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This article seeks the origin of the red sun (hong taiyang in Chinese), a motif that Chinese painter Fu Baoshi used in his works during the 1950s and 1960s. A similar motif can be found in some works made by Japanese painters during the 1920s and 1930s, though there is no definitive evidence that Fu learned directly from them. Rather, I argue that Fu and his Japanese counterparts drew from an East Asian tradition for depicting national idols that was exemplified in Tianbao jiuru, a theme which had been shared between China and Japan for a long time.

The arts and ages of life in China The paper aims to show that, in the Chinese traditional arts, as well as today’s, youth and old age are the most highly valued ages of life, especially old age. In the first part of the paper, the arts and the stages of life are discussed in Chinese painting and calligraphy : the ages of those who perform an artistic activity are examined, starting from the confrontation of texts with artistic experience. In its second part, the paper explores the representation of the arts and the stages of life in Chinese movies of the 1990s that stage masters and disciples relationships., L’article vise à montrer que, dans les arts chinois traditionnels et d’aujourd’hui, l’enfance et la vieillesse sont les deux âges les plus valorisés, et en particulier la vieillesse. Dans un premier temps, sont abordés les arts et les âges de la vie dans la peinture et la calligraphie chinoises, à travers l’âge de celui ou celle qui pratique une activité artistique, à partir de la confrontation de textes et de l’expérience artistique. Dans un second temps, est examinée la représentation des arts et des âges de la vie dans le cinéma chinois des années 1990 mettant en scène un maître et son disciple., Las artes y las edades de la vida en China El artículo se propone mostrar que en las artes chinas, tanto las tradicionales como las de hoy en día, la infancia y la vejez, y especialmente la vejez, son las edades más apreciadas. En la primera parte abordamos las artes y las etapas de la vida en la pintura y en la caligrafía chinas, a través de la edad de la persona que practica una actividad artística, examinando los textos y la experiencia artística. En la segunda parte indagamos la representación de las artes y de las etapas de la vida en el cine chino de los años 1990 centrado en las figuras de un maestro y de su discípulo., Escande Yolaine. Les arts et les âges de la vie en Chine. In: Communications, 109, 2021. Les arts et les âges de la vie. pp. 49-61.

The purpose of the article is to study the approaches and models of color as a pictorial principle in modern Chinese painting. The article is devoted to the actual problem of the study of the artistic language of painting. In Chinese art history, it has several forms of representation. However, one of the key themes is the role of color as a central pictorial principle in contemporary fine art. The study of the role of color in painting is based on the analysis of the formal and compositional-plastic features of artwork. At the same time, color is an important factor in the interpretation of artistic signs and symbols of a particular author. The selection of color from and a number of other elements of the artistic language is associated with the influence of the traditional artistic system in the art of China on the practice of modernization. In many professional studies, we can come across an opinion about the practical significance of tonal and color solutions for substantiating the artistic imagery of a work and its ideological and aesthetic meaning. The methodology. For the analysis of sources we used the method of comparative analysis and the method of typology. Visual sources are analyzed with the use of methodological, formal, compositional and figurative-stylistic analysis. The results. In modern Chinese studies, the problem of color is a completely independent area, which is of universal importance for the analysis of the evolution of fine art. As a visual principle, the subject matter is considered within two approaches: 1) figurative-plastic, where the central place is occupied by tonal and color features in the context of the search for form and composition; 2) emotional-figurative, where the central place is occupied by the perception of color and the interpretation of the signs and symbols of the work. Within the framework of the first approach, three research models dominate: 1) figurative and artistic model, which is characterized by the ability of color to change within the framework of the author’s style idea; 2) the symbolic model focuses the artist’s attention on cultural and historical references; 3) the decorative-figurative model positions the problem of color as a matter of color morphology, as well as the use of traditional decor techniques along with oil painting methods. Within the framework of the second approach, the sign-emotive and semantic-emotive models are the main ones. The first model represents color as a factor of the author’s sign space. The second model is a tool for studying color as a part of a sign artistic language. This artistic language regulates the specific meaning of the aesthetic essence of color (for example, red in traditional symbolism is a sign of power). In this model, the semiotic feature of color is enhanced by the emotional nature of painting techniques. The scientific novelty. The article substantiates the concept of color in painting as the main pictorial principle in the contemporary fine arts of China. The research approaches of Chinese art critics are summarized., Стаття присвячена проблемі дослідження художньої мови живопису. У китайському мистецтвознавстві вона має декілька форм репрезентації, проте однією із ключових є тематика кольору як зображувального принципу в сучасному образотворчому мистецтві. Метою статті є дослідження підходів та моделей репрезентації кольору як зображального принципу в сучасному живописі Китаю. В якості зображального принципу зазначена тематика розглядається переважно у межах двох підходів: 1)образно-пластичного, який регламентує тоново-колірні відносини у контексті формальних рішень та композиційної пластичності твору; 2)емоційно-образного, що зосереджує увагу митців навколо питань спекулятивного сприйняття кольору та репрезентує тоново-колірні відносини як знаково-символьні референції.

