Natural History Connects Medical Concepts and Painting Theories In
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Real-Time Image-Based Chinese Ink Painting Rendering Lixing Dong
Real-time image-based chinese ink painting rendering Lixing Dong, Shufang Lu & Xiaogang Jin Multimedia Tools and Applications An International Journal ISSN 1380-7501 Multimed Tools Appl DOI 10.1007/s11042-012-1126-9 1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science+Business Media, LLC. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your work, please use the accepted author’s version for posting to your own website or your institution’s repository. You may further deposit the accepted author’s version on a funder’s repository at a funder’s request, provided it is not made publicly available until 12 months after publication. 1 23 Author's personal copy Multimed Tools Appl DOI 10.1007/s11042-012-1126-9 Real-time image-based chinese ink painting rendering Lixing Dong · Shufang Lu · Xiaogang Jin © Springer Science+Business Media, LLC 2012 Abstract Chinese ink painting, also known as ink and wash painting, is a technically demanding art form. Creating Chinese ink paintings usually requires great skill, concentration, and years of training. This paper presents a novel real-time, automatic framework to convert images into Chinese ink painting style. Given an input image, we first construct its saliency map which captures the visual contents in perceptually salient regions. Next, the image is abstracted and its salient edges are calculated with the help of the saliency map. Then, the abstracted image is diffused by a non-physical ink diffusion process. -
Tenth-Century Painting Before Song Taizong's Reign
Tenth-Century Painting before Song Taizong’s Reign: A Macrohistorical View Jonathan Hay 1 285 TENT H CENT URY CHINA AND BEYOND 2 longue durée artistic 3 Formats 286 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN Tangchao minghua lu 4 5 It 6 287 TENT H CENT URY CHINA AND BEYOND 7 The Handscroll Lady Guoguo on a Spring Outing Ladies Preparing Newly Woven Silk Pasturing Horses Palace Ban- quet Lofty Scholars Female Transcendents in the Lang Gar- 288 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN den Nymph of the Luo River8 9 10 Oxen 11 Examining Books 12 13 Along the River at First Snow 14 15 Waiting for the Ferry 16 The Hanging Scroll 17 18 19 289 TENT H CENT URY CHINA AND BEYOND Sparrows and Flowers of the Four Seasons Spring MountainsAutumn Mountains 20 The Feng and Shan 21 tuzhou 22 23 24 25 26 27 28 290 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 29 30 31 32 Blue Magpie and Thorny Shrubs Xiaoyi Stealing the Lanting Scroll 33 291 TENT H CENT URY CHINA AND BEYOND 34 35 36 Screens 37 38 The Lofty Scholar Liang Boluan 39 Autumn Mountains at Dusk 292 TENT H-CENT URY PAINT ING BEFORE SONG TAIZONG’S R EIGN 40Layered Mountains and Dense Forests41 Reading the Stele by Pitted Rocks 42 It has Court Ladies Pinning Flowers in Their Hair 43 44 The Emperor Minghuang’s Journey to Shu River Boats and a Riverside Mansion 45 46 47tuzhang 48 Villagers Celebrating the Dragonboat Festival 49 Travelers in Snow-Covered Mountains and 50 . -
From Co-Loa to the Trung Sisters' Revolt
From Co-loa to the Trung Sisters' Revolt: VIET-NAM AS THE CHINESE FOUND IT Received 27 September 1978 STEPHEN O'HARROW ISTORIANS AND archaeologists ignore each other at their peril, but the peril is Hgreater for the historian since concrete evidence which is at odds with a par ticular theory of historical development will simply not go away and eventually must be taken into consideration. In some areas of inquiry more than others, history and artifact must be at each other's service because neither alone can begin to suffice. Such is the case with the 300-year period in the area of the Red River delta and adjacent Thanh hoa Province in northern Viet-Nam, the cradle of the Vietnamese nation, between the middle of the third century B.C. and the revolt of the Trung Sisters in A.D. 40. It is a period which poses a number of highly interesting theoretical problems for the historian and philologist, and recent developments in archaeology have contradicted