
  31.  17
    Chinese Painting Style: Media, Methods, and Principles of Form.Ann Barrott Wicks & Jerome Silbergeld - 1985 - Journal of the American Oriental Society 105 (1):175.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  32.  12
    Wilderness in Ancient Chinese Landscape Painting.LuYang Chen & Ziao Chen - 2020 - Environmental Ethics 42 (3):253-266.
    Chinese painting is dominated by landscape painting, which is a unique form of artistic expression for Chinese people, while landscape generally refers to nature. Wild natural landscape can be called “wilderness,” which embodies the vitality and upward vitality of nature, and also contains unique cultural characteristics. “Wilderness” is the most important “original ecological” environment in the natural environment. Its existence has natural, ecological, and aesthetic significance. It is nature in its primitiveness and ecology in its wildness; the aesthetic (...)
    Direct download  
     
    Export citation  
     
    Bookmark  
  33. The Sign System in Chinese Landscape Paintings.Cliff G. McMahon - 2003 - Journal of Aesthetic Education 37 (1):64-76.
  34.  10
    A Background to Chinese Painting.E. H. S. & Soame Jenyns - 1968 - Journal of the American Oriental Society 88 (2):367.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  35. Rowley's Principles of Chinese Painting. [REVIEW]Pepper Pepper - 1948 - Philosophy and Phenomenological Research 9:329.
     
    Export citation  
     
    Bookmark  
  36. The Philosophical Background of Chinese Painting.Yu-Shan Han - 1940 - Pacific Philosophical Quarterly 21 (1):48.
     
    Export citation  
     
    Bookmark  
  37.  46
    The Tao of Painting: A Study of the Ritual Disposition of Chinese Painting, with a Translation of the "Chieh Tzŭ Yüan Hua Chuan," or Mustard Seed Garden Manual of Painting, 1679-1701.Mai-mai Sze - 1957 - Journal of Aesthetics and Art Criticism 16 (2):279-281.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  38.  37
    The Notion of 'Qi Yun' (Spirit Consonance) in Chinese Painting.Xiaoyan Hu - 2016 - Proceedings of the European Society for Aesthetics 8:247–268.
    ‘Spirit consonance engendering a sense of life’ (Qi Yun Sheng Dong) as the first law of Chinese painting, originally proposed by Xie He (active 500–535?) in his six laws of painting, has been commonly echoed by numerous later Chinese artists up to this day. Tracing back the meaning of each character of ‘Qi Yun Sheng Dong’ from Pre-Qin up to the Six Dynasties, along with a comparative analysis on the renderings of ‘Qi Yun Sheng Dong’ by experts in (...)
    Direct download  
     
    Export citation  
     
    Bookmark   2 citations  
  39.  4
    The Sign System in Chinese Landscape Paintings.Cliff G. McMahon - 2003 - Journal of Aesthetic Education 37 (1):64.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark   1 citation  
  40.  10
    Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580.Ellen Johnston Laing & James Cahill - 1980 - Journal of the American Oriental Society 100 (2):202.
    Direct download (5 more)  
     
    Export citation  
     
    Bookmark  
  41.  4
    Some Technical Terms of Chinese Painting.Chauncey S. Goodrich & Benjamin March - 1970 - Journal of the American Oriental Society 90 (2):416.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  42.  3
    Principles of Chinese Painting.Stephen C. Pepper - 1948 - Philosophy and Phenomenological Research 9 (2):329-331.
    No categories
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  43.  24
    A Phenomenological Look at Chinese Painting.Jacques Taminiaux - 1995 - Études Phénoménologiques 11 (22):81-95.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  44.  22
    The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains.Kin Yuen Wong - 2013 - Deleuze and Guatarri Studies 7 (3):360-376.
    By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is ‘a melody that sings itself’. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective (...)
    Direct download (4 more)  
     
    Export citation  
     
    Bookmark  
  45.  5
    Some Technical Terms of Chinese Painting.J. K. Shryock & Benjamin March - 1936 - Journal of the American Oriental Society 56 (3):382.
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  46. The Art of Chinese Brush Painting: Ning Yeh's First Album: An Introduction to Fundamental Philosophy and Basic Subjects.Ning Yeh - 1981 - N. Yeh.
    No categories
     
    Export citation  
     
    Bookmark  
  47.  28
    Stones From Other Mountains: Chinese Painting Studies in Postwar America – Edited and Introduced by Jason C. Kuo.Kuang-Ming Wu - 2011 - Journal of Chinese Philosophy 38 (3):499-501.
  48.  7
    A Study of Chinese Paintings in the Collection of Ada Small Moore.A. G. Wenley, Louise Wallace Hackney & Yau Chang-foo - 1941 - Journal of the American Oriental Society 61 (4):297.
    No categories
    Direct download (3 more)  
     
    Export citation  
     
    Bookmark  
  49. Ink Art Three-Dimensional Big Data Three-Dimensional Display Index Prediction Model.Xiaonan Cao - 2021 - Complexity 2021:1-10.
    This paper starts with the study of realistic three-dimensional models, from the two aspects of ink art style simulation model and three-dimensional display technology, explores the three-dimensional display model of three-dimensional model ink style, and conducts experiments through the software development platform and auxiliary software. The feasibility of the model is verified. Aiming at the problem of real-time rendering of large-scale 3D scenes in the model, efficient visibility rejection method and a multiresolution fast rendering method were designed to realize the (...)
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
  50.  13
    Bilingual and Intersemiotic Representation of Distance(s) in Chinese Landscape Painting: From Yi (‘Meaning’) to Yi.Chunshen Zhu & Chengzhi Jiang - 2018 - Semiotica 2018 (225):293-311.
    Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 293-311.
    Direct download (2 more)  
     
    Export citation  
     
    Bookmark  
1 — 50 / 1000