Certaines peintures horizontales chinoises illustrent des « expositions poétiques » (fu 賦) qui peuvent être considérées « pseudo-narratives » dans la mesure où les éléments de récit y sont au service de descriptions et d’énumérations exubérantes. La structure sophistiquée du fu du « Parc impérial » 上林賦 de Sima Xiangru 司馬相如 (179-117 AEC) déploie l’espace macrocosmique des chasses impériales et met en récit la figure héroïque de l’empereur chasseur. Sept rouleaux illustratifs des xvie et xviie siècles entremêlent les procédés de « transposition » : description topographique, énumération de végétaux, de bêtes et d’actions relatives à la chasse. La recomposition accentue le caractère narratif de l’œuvre, tout en bousculant l’ordre diégétique du texte ; la narrativité picturale repose essentiellement sur la récurrence du cortège impérial dans un paysage continu, où l’amateur retrouve les principaux motifs textuels. Sur le plan allégorique, les peintures du Parc impérial 上林圖 transposent l’hyperbole du poème – associant notamment le parc aux demeures des immortels – et son propos politique sur le plan moral. Some Chinese handscroll paintings that illustrate “poetic expositions” (fu 賦) can be considered “pseudo-narrative”, their narrative features serving the needs of exuberant descriptions and enumerations. The sophisticated structure of Sima Xiangru’s 司馬相如 (179-117 BC) fu on the “Imperial Park” 上林賦 lays out the hunting park vista as a macrocosm, and puts the hunting emperor into narrative as a heroic figure. Seven sixteenth and seventeenth century handscrolls illustrating this fu intertwine “transposition” processes such as topographical description, enumeration of plants, animals and actions related to hunting. While disrupting the diegetic sequence of the text, recomposition emphasizes the narrative aspect of the work; pictorial narrativity is essentially based on the reoccurrence of the imperial procession in a continuous landscape, where the amateur finds the main textual motifs. In the paintings of the Imperial Park 上林圖, the hyperbole of the fu is transposed through allegory—the park being likened to the dwellings of immortals— and its political purpose on the moral level.

The relevance of the study is determined by the fact that China, like Japan, took oil painting relatively recently. Japan became closely acquainted with Western technology in the 19th century, but at that time they still imposed a taboo on oil painting, the authorities in every way prevented its spread, protecting the traditions of national art. Only the 20th century allowed new trends to finally settle down. The work shows that the understanding of the European painting technology was widely represented in the imperial Celestial Empire. The article shows that the artists did not make a big problem to learn painting skills from the Europeans (originally the Portuguese). They learned the lessons, techniques and technology of European art, despite the fact that they had never had a similar school before. Separately, it is stipulated that cooperation after the formation of the USSR played a great influence on contemporary paintings. This explains the fact that many paintings by Chinese painters are very similar to Russian school of fine art. The authors determine that the Russian style, fully perceived by the PRC, was formed collectively from the Renaissance approach, with the inclusion of impressionism motifs.

The 1933 Chinese Art Exhibition in Paris, the first large-scale Chinese art show in France, played a critical role in establishing the category of “modern Chinese painting” in early twentieth-centu...

