Explore the vast range of titles available.

What happens when a writing cannot perform its function of documentation and indication? In the installation performance , developed from the action score , the multiple closed-circuit videos raise the question of “who” can occupy the position of the observer, challenging tunnel-vision perspectivism. Such an orchestra of gazes resonates with the spatial organization in Chinese ink landscape painting, which challenges the anthropocentric ordering of things; responds to Nam June Paik’s approach to media, which disrupts the habitual way of perceiving conditioned by the mass media; and resonates with the concept of (空無, emptiness, nothingness) from Daoism and Buddhism.

Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world. Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.

The ink and wash painting stylized rendering with oriental aesthetic features is an important topic in non-photorealistic rendering (NPR). The research on the stylized rendering of two-dimensional (2D) models has received extensive attention, but there is still a lack of systematic research on the three-dimensional (3D) rendering effects of different brush strokes and texture mapping methods. In this paper, we mainly render the 3D mountain models from the whole ink and wash painting rendering process, different winkle rendering methods, and the canvas texture based on spatiotemporal consistency. First, the proposed rendering process is divided into feature lines rendering and interior area stylization, and the wrinkle rendering is carried out by the method of texture synthesis and texture mapping. In addition, mesh parameterization is introduced to avoid stretching and distortion that may occur during the texture mapping. Then, an empirical model is used to simulate the ink diffusion effect in the rendered image space. Finally, we investigate a dynamic canvas texture method considering temporal coherence, which uses a noise-based algorithm to generate the canvas texture that maintains the 2D appearance of the canvas under camera motion. Experimental results show that the winkle rendering and texture mapping method proposed in this paper adds rich details to 3D mountain models, and the “Shower Door” effect does not occur in the case of camera motion.

The Welsh landscape painter Richard Wilson has recently been the focus of renewed scholarly attention thanks to the exhibition \"Richard Wilson and the transformation of European landscape painting,\" held in New Haven and Cardiff in 2014. It was the first major exhibition dedicated to the artist since the Tate's 1982 show \"Richard Wilson : the landscape of reaction,\" and marked the tercentenary of Wilson's birth as well as coinciding with the release of the Richard Wilson online catalog raisonné, sponsored by the Paul Mellon Center for Studies in British Art and compiled under the leadership of Dr Paul Spencer-Longhurst. Wilson was popular among contemporary collectors and had a number of pupils and imitators, including fellow Welshman Thomas Jones and the English landscapist Joseph Farington, whose near 30-year diary detailed the comings and goings of the Royal Academicians between 1793 and Farington's death in 1821. [Abridged Publication Abstract]

Recent theories of the aesthetic appreciation of nature or natural environments have done much to clarify what might be essential to such appreciation. Such accounts are incomplete, however, as they depend on a strict separation between works of art and nature itself. This paper shows how classical Chinese landscape painting offers a way to appreciate both art and nature simultaneously, under the same set of concepts. The core of the argument consists of using both philosophical and art historical resources to demonstrate how Chinese landscape painting can enable us to learn to see particular features of landscapes and natural environments to which we otherwise might be blind. The practice of painting is itself a natural process, and the result of that process is both a natural object and a representation of a natural object. By learning to appreciate painting along these lines, we also learn to appreciate natural environments along similar lines. (Contains 34 notes.)