• Title/Summary/Keyword: Chinese Art

검색결과 385건 처리시간 0.07초

On some Problems in describing of the History of Ancient Chinese Dance (중국 고대 무용사 기술에 있어서의 몇 가지 문제점)

  • Nam, Jongjin
    • (The) Research of the performance art and culture
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    • 제25호
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    • pp.31-56
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    • 2012
  • This paper were reviewed on some problems in the early history of Chinese dance written by scholars of contemporary China. Results of the review, were found the following problems; First, In describe to the early history of Chinese dance, contemporary Chinese scholars do not distinguish myths, legends and historical materials, so the history of ancient Chinese dance makes to mystery, thus, eventually will cause a lack of truthfulness. Second, In order to fill the lack in the early history of Chinese dance, the Chinese scholar often use a drawing of earthenware or mural. However, in certain cases, the same drawing by the other observer to be interpreted differently. In this case, if use as evidentiary material, there is a problem. Third, Most contemporary Chinese scholars usually say that the origins of dance is labor. It is to have originated from materialistic historical view can be said. However, in ancient China, but rather about the origin and function of dance there were diverse views. Therefore, this aspect should be cautious.

A Study on the Hakka Children's Hats of South Jiangxi Province in China

  • Zhang, Shunai;Huang, Liyun
    • The International Journal of Costume Culture
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    • 제12권2호
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    • pp.202-209
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    • 2009
  • Hakka is a very special sub-ethnic group in China, which was formed during several migrations in Chinese war history. Today the majority of Hakka people, living in the boundary between Jiangxi, Guangdong, and Fujian province, still keep a quite old custom and culture. The bell hat for children is a unique and splendid illustration. We have imposed researches and studies in local area a lot and interviewed the local crafts-women to get to know more about bell hat. We are trying to describe the decorations on the bell hat, silver items and embroidery respectively, and then give an overall analysis of Chinese auspicious culture that the motifs of decorations have contained.

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A Comparative study on the thought of Chinese landscape architecture and Painting theory (중국(中國) 회화이론(繪畵理論)과 원림건축사상(園林建築思想) 비교연구(比較硏究))

  • Kim, Jung-Yong
    • Journal of architectural history
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    • 제8권2호
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    • pp.33-45
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    • 1999
  • The essence of Chinese landscape architecture is realization of a space that embraces nature and human integrating the openness and encloseness. The concept of landscape architecture that artificially furnishes natural elegance into urban areas coincides with the spiritual basis of Chinese literati-painting which subjectifies the scenery of objective world and entrusts personal feelings on that. In other words, the ultimate ideal of Chinese landscape architecture is embodying the Utopia of confucian intellectual in a city. This paper has tried to shed a light on inter-relationship of literati-painting theory and Chinese landscape architecture theory through comparing them. It is the identical spiritual basis they shared harmoniously that made landscape architecture, poetry and painting possible to meet.

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Research of Chinese Auspicious Elements in Tableware Design -Illustration with Chinese Auspicious Fish-

  • Huang, Yue-Xin;Kang, BumKyu
    • International Journal of Contents
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    • 제9권4호
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    • pp.92-101
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    • 2013
  • Chinese auspicious element is a kind of art which is used to express yearning of a happy life. It is one of the great treasures of China, with not only emotional value of the people but also an aesthetic value. Chinese auspicious element derives from the aspiration of luck, enthusiasm of life and conciseness of eliminating malicious. It is of great cultural connotation and widely used in interior design, graphic design, fashion design and such. There are many research papers on application methodology of auspicious elements; however, there are very limited research papers on three-dimension product, let alone application in tableware. This paper focuses on illustration of Chinese representative auspicious element "auspicious fish" in tableware design. The research of its application of auspicious element's styling characteristics is of important significance in auspicious element spread and tableware design. This dissertation aims to provide referential design methodology and experience for later researches on related topic.