We investigate the price impact and returns for 165,847 lots sold from 533 artists executed on Chinese painting and calligraphy over the period of 2000–2017. We document an annual return of 10.67% ...

The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925).In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance.Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues., Международная выставка китайского искусства, проходившая в лондонском Берлингтон-хаус с ноября 1935 г. по март 1936 г., признана крупнейшей выставкой китайского искусства в ХХ в. Предметы искусства предоставили более двухсот коллекционеров и институций из 14 стран мира. Но ни на одной из предшествующих выставок китайского искусства не было представлено такого количества экспонатов: в каталоге Лондонской выставки 3 080 пунктов. Более того, это была первая зарубежная выставка, на которой экспонировались предметы из коллекции Запретного города (Музей Гугун с 1925 г.).На выставке, помимо многочисленного фарфора и бронзы, предоставленных из частных и музейных коллекций, было представлено около 300 живописных произведений (монументальная живопись, свитки, альбомные листы и веера). И хотя считается, что западные коллекционеры начали проявлять серьезный интерес к живописи лишь после Второй мировой войны, однако, на выставке было представлено более ста живописных произведений из некитайских коллекций.Благодаря своему масштабу, Интернациональная выставка китайского искусства 1935 г. может по праву считаться репрезентативным примером актуальных для 1930-х гг. тенденций в коллекционировании китайского искусства. Поэтому внимательный анализ каталога может расширить наше представление о формировании коллекций китайского искусства, о формировании вкуса и его изменении со временем. Данные из каталога по живописным произведениям, предоставленным на выставку из западных музейных коллекций, были проанализированы, а затем сопоставлены с текущими описаниями из музейных баз данных и каталогов.

A systematic history of Chinese painting was first established at the beginning of the modern era in Japan. Considering the long history of Sino–Japan relations, this was effectively the first time...

At all times and in all countries, exchanges between China and the west are always a constant topic. From the Qing Dynasty Lang Shining Chinese and Western painting, a new form of painting Chinese painting formed after absorbing some of the characteristics of Western painting. In this paper, through the comparison and research between painting and Chinese traditional meticulous painting subjects Chinese and Western Qing missionaries painter Lang Shining, to explore the characteristics of Lang Shining new body painting and realistic significance to modern fine brushwork of Chinese and Western fusion.

The article is devoted to the study of the image of China in the Russian-language texts of blogs about Chinese painting. The purpose of this study is to determine the descriptive aspects of the art forms studied, as well as the linguistic and non-linguistic ways of forming a fragment of Chinese image. The material comes from the blogs about Chinese painting published on the online platform LiveJournal and in the online edition Magazeta.The relevance of the work is due to the interest in the humanities in the media image of China. In the process of analyzing empirical material, the methods of contextual analysis and media-linguistic analysis are used. The materials studied reveal five main aspects of Chinese painting description: the status of painting in Chinese and world culture; content and genres of Chinese painting; artist status and skill; perception of Chinese painting through the eyes of another cultural representative; the painting elements of Chinese painting in the text. It reveals the language means of forming the unique part of Chinese art and the functions of the visual components in blog texts. It is concluded that China is presented in Russian-language blogs as an amazing country with an ancient and unique culture, with deep symbolism of various philosophical concepts.

The market economy reform, which began in China in the 1990s, changed people’s lifestyle, brought them freedom and diversity. It inevitably gave an impetus to the development of painting in the country of the new era. Thematic paintings were wide-spread in visual arts, which contributed to renewal of painting. Artists were greatly attracted by the Tibetan regions at the source of the Yellow River and tried to convey the spirit, rituals, and national costumes of its inhabitants. They depicted the sacred beauty of the plateau on their canvas, spread the values typical for the area at the source of the Yellow River throughout the country showing the beauty of the Tibetan people to the whole world.