older biblio centric and sinocentric notions (the two often go hand in hand) to the extent that a thorough reexamination is in order. As a preliminary step in that direction, this article aims at outlining the sociohistorical situation of Viet-Nam when the first extensive im position of Chinese power on the area began. The object of the exercise is threefold: first, to point out what I believe are certain important historical implications of recent ar chaeological activity; second, to suggest a few notions of a theoretical nature which might address those historical implications; and third, to set the stage for a more extensive ex position at a later date of the development of Viet-Nam under Chinese hegemony from the first to the tenth centuries. -
Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970S and 1980S
Who Invented the Bronze Drum? Nationalism, Politics, and a Sino- Vietnamese Archaeological Debate of the 1970s and 1980s XIAORONG HAN EVER SINCE THE BIRTH OF MODERN ARCHAEOLOGY in the nineteenth cen tury, nationalism and politics have been important factors in its development, and as such, archaeologists in various parts of the world have been actively in volved in the construction of ethnic and/or national origins and identities, the corroboration of national myths, the disputes over territories and cultural inven tions, and so on (Diaz-Andreu and Champion 1996; Hudson 1999; Kohl and Fawcett 1995; Meskell 1998; Pai 2000; Silberman 1989; Trigger 1984). Although it is difficult to find a single country in which archaeology is completely free from the influence of nationalism and politics, it is understandable to find that archae ologists operating in authoritarian systems generally have a stronger tendency to develop a close relationship with the nation-state and involve themselves in poli tics because of a lack of academic freedom and independent sources of financial support. Nazi Germany, early twentieth-century Japan, and pre-World War II Soviet Union are extreme examples of the politicization of archaeology (Arnold and Hassman 1995; Hudson 1999: 35, 44; Shnirelman 1996; Trigger 1989: 178 179; Wiwjorra 1996). In post-war Asia, archaeologists in China and Viet Nam were actively engaged in the development of a new wave of nationalist archaeol ogy under the encouragement and sponsorship of the state (Glover 1999; Tong 1995). ' This paper intends to study the nationalist archaeology of China and Viet Nam in the 1970s and 1980s. -
Identification of the Proto-Inkstone by Organic Residue Analysis: a Case Study from the Changle Cemetery in China
Ren et al. Herit Sci (2018) 6:19 https://doi.org/10.1186/s40494-018-0184-3 RESEARCH ARTICLE Open Access Identifcation of the proto‑inkstone by organic residue analysis: a case study from the Changle Cemetery in China Meng Ren1,2, Renfang Wang3 and Yimin Yang2* Abstract The inkstone is a specifc writing implement in China that was popularized since the Han Dynasty (202 BC–AD 220). A rectangular/round grinding plate accompanied with a grinding stone is considered as a kind of proto-inkstone. How- ever, little scientifc investigation has been performed to support this hypothesis. In this paper, a micro-destructive approach, including Fourier transform infrared spectroscopy (FTIR), Raman spectroscopy and gas chromatography coupled with mass spectrometry (GC–MS), were employed to analyse the black residues on a grinding plate and a grinding stone excavated from the Changle Cemetery (202 BC–AD 8) in northwestern China. The FTIR and Raman analyses indicated that the residues were ancient ink. GC–MS analysis further identifed that the residues were pine- soot ink, based on the relative abundances of the main polycyclic aromatic hydrocarbons, as well as the detection of conifer biomarkers. The trace of animal glue was not detected in the residues; thus, the ink was possibly formed as small pellets and the small grinding stone was necessary to assist during the ink-grinding process. This study confrms that this set of stone implements is indeed an early type of inkstone, and ofers some insight into the co-evolution relationship between ink production and inkstone shapes. Keywords: Chinese inkstone, Shape, Pine-soot ink, Dehydroabietic acid Introduction and culture. -