Investigation on cosmetology theory and prescription In Shang Han Za Bing Lun(伤寒杂病论) (『상한잡병론(伤寒杂病论)』 미용이론여방약적고찰(美容理论与方药的考察))

  • Zhu, Hui;Kim, Hyo-Chul
    • Journal of Korean Medical classics
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    • 제26권4호
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    • pp.89-94
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    • 2013
  • Objective : To collect cosmetology text in Shang Han Za Bing Lun(伤寒杂病论), to analyze theory and prescription about cosmetology before HAN(漢) dynasty, so to allow records for modern cosmetology of Traditional Chinese Medicine. Method : Through the systematize for all terms about cosmetology, to reveal the regularity about cosmetology before HAN(漢) dynasty. Result : There were damage-appearance disease in HAN(漢) dynasty, there are lots of ideas about cosmetology in Shang Han Za Bing Lun(伤寒杂病论). Conclusion : Shang Han Za Bing Lun(伤寒杂病论) is a monograph about pattern identification and treatment, and is an important ancient book for research of cosmetology of Traditional Chinese Medicine. In the further, we will research in knowledge discovery about cosmetology of Traditional Chinese Medicine. to strengthen the guidance of the theory of Zhang Zhongjing(张仲景) for clinical practice of cosmetology of Traditional Chinese Medicine.

공자학원의 중국 서예 세계화 전략에 관한 소고

  • Mun, Hye-Jeong
    • 중국학논총
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    • 제65호
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    • pp.147-165
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    • 2020
  • With a cultural powerhouse in mind, China is trying to spread Chinese culture around the world by promoting Confucius Institutes. Calligraphy is the core of Chinese culture and is the most efficient field of spreading Chinese culture. The forms of calligraphy dissemination at Confucius Institutes were mainly the opening of calligraphy curriculum, calligraphy experience events, and holding calligraphy contests and exhibitions. But these activities are not very professional or organized. Therefore, Confucius Institutes need to come up with more active and aggressive measures. It will have to train professional calligraphy teachers to be sent abroad and build a deeper educational infrastructure by developing calligraphy teaching materials exclusively for use in the country. They should also explore ways to develop calligraphy into a cultural industry brand in many ways. If the Confucius Institutes actively exchanged and promoted themselves with many countries by calligraphy, Chinese calligraphy could be reborn as an art in the world.

Integrated Char-Word Embedding on Chinese NER using Transformer (트랜스포머를 이용한 중국어 NER 관련 문자와 단어 통합 임배딩)

  • Jin, ChunGuang;Joe, Inwhee
    • Proceedings of the Korea Information Processing Society Conference
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    • 한국정보처리학회 2021년도 춘계학술발표대회
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    • pp.415-417
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    • 2021
  • Since the words and words in Chinese sentences are continuous and the length of vocabulary is huge, Chinese NER(Named Entity Recognition) always based on character representation. In recent years, many Chinese research has been reconsidered how to integrate the word information into the Chinese NER model. However, the traditional sequence model has complex structure, the slow inference speed, and an additional dictionary information is needed, which is difficult to implement in the industry. The approach in this paper has the state of the art and parallelizable, which is integrated the char-word embeddings, so that the model learns word information. The proposed model is easy to implement, and outperforms traditional model in terms of speed and efficiency, which is improved f1-score on two dataset.

A Study on Colors in the Suhainmyuldo painted on an Old Tomb of the Ancient Kingdom of Goguryeo between the 4th and the late 6th Centuries (4세기-6세기 말 고구려 고분 벽화 수하인물도에 나타난 색채 연구)

  • Kang Eun-Sook
    • Journal of the Korea Fashion and Costume Design Association
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    • 제7권1호
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    • pp.15-31
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    • 2005
  • Suhainmyuldo(수하인물도) is a kind of picture which express a person under the tree and is known to be transmitted from the Middle Asia. The origin of this kind of expression is assumed to be from Iykshini(=Iygsha), the fairy of tree, in India of from the 'Tree of Life' in W. Asia, and they had in fluenced on the craft art design of Chinese art. However, Chinese art had already developed the motif of this kind in its unique way. For example, Jookrimchilhundo(죽림칠현도: seven wise men in bamboo forest), during Six Dynasty. The tree of life(arbor vitae, lignum viate), the origin of the Painting of figure under a tree(수하인물도), was spreaded in several regions around the center of Mesopotamia early, and them transmitted to Sasan dynasty of Persia, even to Islam, Byzantine, Romanesque, ancient East Asia. The mural painting found in the 4th Tongu Ogoe tomb, which was created after the 5th Tongu Ogoe tomb, used Obangsaek more than the 5th tomb painting did. (The term Obansaek refers to the five Korean traditional colors consisted of yellow, blue, white, red and black) The mural painting on the 4th Ogoe tomb employed distinct technique to depict an object in a certain color by painting the surroundings with different primary colors, making the painting look more exotic and mysterious.

