Search Results (6)

The artistic expression inherent in Chinese paintings serves as a conduit for the artists’ emotional and cognitive expression. However, current research lacks consensus regarding the distinct psychological mechanisms underlying the appreciation of Chinese painting genres (landscape vs. figure paintings). This study—employing a vocabulary generation task and the Implicit Association Test (IAT) to compare semantic representation and emotional awareness during participants’ viewing these two types of paintings—aims to elucidate potential disparities in aesthetic processing. In Experiment 1, although both types of paintings produced an abundance of content words, figure paintings elicited a greater number of emotional association words than landscape paintings. Meanwhile, Experiment 2 demonstrated faster response times for an incompatible joint task versus a compatible joint task. These findings collectively suggest that the aesthetic of paintings may engage automatic processes, with the effects on semantic representation and emotional awareness appearing to be independent of the type of paintings. The predominance of content processing over emotional response may be attributed to the temporal characteristics of emotional arousal. Full article

The advent of 3D virtual presentation technology for clothing has led to the gradual popularisation of digital virtual clothing in the modern fashion industry. However, there remains a gap between the application of this technology and the integration of cultural attributes in the field of digital communication of traditional cultural clothing. Consequently, the objective of this paper is to propose the establishment of a fusion system integrating archaeological research on traditional culture with emerging virtual presentation technology. This paper draws inspiration from the replicability and easy dissemination of digital products to combine cultural archaeology and digital technology. The aim is to provide ideas for the diversity of dissemination of cultural heritage. The research object is Diplomatic Envoys, a Chinese mural painting of the Tang Dynasty that depicts friendly exchanges between countries. The research is divided into two research stages. A CLO3D software-based digital restoration test was conducted to reproduce the costumes of officials and foreign envoys depicted in the Tang Dynasty mural. The FAHP model was employed to verify the accuracy of the restoration results. The experiment demonstrated that the digitally reconstructed clothing exhibited a high degree of similarity to the unearthed mural figure clothing object. Furthermore, the restoration result passed the credibility verification, resulting in a ‘credible’ outcome. The application of digital virtual simulation clothing restoration methods offers two key advantages. Firstly, in comparison with traditional clothing restoration methods, digital restoration enables the rapid assessment of the resulting clothing effect, thereby reducing the likelihood of secondary damage to cultural relics due to manual errors. Secondly, the benefits of digital technology facilitate the convenient storage, replication, and dissemination of clothing data information. Data can not only be extended to online exhibition halls but also to game animation, clothing production, and other fields for the purposes of creative redesign and information dissemination. Furthermore, these benefits can penetrate the education industry to disseminate information to the public through all-round display models and explanations. Full article

This article explores the introduction and influence of Western art in China during the Ming and Qing dynasties, focusing on the role of the Jesuits—especially Matteo Ricci (1552–1610), one of the founders of Catholic missionary work in China—and the most famous and influential Western figure in China’s art history, Giuseppe Castiglione (1688–1766). The Jesuits recognized art’s potential in their missionary efforts. The article examines the varied responses of Chinese literati to Western art theories in the 17th and 18th centuries, and how Jesuit-introduced artistic concepts were assimilated within different Chinese contexts. It also investigates how Western art merged into Chinese culture, noting the linguistic integration of concepts like chiaroscuro. In Ricci’s time, Western art intrigued the Chinese, but deep acceptance and conceptual transformation were limited. The assimilation of Western techniques was not as widespread as expected. In the 18th century, due to restrictions on Christianity, the religious role of painting diminished. Castiglione’s hybrid style, though influential in the Qing court, faced challenges in gaining cultural acceptance from the Han literati, leading to more criticism than in Ricci’s era. Despite these challenges and varying receptions, the contributions of Ricci and Castiglione to the Sino–Western art exchange are significant, reflecting the complex interplay of art, religion, and cultural dynamics across these periods. Full article

Best known for his lush landscapes and geometrical abstracts, Shanghai-born artist Yu Youhan 余友涵 (b. 1943) has frequently been in the limelight of curatorial and scholarly activities. Yet his vibrant pop works, which capture decisive moments in modern Chinese history, have insufficiently been considered mere juxtapositions of imagery derived from socialist China, political figures of the time, and commerce. This article offers new insights into the mechanics of signification in the artist’s Political Pop works by examining the ways in which different kinds of imagery are appropriated, manipulated and recontextualised. Three in-depth semiotic analyses counter the assumption that Yu’s copy-and-paste practice might indicate a lack of originality or even the decay of Political Pop, which had come to a halt in his practice by the early 2000s. Rather, the various acts of appropriation prove to be astute artistic strategies that reinforce the artist’s originality and criticality. By emptying and recoding individual signifiers, Yu’s work blurs the line between fact and fiction and challenges stable narratives usually expressed in official history paintings. In other words, the artist gives birth to a contemporary form of history painting, or rather an anti-history painting, in the style of Political Pop that refashions the cultural memory of China’s past. Full article

Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in this painting. With the rapid development of digital clothing technology, it provides a new way and path for the restoration of ancient costumes. Based on the costume archaeology of Spring Outing Painting of Madam Guo, this paper uses 3D virtual simulation and reverse engineering technology to restore the costume style of the characters in the picture, realize the digital restoration and protection of the style drawing, paper pattern, and 3D simulation drawing of the characters’ costumes in the picture. Finally, we introduce the fuzzy analytic hierarchy process (FAHP) to comprehensively evaluate the costume restoration effect. Our proposed method solves the problem of the constraints of time and space on the presentation of ancient traditional costumes, promotes the excellent historical culture of China, and provides a certain reference for the modern redesign of ancient costumes. Full article

This paper focuses on the iconography of “the Listener” in Buddhist prints that was adopted in Joseon dynasty Sakyamuni Preaching paintings. Regarding change in the Listener iconography from bodhisattva form to monk form, diverse research has been conducted on the Listener’s identity and origin. However, existing studies are limited as they fail to consider the circumstances of the time this iconography was first adopted and trends in Joseon Buddhism. As the first Joseon print where the Listener in bodhisattva form appeared was based on a print from the Chinese Ming dynasty, and considering trends in publication of Buddhist prints in China where pictures of the Buddha preaching were used repeatedly in sutras regardless of the contents, this paper argues that the Listener should not be identified with any particular figure and examines the current state and characteristics of Joseon Buddhist paintings where the Listener appears. It also explores the possibility that the Listener’s change from bodhisattva form to monk form was driven by monk artists such as Myeongok, who were exposed to diverse iconography as they participated in creating both Buddhist paintings and prints in a situation where monks who had received systematic education gained a new awareness of iconography. Full article