published_or_final_version / Chinese Historical Studies / Master / Master of Arts

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

青綠山水在中國繪畫史上歷史悠久，可追溯到魏晉時期（220-420），甚至更早，可謂中國山水畫科之始。然而，在經歷隋唐（581-907）的成熟和兩宋（960-1279）的高峰後，隨著水墨繪畫的興起，文人趣味的改變，加上材料技術的失傳，青綠山水在元代開始衰落。儘管這樣，還是有人致力於青綠創作，理想世界成為作品中時常表達的憧憬。 / 本文包含四個部分：「緒論」闡述青綠山水的定義，並回顧傳統青綠山水的沿革。第一章梳理傳統青綠山水對理想世界的描繪，把它分成「隱逸」、「桃源」和「仙境」三類，從技法和主題來分析作品背後的意涵。第二章先以近代畫壇大師為例，指出他們對青綠山水創作的重視既在於表達理想世界，更在於對傳統技法的保存和延續。而現當代的青綠創作雖形式繁雜，但至少有五種面貌。第三章則闡述個人如何參考傳統技法和風格為創作元素，展現對傳統和當下的思考。文章期能對青綠山水這一古老畫科與理想世界的關係作一探討，並為當代青綠山水的創作再添註釋。 / Regarded as the origin of the genre of landscape painting, blue-and-green landscape painting has a long history in China, dating from the Wei and Jin periods (220-420) and even earlier. It was developed in the Sui and Tang dynasties (581-907) and was at its glorious status in the Song dynasty (960-1279). However, a change in the taste of the literati class and the loss of the related techniques and materials gave rise to monochrome ink painting, and as a result, the blue-and-green tradition declined in the Yuan dynasty (1271-1368). Despite the prevailing trend of Chinese landscape painting, there are still people who devote themselves to the blue-and-green style and use it to depict an ideal world. / This thesis consists of four sections. In the Introduction, I formulate a definition for blue-and-green landscape painting and trace its development in the narratives of Chinese art. Chapter One straightens out the depictions of an ideal world in the blue-and-green tradition, dividing them into ‘recluse’, ‘peach blossom spring’ and ‘immortal land’, and deciphers the meaning of the works regarding their techniques and subjects. Chapter Two studies the masters of the modern and contemporary art world and their landscape views. The value of blue-and-green landscape painting is still highly regarded not only because it is used to depict an ideal world, but also seen as a means to preserve and continue the traditional painting techniques. The contemporary blue-and-green landscape paintings come in a variety of styles and yet there are at least five categories from my observation. The final chapter is my reflection on the Chinese tradition and on the presence as I express these by making reference to the traditional techniques and styles. In studying the close relationship between the primitive genre of blue-and-green landscape painting and an ideal world, this thesis intends to offer a new perspective in painting blue-and-green landscape in a modern context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 蔡德怡. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 84-90). / Abstracts in English and Chinese. / Cai Deyi.