PDF Download Art and Technique of Sumi-E Japanese Ink-Painting
ART AND TECHNIQUE OF SUMI-E JAPANESE INK- PAINTING PDF, EPUB, EBOOK Kay Morrissey Thompson | 72 pages | 15 Sep 2008 | Tuttle Publishing | 9780804839846 | English | Boston, United States Art and Technique of Sumi-e Japanese Ink-painting PDF Book Sat, Oct 31, pm - pm Eastern Time Next start dates 2. Know someone who would like this class but not sure of their schedule? Animals is one category of traditional East Asian brush painting. Dow strived for harmonic compositions through three elements: line, shading, and color. I think I'll give it a try! Kay Morrissey Thompson. When the big cloud brush rains down upon the paper, it delivers a graded swath of ink encompassing myriad shades of gray to black. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. Landscape - There are many styles of painting landscape. Art Collectors Expand the sub menu. See private group classes. Get it first. Modern sumi-e includes a wide range of colors and hues alongside the shades of blackand the canvas for the paintings were done on rice paper. Ready to take this class? Depending on how much water is used, the artist could grind for five minutes or half an hour. Japanese Spirit No. First, it was Chinese art in the 16th Century and Chinese painting and Chinese arts tradition which was especially influential at a number of points. Want to Read saving…. Nancy Beals rated it liked it Aug 17, Different brushes have different qualities. PJ Ebbrell rated it really liked it Mar 29, Raymond Rickels rated it really liked it Oct 18, Submit the form below and we'll get back to you within 2 business hours with pricing and availability. -
Ni Zan in Oxford Art Online
Ni Zan in Oxford Art Online http://www.oxfordartonline.com.ezproxy.cul.columbia.edu/subs... Oxford Art Online Grove Art Online Ni Zan article url: http://www.oxfordartonline.com:80/subscriber/article/grove/art/T062602 Ni Zan [Ni Tsan; zi Yuanzhen; hao Yunlin] (b Wuxi, Jiangsu Province, 1301; d 1374). Chinese painter and calligrapher. He is designated one of the Four Masters of the Yuan (1279–1368), with HUANG GONGWANG, WU ZHEN and WANG MENG. Ni Zan’s family were of Xixia (Tangut) origin. His tenth-generation ancestor Shi came to China as Xixia ambassador in 1034–7 at the time of Emperor Renzong (reg 1023–63), and the family settled in Duliang (modern Anhui Province). In 1127–30, under Emperor Gaozong (reg 1127–62), Ni Zan’s fifth-generation ancestor Yi moved south with the Southern Song (1127–1279), settling at Zhituo village in Wuxi, modern Jiangsu Province, where the Ni family prospered. Ni Zan and his elder brother Ying were the sons of a concubine, Yan. Their father died when they were young, and they were raised by their eldest half-brother, Ni Zhaogui (1279–1328). Ying was mentally incompetent, and after Zhaogui’s death Ni Zan assumed responsibility for the family estate, a role ill-suited to his natural inclinations. He led a privileged and secluded home life for 20 or more years; in the mid-1340s he spent most of his time among rare books, antique paintings, calligraphy and flowers in his favourite studio, the Qingbi ge (‘Pure and secluded pavilion’). Ni Zan was an ardent admirer of the great Northern Song (1127–1279) artist and connoisseur, MI FU, and shared two of his idiosyncrasies: fastidiousness and generosity. -
Learning Jueju Through Chinese Painting: a Branch of Bamboo
Worksheet Learning Jueju through Chinese Painting: A Branch of Bamboo Reading comprehension Answer the following questions based on background knowledge. Ni Zan (Chinese: 倪瓚; 1301–1374) was a Chinese painter during the Yuan and early Ming dynasties. Along with Huang Gongwang, Wu Zhen, and Wang Meng, he is one of the Four Masters of the Yuan dynasty. He is also a representative painter of the Nanzong landscape painting during the Yuan dynasty. Ni Zan’s works are mainly ink and water on paper, with light colors in between. The trees in the foreground and the regular script inscriptions in the blank spaces have almost become Ni Zan’s personal symbols. • What