Seals, a common part of Chinese painting and calligraphy, play a key role in identification, collection, and other activities of painting and calligraphy. However, most of the seal age-analysis methods are still dependent on the experience and judgement of the experts. Thus, scientific evidence in this field is required. This study aims to explore the changes in the reflectance spectra by heat-aging on seal samples to establish a spectral heat-aging model that can be used to estimate the aging times of seals. An experiment was conducted to detect the reflectance spectral changes of sample seals on Chinese paintings and calligraphy after different heat aging times, and a model incorporating the spectral changes over aging time was built. After heat aging, the visible near-infrared spectra of the seal samples were acquired and analyzed. The results show that the cinnabar pigment contained in the samples exhibited no significant change in spectra. The spectral change bands of the rice paper and the seal-ink did not overlap, and the spectral changes of the seal-ink aging were found to be mainly come from the additive. Its sensitive bands that means those bands with distinct characteristics of reflectance spectra are concentrated in the spectral ranges of 1700−1800 nm and 2250−2400 nm. As the aging time prolonged, the additives of the seals were found to gradually undergo changes, whereas, the composition of the cinnabar pigment tended to be stable. Finally, a spectral heat-aging model was established using multivariable linear regression. The accuracy of this model was tested using 16 samples that were not used during training. The coefficient of determination (R2) value was found to be 0.83, and the correlation between the real and estimated aging times was 0.65. Results demonstrated that the visible near-infrared reflectance spectra changes could be used to estimate the age of seals on Chinese paintings or calligraphy.

This article is dedicated to examination of the phenomenon of contemporary Chinese art, its essential specificity within the framework of tradition and in the conditions of globalization. For achieving the set goal, the author applies the method of historical-cultural analysis in combination with the elements of structural-semiotic analysis of contemporary art in China of the late XX century. For historical and social reasons, contemporary art became a substantial part of the works of Chinese artists only after the “Reform and Opening-Up” in the 1980s. China was able to preserve tremendous artistic heritage, thus the contemporary art resembles a fusion of the tradition and postmodernism. The scientific novelty of this work consists in shifting away from art discourse in studying artistic material and concentrating on philosophical perspective. The conclusion is drawn that since the 1980s until the present China undergoes a drastic period of transformation of art from traditional to contemporary. The works of that time reflect such themes as the alienation of a modern person from tradition, change in experience of world perception, conflict between modern politics and society.

In the first half of the twentieth century, members of the public in Britain were familiar with traditional Chinese painting, but not work produced by living artists from Republican China. Public m...

The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using elements of classical Chinese, Western and Tibetan painting, conveyed unique features of the national culture and history of Tibet. The work systematizes the complex of customs and religious rites, traditional costumes and treats of the Tibetan New Year festival. The artists’ works are considered as a mechanism for transmitting traditional Tibetan folk and religious art.

1. Le paysage, genre descriptif, n’est pas une spécialité européenne. La peinture chinoise offre de merveilleux exemples de paysages à teneur biographique, voire autobiographique. 2. Le travail (littéraire, pictural ou photographique) d’idéalisation de la mémoire fait du paysage lyrique une forme biographique. 3. La vue (veduta) suspend le temps biographique, réactivé par l’image en mouvement du cinéma (Straub-Huillet) 4. Toute biographie a une dimension géographique. La photographie peut soutenir le travail de construction d’une aire intermédiaire entre biographie et paysage. 1. Landscape, a descriptive genre, is not specific to European culture. There are beautiful examples in Chinese painting of landscapes with an (auto)biographical content. 2. In literature, painting, or photography, idealization by memory changes lyrical landscapes into biographical forms. 3. Suspended by a view (veduta), biographical time is re-activated by the cinematic moving image (Straub-Huillet). 4. Every biography has a geographical dimension. Photography may sustain the construction of an intermediary area between biography and landscape.