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The Influence of Authentic Leadership on Psychological Safety in China

  • Zhang, Meng-Tian;Choi, Myeong-Cheol;Li, Mo-Ye;Yao, Ying-Zi;Kim, Hann-Earl
    • International Journal of Advanced Culture Technology
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    • 제9권4호
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    • pp.135-144
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    • 2021
  • In an environment that places a priority on morality, authentic leadership is becoming increasingly important. Chinese enterprises are putting a lot of effort into improving their employees' psychological safety and positive psychological capital (PsyCap). This study examines the influence of authentic leadership on positive PsyCap and psychological safety, as well as the influence of positive PsyCap on psychological safety in China. It also examines whether positive PsyCap plays a mediating role. Authentic leadership has a positive effect on both positive PsyCap and psychological safety. Positive PsyCap also has a positive effect on psychological safety. Moreover, positive PsyCap had a mediation effect on the relationship between authentic leadership and psychological safety. This result means that an authentic leadership style can stimulate employees' psychological capital, make the staff more confident and promote optimistic attitudes, hopeful minds, and plenty of other positive psychological states. At the same time, it promotes the psychological safety of employees in Chinese art enterprises. The significance of this study is that it investigates the effects and processes of authentic leadership on psychological safety and positive PsyCap in Chinese art enterprises. The implications of this research bridge a theoretical gap in the field, and provide feasible suggestions and guidance for development in the discipline. Enterprises should attach importance to the selection, cultivation, and appointment of authentic leaders. They must also pay attention to trends in employee psychological safety and positive PsyCap.

Study of Chinese Propaganda Paintings from 1949 to 1966: Focusing on Oil Paintings and Posters (1949년~1966년 시기 중국 선전화 연구 - 유화와 포스터를 중심으로)

  • Jeon, Heui-Weon
    • The Journal of Art Theory & Practice
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    • 제4호
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    • pp.77-104
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    • 2006
  • The propaganda paintings in oil colors or in forms of posters made from 1949 to 1966 have gone through some changes experiencing the influence of the Soviet Union Art and discussion of nationalization, while putting political messages of the time in the picture planes. The propaganda paintings which have been through this process became an effective means of encouraging the illiterate people in political ideologies, production, and learning. Alike other propaganda paintings in different mediums, the ones which were painted in oil colors and in the form of posters have been produced fundamentally based on Mao Zedong's intensification of the literary art on the talks on literature at Yenan. Yet, the oil paintings and posters were greatly influenced by the socialist realism and propaganda paintings of the Soviet Union, compared to other propaganda paintings in different mediums. Accordingly, they were preponderantly dealt in the discussions of nationalization of the late '50s. To devide in periods, the establishment of People's Republic of China in 1949 as a diverging point, the propaganda paintings made before and after 1949 have differences in subject matters and styles. In the former period, propaganda paintings focused on the political lines of the Communists and enlightenment of the people, but in the latter period, the period of Cultural Revolution, the most important theme was worshiping Mao Zedong. This was caused by reflection of the social atmosphere, and it is shown that the propaganda painters had reacted sensitively to the alteration of politics and the society. On the side of formalities, the oil paintings and posters made before the Cultural Revolution were under a state of unfolding several discussions including nationalization while accepting the Soviet Union styles and contents, and the paintings made afterwards show more of unique characteristics of China. In 1956, the discussion about nationalization which had effected the whole world of art, had strongly influenced the propaganda paintings in oil colors more than anything. There were two major changes in the process of making propaganda paintings in oil colors. One was to portray lives of the Chinese people truthfully, and the other was to absorb the Chinese traditional styles of expression. After this period, the oil painters usually kept these rules in creating their works, and as a result, the subject matters, characters, and backgrounds have been greatly Sinicized. For techniques came the flat colored surface of the new year prints and the traditional Chinese technique of outlining were used for expressing human figures. While the propaganda paintings in oil colors achieved high quality and depth, the posters had a very direct representation of subject matters and the techniques were unskilled compared to the oil paintings. However, after the establishment of People's Republic of China, the posters were used more than any other mediums for propagation of national policy and participation of the political movements, because it was highly effective in delivering the policies and political lines clearly to the Chinese people who were mostly illiterate. The poster painters borrowed techniques and styles from the Soviet Union through books and exhibitions on Soviet Union posters, and this relation of influences constantly appears in the posters made at the time. In this way, like the oil paintings, the posters which have been made with a direct influence of the Soviet Union had developed a new, sinicised process during the course of nationalization. The propaganda paintings in oil colors or in forms of posters, which had undergone the discussion of nationalization, had put roots deep down in the lives of the Chinese people, and this had become another foundation for the amplification of influences of political propaganda paintings in the following period of Cultural Revolution.

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