is Ni Zan’s identity? • What is he considered to be one of? • What are the characteristics of his works? Worksheet: Learning Jueju through Chinese Painting: A Branch of Bamboo asia.si.edu/teachingchina 1 Bamboo has been depicted in Chinese painting for more than a thousand years. Along with the pine and the plum, bamboo is a member of the Three Friends of Winter due to its ability to bear the harshest of winters. It is also one of the Four Gentlemen (the other three being the plum, the orchid, and the chrysanthemum) due to the moral virtues it represents. The hollowness of the bamboo stalk symbolizes tolerance and open-mindedness, and its flexibility and strength signify the human values of cultivation and integrity: one yields but does not break. All of these virtues make bamboo a very popular subject in Chinese painting, especially among scholar–artists. • How long has bamboo appeared in Chinese painting? • What does the “Three Friends of Winter” refer to? • What does the “Four Gentlemen” refer to? • What does bamboo symbolize? • Why has bamboo become a popular theme in Chinese painting? Worksheet: Learning Jueju through Chinese Painting: A Branch of Bamboo asia.si.edu/teachingchina 2 The poet Qian Weishan (act. -
Aesthetics of Chinese Tall Buildings Author
CTBUH Research Paper ctbuh.org/papers Title: Aesthetics of Chinese Tall Buildings Author: Richard Lee, Junior Partner, C.Y. Lee & Partners Architects/Planners Subjects: Architectural/Design History, Theory & Criticism Keyword: Cultural Context Publication Date: 2019 Original Publication: 2019 Chicago 10th World Congress Proceedings - 50 Forward | 50 Back Paper Type: 1. Book chapter/Part chapter 2. Journal paper 3. Conference proceeding 4. Unpublished conference paper 5. Magazine article 6. Unpublished © Council on Tall Buildings and Urban Habitat / Richard Lee Aesthetics of Chinese Tall Buildings Abstract Richard Lee CTBUH Regional Representative Partner While Western aesthetics dominate the world at this time, the rise of the East has led China to re- C.Y. Lee & Partners Architects/ examine its Eurocentric view towards aesthetics. China has been long been a fertile laboratory Planners for foreign architects to create exciting and wild structures, but this explosion has led to an Taipei, Taiwan, China urban landscape littered with tall buildings that have little, if anything to do with the indigenous Richard Lee received a bachelor’s and master’s cultural heritage. This dilemma came to the forefront in Taiwan when it envisioned creating a degree from the University of Pennsylvania. world-class supertall building that would serve as a “coming-out” to the world stage. Instead After graduation, he worked at KPF in New York, followed by Handel Architects. In 2004, Lee moved of employing a foreign architect, they chose a native Chinese architect. Drawing from Chinese to Shanghai to join C.Y. Lee & Partners. After 2006, aesthetics and sensibilities, the resulting TAIPEI 101 showed that a building could resonate with he relocated to the main office in Taipei, where the indigenous population and culture in a deeply spiritual way, while simultaneously instilling a he was promoted to junior partner in 2016. -
At the End of the Stream: Copy in 14Th to 17Th Century China
Renaissance 3/2018 - 1 Dan Xu At the End of the Stream: Copy in 14th to 17th Century China There were no single words in Chinese equivalent to By the 14th century the three formats became the form the English word copy. By contrast, there were four preferred by artists, and remained unchallenged until distinctive types of copy: Mo (摹 ), the exact copy, was the early 1900s, when the European tradition of easel produced according to the original piece or the sketch painting came to provide an alternative.[1] The album of the original piece; Lin (临 ) denotes the imitation of was the last major painting format to develop. It ar- an original, with a certain level of resemblance; Fang rived along with the evolution of leaf-books. The album (仿 ) means the artistic copy of a certain style, vaguely was first used to preserve small paintings, later being connected with the original; and the last one, Zao (造 ), adopted by artists as a new format for original work refers to purely inventive works assigned to a certain and also as teaching resource or notebook for the master’s name. artist himself. Pictorial art in China frst emerged as patterns on In the process of the material change, it’s note- ritual vessels, then was transmitted to wall paintings worthy that Mo, the faithful copy, was involved in three and interior screens; later it was realised on horizontal slightly different ways: 1. to transmit an image from hand scrolls, vertical hanging scrolls and albums. manuscript/powder version to final work; 2. -
