• Title/Summary/Keyword: Oriental painting

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A Probe into the Modernity of Chinese Oil Painting

  • Fu Bao Cui
    • International Journal of Advanced Culture Technology
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    • v.11 no.1
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    • pp.198-203
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    • 2023
  • Art grows with the development of human civilization. Many art forms exist to connect the past and the future. Oil painting, a form of western painting, has flourished in China since its entry into China. In the continuous exploration of artistic language, Chinese artists have formed art forms with Chinese characteristics, permeated Chinese painting ideas and techniques, and formed specialized painting language. Through the oil painting works, the Chinese oriental aesthetic, national spirit, local customs and other times of humanistic features. As one of the many practitioners of oil painting in China, the author starts from the ego and continuously explores and studies in the practice of art. This paper mainly discusses the embodiment of Chinese oil painting modernity in the oriental art context and analyzes the spiritual temperament and painting materials, so as to expand the creative thinking of Chinese oil painting modernity in the oriental art context.

Automatic Method for Generating Oriental Color Ink Painting (자동화된 수묵담채화 생성 기법)

  • Lee Ki-Jung;WhangBo Taeg-Keun
    • Proceedings of the Korea Contents Association Conference
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    • 2005.11a
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    • pp.100-104
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    • 2005
  • Researchers of oriental color ink painting have concentrated on physical models such as brushes, papers, and ink diffusion. These models can be effective when painter depict a painting by tablet pen. If a painter has poor skill to use tablet pen or drawing ability, result should be not satisfied. In this paper, we propose an automatic painting method for oriental color ink painting. We use a computational approach to abstract landscape image and reproduce a painting by oriental color ink painting method. The reason why we use landscape image, landscape painting is a major theme of oriental ink painting.

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The beauty of form in Oriental painting from a realistic point of view (동양회화에 있어서 형상관점의 심미)

  • Jeong Jin-Ryong
    • Journal of Science of Art and Design
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    • v.6
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    • pp.119-139
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    • 2004
  • The intention of the research is to look into the form reflecting the spiritual image due to Oriental aesthetic from a realistic point of view. In this regard, I will pay attention to examining the process from figurative perspectives, in which painting image by subject acquires the beauty of form. Of the main subjection this paper, figure is an image itself appearing in painting. At this point, I will attempt to show how the meaning and value of image have been interpreted and judged on the aesthetic standard in Oriental painting in particular. For this process, I generalize the conception of the image as 'figure' and through this I will reconsider the standard of understanding and the value of perception regarding painting images on the method which are more applicable to the expressions of Oriental painting. The reason why I try to find out the true nature of images in Oriental painting from a figurative viewpoint is to convert a conventional sense of value which recognizes the images of Oriental painting only as results of idealism, into more practical field. If the true nature of Oriental painting is fixed and restricted to natures of idealism, any productive development and any changes in form for future couldn't be expected at all. In fact, what the ideological and aesthetic values of art suggest is clearly a proof of real art form. However, it is not a hard thing to prospect that only a superficial idealism will be ceaselessly produced, while the practical study about aesthetic values, meaningful results of painting expressions, is totally ignored, if ideology itself is used as criteria to judge the identity of it or if only the idealistic aesthetic values are emphasized while any clue to show a real existence of oriental paintings is not certain. Actually, nobody can deny the fact that interests about real natures regarding art expressions have been relatively ignored while armed with mental ideology for esthetic view of oriental painting in traditionalism Therefore, it is clear that 'spiritual status' itself can generate any form. Traditionally, in the Orient, the standard of judging a real value of things, which put a focus on a spiritual view of value rather than on a materialistic view of it, has been vaguely positioned the identity of images in painting As a result, the aesthetic convention has finally committed to an error that for images of oriental painting, ideological criteria like so called spiritualism are applied as a judging way, and esthetic meanings and values of real painting are considered as strategic results and spiritual intentions.

