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"Landscape painting, Chinese."
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Chinese ways of seeing and open-air painting
\"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, and a conception of vision based on Cartesian optics. The new landscape practice brought with it unprecedented emphasis on perception and redefined artistic expertise. Central to the pursuit of open-air painting from the late 1910s right through to the early 1960s was a reinvigorated and ever-growing urgency to see suitably as a Chinese and to see the Chinese homeland correctly. Examining this long-overlooked ocular turn, Gu not only provides an innovative perspective from which to reflect on complicated interactions of the global and local in China, but also calls for rethinking the nature of visual modernity\"--Front flap of dust jacket.
Book
Chinese Landscape Painting as Western Art History
This is a provocative essay of reflections on traditional mainstream scholarship on Chinese art as done by towering figures in the field such as James Cahill and Wen Fong. James Elkins offers an engaging and accessible survey of his personal journey encountering and interpreting Chinese art through Western scholars' writings. He argues that the search for optimal comparisons is itself a modern, Western interest, and that art history as a discipline is inherently Western in several identifiable senses. Although he concentrates on art history in this book, and on Chinese painting in particular, these issues bear implications for Sinology in general, and for wider questions about humanistic inquiry and historical writing. Jennifer Purtle's Foreword provides a useful counterpoint from the perspective of a Chinese art specialist, anticipating and responding to other specialists’ likely reactions to Elkins's hypotheses.
eBook
Li Huayi = Li Huayi
This monograph on the preeminent Chinese contemporary ink painter Li Huayi, with a comprehensive critical contribution by the art critic and curator Kuiyi Shen, is a retrospective of his most celebrated works. The book documents Huayi's artistic evolution, surveying his career through a selection of the most representative works from every period of his life. His paintings reveal how the great tradition of Chinese art, through the talented hands of the artist and his innovative mind, is able to interact with Western contemporary trends and provide a fascinating visual insight into the universe of a man suspended between two cultures. Li Huayi, born in 1948 in Shanghai, was raised in China where he learned antique drawing and painting techniques from the age of six. He was still a teenager when he became a \"worker artist\" during the Cultural Revolution, drawing mainly propaganda posters. He later discovered the paintings of the Song Dynasty and studied their techniques. He moved to San Francisco in 1982, where he received his M.F.A. at the Academy of Art.
Book
Paint-CUT: A Generative Model for Chinese Landscape Painting Based on Shuffle Attentional Residual Block and Edge Enhancement
As one of the precious cultural heritages, Chinese landscape painting has developed unique styles and techniques. Researching the intelligent generation of Chinese landscape paintings from photos can benefit the inheritance of traditional Chinese culture. To address detail loss, blurred outlines, and poor style transfer in present generated results, a model for generating Chinese landscape paintings from photos named Paint-CUT is proposed. In order to solve the problem of detail loss, the SA-ResBlock module is proposed by combining shuffle attention with the resblocks in the generator, which is used to enhance the generator’s ability to extract the main scene information and texture features. In order to solve the problem of poor style transfer, perceptual loss is introduced to constrain the model in terms of content and style. The pre-trained VGG is used to extract the content and style features to calculate the perceptual loss and, then, the loss can guide the model to generate landscape paintings with similar content to landscape photos and a similar style to target landscape paintings. In order to solve the problem of blurred outlines in generated landscape paintings, edge loss is proposed to the model. The Canny edge detection is used to generate edge maps and, then, the edge loss between edge maps of landscape photos and generated landscape paintings is calculated. The generated landscape paintings have clear outlines and details by adding edge loss. Comparison experiments and ablation experiments are performed on the proposed model. Experiments show that the proposed model can generate Chinese landscape paintings with clear outlines, rich details, and realistic style. Generated paintings not only retain the details of landscape photos, such as texture and outlines of mountains, but also have similar styles to the target paintings, such as colors and brush strokes. So, the generation quality of Chinese landscape paintings has improved.
Journal Article
The Gift of Distance: Chinese Landscape Painting as a Source of Inspiration
The history of Chinese painting, like that of its Western counterpart, includes visual artists with transcendental inclinations along with those of much more worldly sensibilities. This focus on animating vitality has produced a pictorial tradition that seems clearly to favor, in landscape especially, an involving connectedness over a separating illusion. Chinese landscape painting is ancient in its origins, and part of what gives the painting spaciousness and lucidity is its confident resting on tradition. Here, Sullivan points out that Chinese landscape painting obviously has its own techniques and conventions to organize space within paintings, and often contains anecdotal elements, making the work of art as a source of inspiration.
Journal Article
A diffusion probabilistic model for traditional Chinese landscape painting super-resolution
Traditional Chinese landscape painting is prone to low-resolution image issues during the digital protection process. To reconstruct high-quality images from low-resolution landscape paintings, we propose a novel Chinese landscape painting generation diffusion probabilistic model (CLDiff), which is similar to the Langevin dynamic process, and realizes the transformation of the Gaussian distribution into the empirical data distribution through multiple iterative refinement steps. The proposed CLDiff can provide ink texture clear super-resolution predictions by gradually transforming the pure Gaussian noise into a super-resolution landscape painting condition on a low-resolution input through a parameterized Markov Chain. Moreover, by introducing an attention module with an energy function into the U-Net architecture, we turn the denoising diffusion probabilistic model into a powerful generator. Experimental results show that CLDiff achieves better visual results and highly competitive performance in traditional Chinese Landscape painting super-resolution tasks.
Journal Article
Chinese Landscape Painting and the Study of Being: An Imagined Encounter Between Martin Heidegger and Xia Gui
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 conjunction with relevant Daoist texts, what one finds is a threefold structure to the world, composed of earth, sky, and mortals without Heidegger’s emphasis on divinities. In conclusion, we suggest that studying the folding structure of the world ought to be done through cultural comparisons of philosophical and aesthetic traditions in order to understand the potentiality for worldhood as an xfold.
Journal Article
Mi Youren's and Sima Huai's Joint Poetry Illustrations
According to a friend, Zhai Qinian ..., Mi's landscapes of misty clouds and rootless trees of China's south-central Chu district, traditionally associated with failure at court and exile or reclusion, were done before his appointment at court.8 A painting like this is obviously a literary work, its feelings suggested by allusions in the accompanying poetry. Both scrolls were painted in ink alone and in a broad and quick technique. Since the paper is not heavily sized, the washes would have dried relatively quickly, as in a watercolor painting.13 The lack of signatures or seals on these sketches indicates that this joint handscroll might be the earliest extant example of this type of poetry illustration done for friends (Figs. 1, 2). First-time viewers note that Mi's landscape seems more stylized because of repetitive trees and distanced forms, while the strong attack of Sima's brush manages to give his tree forms a sense of life and emotional import. A certain Duanshu was said in the third colophon to have chosen the Du Fu lines for the poetry-painting game. Since the Sima family was systematic in defining the generations of Sima Guang's nephews by classifying characters, we know that Sima Huai was in the tree-classified group of great-nephews.
Journal Article