Vortices, Portals & Dimensional Doorways
VORTICES, PORTALS & DIMENSIONAL DOORWAYS A Study of the Number Nine In Science, Myth and Mysticism Dedicated To The Many Wonderful People Who Have Contributed Their Time and Enthusiasm To The Rodin Coil Project 1998 0 FORWORD 4 MYSTICISM & RELIGION 4 Bahai Bon / Dzogchen Kalachakra Tantra Sufi Dance Nine Saints of Java Sri Yantra Borobudur Temple Subhagodaya Navadurgas Navaratas Nine Nathas Malas – Prayer Beads in Multiples of Nine MYTHOLOGY & LEGENDS 11 Tuatha De Danann Coll : The Celtic Ninth Lunar Month Celtic Mythology Nine Worlds of the Norse Gods & Other Norse Myths Lady Yeshe Tsogyel Mythological Papyri: The Papyrus of Her-Uben SACRED GEOMETRY & ANCIENT ALCHEMY 14 Emerald Tables of Thoth The Atlantean Freemasonry The Nine Knights Templar The Great Pyramid of Giza The Nine Maidens Pythagorean Mysteries Society of Wisdom The Pentagram The Nine Pointed Star The Enneagram Rosicrucians Tamil Siddhars The Book of the Nine Elixirs Yu’s Lo Shu – The Magic Square Tai Hsuan Ching & The Magic Square 1 CYCLES OF TIME 23 9 Periods of the Chinese Calendar Nine Star Ki 21600 Yugas Telektonon of Pacal Votan SCIENCE & MATHEMATICS 28 Casting Out The Nines 9 Regular Polyhedra Stella Octangula – Seal of Solomon in 3-D James Clerk Maxwell 27 Lines on the General Cubic Surface & 27 Vertices of Polytope 221 Nine Unknown Men Homeopathy LAW 29 Nine Points of the Law SECRETS OF EROTICA 30 Nine Positions of the Dark Girl Nine Spirits of Woman The Yang Number Dream Yoga That Dispels Mental Darkness GODDESSES - RITUAL - DIVINATION - ANCIENT LORE 32 Ancient -
Lecture 5 Agriculture, History of Energy Use I
GEOS 24705 / ENST 24705 / ENSC 21100 2017 Lecture 5 Agriculture, History of Energy Use I In earliest human history the only “engines” were people Maize farmer, somewhere in Africa, 2007 Source: CIMMYT In earliest human history the only “engines” were people Ploughing by hand, Uganda In most of the world, people quickly adopted more powerful “bio-engines” Diderot & d`Alembert eds, Encyclopédie méthodique. Paris 1763-1777 & 1783-87. Harvesting is a complex motion, difficult to automate Wheat harvest, Hebei Province, China, 2007 (source: www.powerhousemuseum.com) The combine allowed harvesting to be animal-powered 27 horsepower! (or perhaps horse- +mule-power) Horse drawn combine, likely 1910s-20s. Source: FSK Agricultural Photographs Combines functions: cuts and threshes grain ~27 horsepower may be practical upper limit Horse-drawn combine, Almira, WA, 1911. W.C. Alexander. Source: U. Wash. library Rotation: animal powered wheels have a long history First use: grinding Clay millers, W.H. Pyne, London (1806) Grindstone, China from the encyclopedia “Tiangong Kaiwu”, by Song Yingxing (1637) Human powered wheels persisted into the modern era Lathe, late 1700s Japanese water pump, still used in 1950s Rotational motion is a fundamental industrial need …. Grinding is not the only use of rotational motion. Other sources of rotational kinetic energy: wind and water Vertical-axis Persian windmill, 7th century (634-644 AD) or later Vertical-axis waterwheel 1500s or earlier Very early a switch was made from vertical to horizontal axes Pitstone windmill, believed to be the oldest Horizontal-axis waterwheel in Britain. Pluses & minuses for horizontal axes Post mill diagram, from The Dutch Windmill, Frederick Stokhuyzen Industrial windmil cogs Pluses & minuses for horizontal axes Plus: * increased efficiency (both wind & water) Minus: * complicated gearing to alter axes * must rotate windmill to match wind dir.