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The Stipulation of Unity Painting Color Concept to Chinese Traditional Yin Yang and Five Elements Color

  • Wei, Na
    • International Journal of Advanced Culture Technology
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    • v.10 no.3
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    • pp.184-191
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    • 2022
  • Unity Painting is a concept that the researcher put forward to locate his own creative style in his creation. Unity Painting, with a clue of reflecting the characteristics of contemporary oriental visual culture, combines the contemporary painting features of a variety of western painting languages. It aims to link the painting system formed in the context of oriental culture with the world's contemporary art and try to present a new contemporary painting with oriental genes. According to the Chinese literature, the researcher sorted out the five main colors (五正色), ten colors for Heavenly Stems (十天干色彩), five intermediate colors (五间色), and five colors as the expression of the Chi of Thriving and Fading and the Chi of Birth and Death, and deduced the summary and stipulation of the color of yin-yang and five elements under the concept of Unity Painting. Based on this, the researcher drew the color-phase and its variation stipulation diagram of ten colors for Heavenly Stems, the orientation of Heavenly Stems (天干方位), color-phase variation diagram (色相变化图), as well as the stipulation system diagram of the five elements (五行), Heavenly Stems and Earthly Branches (干支), energy, time and colors. Through the research and collation of the literature, the researcher took the stipulated five elements color (五行色彩) as the basis of the color concept of creation to complete the work. This paper discusses how to find the starting point of contemporary art creation in the context of traditional oriental culture, sorts out the practical creation logic, and provides ideas for subsequent researchers, with a view to better establishing the identity of the creator and providing research significance and value in the context of the study of oriental art.

Composition of Oriental Painting Lesson Using Photoshop Layers (포토샵 레이어 기능을 활용한 동양회화 구도수업)

  • Park, Ha-Na;Huh, Yoon-Jung
    • The Journal of the Korea Contents Association
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    • v.14 no.10
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    • pp.361-373
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    • 2014
  • Oriental painting lesson is considered neglectedly, because of pressure on teachers and troublesomeness of preparing and using for art supplies. However, change of medium can solve pressure on teachers and students for Oriental painting lesson enough. Therefore this study will present composition of Oriental painting lesson planning using photoshop program as a way of overcoming weak points, increasing students' interests and giving effective composition lesson. We developed composition of Oriental painting lesson planning using layer of photoshop program. Then We surveyed 60 students who are two classes of the first grade in G high school to know the effect and possibility of the lesson planning and analyzed the results. The most(75%) of the respondents answered that composition of Oriental painting lesson planning using photoshop program was appropriate. The more than half (58.3%) respondents wanted to participated in lesson regardless of any subjects. That shows highly interest for photoshop program. The respondents answered that the merits of this lesson using photoshop program are less pressure for drawing(33.3%), possibility of variety expression(30%), not requiring art supplies(26.6%). So this study shows using photoshop program for art class can solve weak points of Oriental painting lesson.

A Study on the Reproduction Method of Oriental-painting on 3D Space in Virtual Reality - Based on the case of "Haedol landscape painting" (가상현실 속 3D 공간에서의 동양화 기법 재현방법 연구 - "해돌 산수화"의 사례를 중심으로)

  • Park, Min-Ji;Sung, Jung-Hwan
    • Journal of Korea Game Society
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    • v.19 no.3
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    • pp.33-42
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    • 2019
  • This paper is the result of research on how to represent 'Landscape' of Oriental painting in 3D space within virtual reality. Based on the similarities between the characteristics of Oriental painting and virtual reality put together three features of painting and put them into the digital content. For the expression of painting style, we produced texture, represented spaces and shadows as a content development environment, and the view point with helper storytelling.