В начале ХХ века Пекин становится центром социальных преобразований и источником нового культурного движения. Формируется и получает развитие Пекинская школа живописи. Одним из самых значимых достижений того периода было создание Общества исследований китайской живописи, которое практически сразу стало одним из самых влиятельных объединений художников Китая. В состав Общества вошли лучшие представители прогрессивных художников традиционной живописи, деятельность которых оказала глубокое влияние не только на дальнейшее формирование Пекинской школы, но и на развитие изобразительного искусства Китая. Несмотря на успешную деятельность этого художественного объединения, ряд внешних причин и внутренних противоречий привели к его расколу., In the beginning of 20th century Beijing became the center for social transformation and the source of the new cultural movement. The painting school of Beijing is being established and developed. One of the major achievements of that period was the creation of Chinese painting research society, which immediately became an incredibly influential union of Chinese artists. The Society included the best representatives of progressive traditional style artists, whose activities had a profound influence on the further formation of the Beijing school as well as development of the fine arts of China. Despite successful performance of the union several outside forces and internal disagreements led to its downfall.

Поступила в редакцию: 06.10.2021. Принята к печати: 17.03.2022. Submitted: 06.10.2021. Accepted: 17.03.2022. Международная выставка китайского искусства, проходившая в лондонском Берлингтон-хаус с ноября 1935 г. по март 1936 г., признана крупнейшей выставкой китайского искусства в ХХ в. Предметы искусства предоставили более двухсот коллекционеров и институций из 14 стран мира. Но ни на одной из предшествующих выставок китайского искусства не было представлено такого количества экспонатов: в каталоге Лондонской выставки 3 080 пунктов. Более того, это была первая зарубежная выставка, на которой экспонировались предметы из коллекции Запретного города (Музей Гугун с 1925 г.). На выставке, помимо многочисленного фарфора и бронзы, предоставленных из частных и музейных коллекций, было представлено около 300 живописных произведений (монументальная живопись, свитки, альбомные листы и веера). И хотя считается, что западные коллекционеры начали проявлять серьезный интерес к живописи лишь после Второй мировой войны, однако, на выставке было представлено более ста живописных произведений из некитайских коллекций. Благодаря своему масштабу, Интернациональная выставка китайского искусства 1935 г. может по праву считаться репрезентативным примером актуальных для 1930-х гг. тенденций в коллекционировании китайского искусства. Поэтому внимательный анализ каталога может расширить наше представление о формировании коллекций китайского искусства, о формировании вкуса и его изменении со временем. Данные из каталога по живописным произведениям, предоставленным на выставку из западных музейных коллекций, были проанализированы, а затем сопоставлены с текущими описаниями из музейных баз данных и каталогов. The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.

The subject of the study is the restoration of Chinese exportwatercolors made on the bast of the Tetrapanax papyrifer plant from the collectionsof Russian museums. The analysis of existing methods for the restoration of theseobjects in world and domestic practice made it possible to develop an author'smethodology for carrying out work.

At the beginning of the 20th century, Chinese painter Zhou Peichun started mass-producing beautiful watercolour paintings depicting life in Beijing. Rosalien van der Poel writes about two of his paintings that were recently restored by textile conservator Sjoukje Telleman.The colourful paintings discussed in this blog once decorated the walls of the Sinological Institute in the Leiden University Arsenaal Building. It is quite possible that they were acquired by J.J.L. Duyvendak (1889-1954), a Dutch Sinologist who worked as an interpreter at the Dutch embassy in Beijing from 1912 to 1918, before accepting a position at Leiden University in 1919. When the collections of the Sinological Institute were moved to the UBL Special Collections in 2016, the two paintings were re-evaluated and valued for their quality and authenticity. In 2021, they were restored and preserved by textile conservator Sjoukje Telleman. In this blog, I will seek to answer three questions: How did Zhou Peichun work? How historically accurate are the depicted scenes? And what is the value of this type of heritage for future generations?

International audience; Tha paper aims to show that, in the Chinese traditional arts, as well as today's, youth and old age are the most highly valued ages of life, especially old age. In the first part of the paper, the arts and the stages of life are discussed in Chinese painting and calligraphy: the ages of those who perform an artistic activity are examined, starting from the confrontation of texts with artistic experience. in its second part, the paper explores the representation of the arts and the stages of life in Chinese movies of the 1990s that stage masters and disciples relationships.; L'artiche vise à montrer que, dans les arts chinois traditionnels et d'aujourd'hui, l'enfance et la vieillesse sont les deux âges les plus valorisés, et en particulier la vieillesse. Dans un premier temps, sont abordés les arts et les âges de la vie dans la peinture et la callgiraphie chinoises, à travers l'âge de celui ou celle qui pratique une activité artistique, à partir de la confrontation de textes et de l'expérience artistique. dans un second temps, est examinée la représentation des arts et des âges de la vie dans le cinéma chinois des années 1990 mettant en scène un maître et son disciple.

