• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.509-518
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• 2023

Although German Neo-expressionism and Chinese modern ink painting are separated by thousands of miles in geographical space, they have a similar origin time, and there are many commonalities between them. In the aspect of creative attitude, artists of both styles can absorb and resist foreign styles, return to the past and conquer the tradition. In the aspect of formal expression, the objects of both paintings are representational rather than realistic, and the material characteristics of the media are emphasized. At the inner spiritual level, both expressionism and modern ink painting pay attention to social concern, and show the uncertainty of postmodernism together. The commonality between German neo-expressionism and Chinese modern ink painting does not mean to eliminate the difference, but to maintain the coexistence of difference and commonality.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.712-716
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• 2008

Traditional Chinese painting, which had formed a language of Chinese peculiar painting art, had begun from modern poster designs and tied up with the range of the various visual art, It is not only to convey information but also show the traditional Chinese culture thinking to audiences through pen, ink and depth of color, Traditional Chinese painting divided the method of painting into ink graphics performance, ink performance technique, Performance of ink brushwork, then according to the performance of classification and analysis of their characteristics.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.375-376
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• 2019

영화는 현대 사회에서 가장 환영을 받고, 가장 영향력을 가진 문화 산업 중 하나로, 우수한 영화 장면 디자인은 영화 스토리 효과의 발전에 빛을 한층 더한다. <삼국-무 영자>는 장예모 감독이 연출하여 2018년에 개봉한 최신 영화로, 이것은 동양의 수묵 스타일 영화로, 주로 흑백으로 나타난다.[1] 이 영화는 2018년 제75회 베니스영화제 비경쟁 상영부문, 토론토국제영화제 상영부문, 런던영화제 경쟁부문에 진출했다. 장예모 감독은 민족문화의 내용을 표현할 때, 중국 문화에 대한 이해와 자신의 문화적 가치관을 자신의 촬영방식으로 풀어냈다. 그의 작품으로 보면, 이 영화의 주제는 주로 중국 고대의 역사문화와 수묵문화에 근거해 표현되며, 중국 전통문화의 독특한 매력에 대한 찬양이기도 하다. 본 논문은 연출 스타일과 동양의 심미적 측면에서 영화가 지닌 예술적 특징, 영화에 담긴 인문정신을 탐구하고, 세계를 향해 중국 수묵문화의 문화적 의미를 소개하는 동시에, 영화의 발전에 도움이 되기를 바란다.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.