A Study of application on the Figurative Aesthetics of Oriental Painting (동양회화(東洋繪畵)에서 형상(形象)의 심미작용(審美作用))

  • Jeong Jin-Ryong
    • Journal of Science of Art and Design
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    • v.8
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    • pp.211-239
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    • 2005
  • The purpose of this thesis is to explore a common characteristic of the diverse oriental images mainly from the figurative point of view, and apply it to the contemporary expressions and methods of painting. To do that, I separated the concept of figure into two factors - form and image - and then approached and solved the problems of figure by explaining the two factors respectively. Separating form from image is neither to set two factors against each other nor to isolate any of those values. It is worth dividing the form and the image not only because the image of the oriental painting has a figurative value constituted from an external frame of the form, but also because it has a close connection with the meaning that the form holds inside. These are the reasons why I conceptualize the individual language of form and image. Furthermore, I attempted to investigate how those two factors and mutual relations between them make real figurative images under the principle of harmony and coexistence. The theme of this thesis - the figurative aesthetics and its contemporaneity in the oriental paintings is analyzed based on the understanding of 'figure' within the framework of oriental paintings. A research of image from the figurative point of view is valuable in that it criticizes the past method of thinking, and proposes an alternative formula for new way of thinking. In this regard, I indicated the limit of the theory of form-and-spirit that has been one of the most important conceptual theories . Instead, I' accessed to various aesthetic concepts - that are created in the course of image formulation - from the actual figurative point of view, and then even interpreted it as a figurative value of the oriental paintings and it's application within the specific and practical scope. During the course of research, I explored the conceptual elements of the tradition and the principle of figuration. I expect this study to make a footstone for bringing traditional aesthetics to the contemporary context of oriental painting.

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Study on the colors of Kim Whan-ki's painting (색으로 본 김환기의 작품 세계)

  • Kim, Hyun-Suk
    • The Journal of Art Theory & Practice
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    • no.3
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    • pp.155-172
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    • 2005
  • Kim Whan-ki is an unusual instance in Korean modern artists, who payed attention to emotional and expressive effects of colors. The color of Whan-ki's paintings have been recognized as linked with 'blue' in spite that he used colors within the category of 'Colors of Five Directions(五方色)', which are traditional oriental colors composed of red, lue, yellow, white, green and black. Kim Whan-ki unearthed upon similarity of Five Directions Colors to the three(five) primary colors which modern abstract painter like Mondrian layed down. Whan-ki switched the five directions colors to modern ones. Kim Whan-ki's dot painting in which pure and watery color is sucked in ground is modernistic adaptation from ink painting. He packs a dot with sky and earth, moon and stars, forest and tree, birds and flowers, friends at his hometown, wind, sound and so on. Putting tens of thousands of these shapes and colors into a dot is modernistic version from ink painting. In that point there is a possibility to say that 'dark blue' of the dot painting is 'Hyun-saec(玄色)'. Eventually we can make sure that Kim Whan-ki's view of Art originated in oriental philosophy and beauty.

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A Study on Lyricism Expression of Color & Realistic Expression reflected in Oriental Painting of flower & birds (전통화조화의 사실적(寫實的) 표현과 시정적(詩情的) 색채표현)

  • Ha, Yeon-Su
    • Journal of Science of Art and Design
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    • v.10
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    • pp.183-218
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    • 2006
  • Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

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Deep Learning-based Person Analysis in Oriental Painting for Supporting Famous Painting Habruta (명화 하브루타 지원을 위한 딥러닝 기반 동양화 인물 분석)

  • Moon, Hyeyoung;Kim, Namgyu
    • The Journal of the Korea Contents Association
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    • v.21 no.9
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    • pp.105-116
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    • 2021
  • Habruta is a question-based learning that talks, discusses, and argues in pairs. In particular, the famous painting Habruta is being implemented for the purpose of enhancing the appreciation ability of paintings and enriching the expressive power through questions and answers about the famous paintings. In this study, in order to support the famous painting Habruta for oriental paintings, we propose a method of automatically generating questions from the gender perspective of oriental painting characters using the current deep learning technology. Specifically, in this study, based on the pre-trained model, VGG16, we propose a model that can effectively analyze the features of Asian paintings by performing fine-tuning. In addition, we classify the types of questions into three types: fact, imagination, and applied questions used in the famous Habruta, and subdivide each question according to the character to derive a total of 9 question patterns. In order to verify the feasibilityof the proposed methodology, we conducted an experiment that analyzed 300 characters of actual oriental paintings. As a result of the experiment, we confirmed that the gender classification model according to our methodology shows higher accuracy than the existing model.