The artist and scholar Keung Hung argues that traditional Chinese manners of approaching art can be abstracted through digital media, forging new interdisciplinary correlations. He posits that digital media can be used to shift the notions of time and space from traditional Chinese aesthetics into the contemporary art context.

The forms of traditional Chinese painting and calligraphy are varied, including hanging scrolls, horizontal scrolls, screens, hand scrolls, and albums. Hanging scrolls are hung on the wall for disp...

The article looks into an interesting case of artistic accommodation, which for a number of reasons did not happen during the time of the leader and one of the founders of the Jesuit mission in China, Matteo Ricci (1552–1610), a successful preacher and author of the so called ‘Matteo Ricci Rules’, justifying the need to adapt missionary activities and preaching to the beliefs, traditions and culture of the host country. The author proposes for her analysis two opposite figures — the Chinese Jesuit of the second generation, provincial landscape painter Wu Li (1632–1718) and Italian painter who worked at the court of the emperors of the Manchu Qing dynasty Giuseppe Castiglione (Lan Shining; 1688–1766), trying to show the long way of the adaptation of artistic techniques from the time of the mission’s founder Matteo Ricci, who did not accept and did not understand Chinese painting, and Wu Li, who did not see the value of European painting, to Lan Shining and his patrons, the Qing emperors, who created a sophisticated ‘Occidentalist’ style, combining features of Western and Chinese painting. The author concludes that Matteo Ricci, even though he used visual materials in his sermons as an aid to verbal preaching, missed the great opportunity of preaching through the brush, while Giuseppe Castiglione and his colleagues, European masters working at court, essentially continued to use ‘Ricci’s Rules’ and the accommodative method of preaching through the adaptation of European painting techniques to the Chinese ones, using the appropriate direct wishes and orders of the crowned representatives of the non-Chinese dynasty.

Image completion models based on deep neural networks have been a research hot spot in computer vision. However, most of the previous methods focus on natural images, such as faces and landscapes. In this paper, we propose a novel image completion model for a special set of artificial ancient Chinese paintings to address this limitation. Specifically, we integrate three complements: the Wasserstein Generative Adversarial Networks (WGAN), Perceptual loss, and Mean Squared Error (MSE) to train the model robustly. We propose a unique generator which can not only pay more attention to complete the details of ancient Chinese paintings but also can provide the synthesized lines to help artists to analyze paintings conveniently. Additionally, we also allow a user to supply a structure hint to guide our model to complete Chinese paintings according to his/her preference. Extensive experiments firmly demonstrate the effectiveness of our approach to complete ancient Chinese paintings and remove abnormal color blocks from them.

The considers the methodology of teaching the Chinese style of painting “Mogufa” at the Moscow Institute of Arts (China). The relevance is determined by the small number of research papers and historical records on the teaching methods of traditional Chinese painting, of particular interest is the influence of Western art on the style of “Mogufa”. Conducted research on this topic is mainly limited to the study of technology for reproducing the “Mogufa” style. The article analyzes the experience of implementing joint educational programs at the Moscow Institute of Arts in China. The features of the teaching methodology for the pictorial style of Mogufa are analyzed in detail. The project of the Moscow Institute of Arts (China) and the implementation of joint educational programs provide an opportunity to analyze and scientifically substantiate possible changes in Mogufa style. This will help preserve the traditions of China and organize the continuity of the transfer of secrets of craftsmanship.

As the crown of the scholar’s four jewels, the brush has occupied a cherished position in the culture of traditional Chinese painting and calligraphy since its invention. In virtual painting, virtual brush modeling plays the most important role. A powerful virtual brush model can truly reflect the characteristics of a real brush and enhance the reality of virtual painting. By reviewing the state of the art in virtual brush modeling, we summarize the basic principles, merits, and drawbacks of typical modeling methods, and discuss simulation results based on empirical methods and physical methods separately. The influences of brush-paper, paper-ink, and human-computer interactive devices on virtual brush modeling are analyzed briefly. The main challenges and problems in virtual painting are analyzed, and the prospects for research on virtual brush modeling in the future are put forward.

In order to find a way to combine traditional culture with modern living needs, taking “Chinese painting” as the breakthrough point, through the study of the development process and artistic characteristics of Chinese painting, four aspects of classical philosophy, natural landscape image, brush and ink composition artistic conception, and abstract aesthetic conception contained in Chinese painting are summed up. The results of the study provide enlightenment for contemporary residential landscape design, and summarize the methods of creating Chinese paintings in residential landscape design. Thus, a residential landscape model with the characteristics of “Chinese painting” is found out.

As the substrates of traditional Chinese painting and calligraphy, paper and silk are susceptible to optical radiation in museum illumination, resulting in mechanical damage, the origins of which a...

Three-dimensional video microscopy, Raman microscopy, and energy-dispersive X-ray fluorescence spectroscopy were applied on a Qing dynasty meticulous painting named ‘Guan Gong Reads the Spring and Autumn Annals at Night’. All pigments were identified, including calcite, Paris green, hematite, gypsum, cinnabar, carbon black, quartz crystal, synthetic ultramarine blue and brass powder. Colors on the painting, in most parts, can be explained by a single pigment; while it is also true that some are caused by mixed pigments. The manufacture date of the painting should be no earlier than 1828. In addition, brass powder was used as pigment no later than the Qing dynasty. Finally, the combination of multiple non-destructive methods is an ideal for researching Chinese ancient paintings.

In China, cloud subjects can be found on artworks from as early as the Eastern Zhou 東周 dynasty (770-256 BCE). The scope of this thesis will primarily be centered around the association of clouds from early Chinese art, the culmination of their depiction within the Chinese landscape painting tradition during the Northern Song 北宋 dynasty (960-1127), and the expansion into new subjects and mediums in the dynasties thereafter.

The profound social and political changes that took place in China at the turn of the 19th century led to a significant reappraisal of spiritual and aesthetic values in the society. The Western culture infiltration contributed to the reform movement and encouraged new trends in the Chinese visual arts. The artists who returned to China after studying abroad created various associations and art schools. They tried to find new forms and merge the heritage of traditional Chinese painting with the achievements of Western art. In the beginning of the 20th century Beijing becomes the center of social transformation in China and the source of a new cultural movement.

The reason why Chinese painting can occupy an important position in the history of world painting lies in the unity of its lines and colors. The figure painting in Chinese painting is the perfect combination of color and line, creating the unique beauty of Chinese figure painting. Color has undergone many rounds of evolution in the process of Sinicization, and the entry of Western art has also had an impact on Chinese painting. This article combs the evolution of color in Chinese painting, and analyzes how to use color in Chinese figure painting.

В рамках настоящей статьи рассматриваются примеры рефлексии современных китайских художников на тему современности, проводится анализ процесса поиска идентичности современного китайского общества, отраженный в творчестве видных представителей мира изобразительного искусства Китая. Анализ творчества Ван Гуанъи, Фан Лицзюня и Юэ Миньцзюня обнаруживает стремление нации к постоянной трансформации, движению вперед. В своих работах современные китайские художники постулируют появление нового Китая, который не ограничен рамками прочтения прошлого., This paper examines examples of reflection of contemporary Chinese artists on modernity, analyzes the process of searching for the identity of modern Chinese society, reflected in the works of prominent Chinese artists. The analysis of paintings by Wang Guangyi, Fang Lijun, and Yue Minjun reveals the nation’s aspiration for constant transformation, movement forward, which permeates the daily life of the Chinese. In their works, contemporary Chinese artists claim the emergence of a new China, which is not limited by the perception of the past., Университетский научный журнал, Выпуск 59 2021, Pages 181-188