本論文主要探討十六至十七世紀的仙境繪畫及其所反映的仙境觀念，並以歸入仇英名下的仙境圖為中心，通過分析畫中的內容意涵，藉以展現十六至十七世紀明人對仙境圖處理的多樣性。 / 基於現時傳為出自仇英手筆的仙境圖最多，仇英可以說是當時十六至十七世紀對仙境題材創作情況的一個縮影。加上，仇英作為十六世紀具代表性的職業畫家，其仙境圖很有可能是針對具體的「使用對象」而生產，迎合不同人的不同想法和需要。在這種前提下，本文將仇英以及託名仇英的仙境圖理解為十六至十七世紀藝術市場需求下的產物，並從剖析它們的題材和構圖入手，以揭示受畫人對於仙境畫作的情感寄託。 / 所謂仙境圖，即是描繪神仙所居的圖像。仙境圖可歸入山水畫科，而且與山水畫的界定比較模糊。就畫中不同的圖像表現，可將仇英名下的仙境圖分成五類：第一種是以個別神仙入畫的仙境圖；第二種是畫中出現道士煉丹場景的仙境圖；第三種是畫有等候飛昇的歷史人物的仙境圖；第四種是描繪「桃花源」主題的仙境圖；最後一種是懷有文人情調的仙境圖。 / 本文以其中三類仙境圖為例，指出時人對仙境的運用各有差別：以個別神仙入畫的仙境圖較適用於壽慶場合，畫有道士煉丹場景的仙境圖則似是作為當時追求長生的慰藉，而以文人形象入畫的仙境圖即蘊含隱世思想；從而說明這些仙境圖在明代社會中發揮不同的作用，傳達不同的信息，滿足不同的需求，反映出繪畫與使用場合及使用對象之間的緊密關係。 / This thesis attempts to study the immortal landscape paintings from the sixteenth to seventeenth century as well as the ideas on the realm of immortals embodied in these paintings. Focusing on the immortal landscape paintings attributed to Qiu Ying, this thesis analyses their themes and allusive meanings, and thus presents the diversity in the diverse approaches adopted in the immortal landscape paintings in the late Ming period. / Since a majority of the immortal landscape paintings survived today is attributed to Qiu Ying, his works can be seen as the encapsulation of the artistic creations on the theme of the realm of immortals dated in the sixteenth and seventeenth century. A representative professional painter of the time, Qiu Ying probably produced his works for a certain group of intended audience in accordance with a variety of ideas and needs. With this presupposition this thesis regards Qiu Ying’s works and the imitations of such as the products responding the demands of the art market in the sixteenth and seventeenth century. Through an analysis of the subject matter and composition of the paintings, this thesis reveals the sentimental values held by the immortal landscape paintings for their possessors. / Depicting the dwellings of deities, immortal landscape paintings can be identified as a sub-genre of landscape paintings and are hardly distinct from other landscape paintings. The immortal landscape paintings by Qiu Ying can be classified into five types in terms of visual elements, including: I) particular deities; II) Taoist adepts practicing alchemy; III) historical figures awaiting respectfully for ascending to celestial realms; IV) Peach Blossom Spring, the Chinese equivalent of utopia; and V) scenes imbued with literati spirit. / Of these five types of immortal landscape paintings, examples from three are selected to demonstrate their different functionalities in Ming society; immortal landscape paintings portraying particular deities were created for festive occasions, while those depicting Taoist alchemy and literati figures offered reassurance on the quest for immortality and implied reclusive spirit respectively. Through a detailed investigation this thesis illustrates that immortal landscape paintings were produced to serve a variety of functions, to convey different messages, and to accommodate various needs in Ming society, thus testifying the close association between paintings, objects of utility and the occasions they are created for. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊晉宜. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 105-122). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Yang Jinyi. / 內容摘要 --- p.i / 誌謝辭 --- p.v / 前言 --- p.1 / Chapter 一、 --- 研究動機與目的 --- p.1 / Chapter 二、 --- 近人研究概況 --- p.3 / Chapter 三、 --- 研究意義 --- p.5 / Chapter 1. --- 仇英仙境圖作為道教藝術的一個面向 --- p.5 / Chapter 2. --- 仙境圖作為十六世紀藝術市場需求下的產物 --- p.7 / Chapter 第一章 --- 研究對象的釐清與選取 --- p.9 / Chapter 一、 --- 仇英與仙境圖的關係 --- p.9 / Chapter 二、 --- 仙境圖的定義 --- p.16 / Chapter 三、 --- 仇英仙境圖比例分析 --- p.24 / Chapter 1. --- 數字統計 --- p.24 / Chapter 2. --- 歸納分類 --- p.31 / 小結、仙境圖類型與研究路徑 --- p.38 / Chapter 第二章 --- 仙境圖中的神仙與蟠桃 --- p.40 / Chapter 一、 --- 兩件畫作的產生情況 --- p.41 / Chapter 二、 --- 內容意涵的差異 --- p.44 / Chapter 三、 --- 為祝某人之壽辰 --- p.54 / 小結、神仙形象與仙境圖 --- p.59 / Chapter 第三章 --- 仙境圖中的道士燒丹場景 --- p.60 / Chapter 一、 --- 明代有關煉丹的畫作 --- p.61 / Chapter 二、 --- 燒丹與神仙的關係 --- p.64 / Chapter 三、 --- 煉丹對明人的意義 --- p.68 / Chapter 四、 --- 仙真與山水相融的構圖 --- p.71 / 小結、道士燒丹與仙境圖 --- p.74 / Chapter 第四章 --- 仙境圖中的文人雅趣 --- p.76 / Chapter 一、 --- 仙境圖中文人形象的顯隱差異 --- p.77 / Chapter 二、 --- 文人形象在仙境圖的其中一種作用 --- p.84 / Chapter 1. --- 以玉洞桃花造境 --- p.86 / Chapter 2. --- 人迹於仙山 --- p.90 / Chapter 3. --- 畫中人的真實身份 --- p.94 / 小結、文人形象與仙境圖 --- p.99 / 結論 --- p.101 / 參考書目 --- p.105 / Chapter 附表一、 --- 文獻著錄的仙境圖統計 --- p.124 / Chapter 附表二、 --- 仇英仙境圖列表 --- p.126 / Chapter 附表三、 --- 〈蟠桃圖〉各版本場景列表 --- p.128 / 圖版 --- p.131

佟秀楠. / "2013年9月". / "2013 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 91-95). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in English and Chinese. / Tong Xiunan.

Footprint analysis of brush-pen is an important part of studying Chinese drawing and painting. The designed platform is capable to capture and analysis of the brush footprint in real-time. Transparent drawing plate and an underneath camera system are installed, together with projective rectification and video segmentation algorithms, analog footprint can be transformed to digital data. Both non-parametric and parametric modeling on the captured footprint data will be explored in this thesis. Dynamics and time-delay will also be studied. The results are demonstrated by producing a well-known Chinese calligraphy in our study. / Robot drawing is an integrated study in the fields of robotics, machine intelligence, genetic algorithms (GA), rule base techniques, and expert system, etc. Besides looking into sophisticated methods in manipulator planning and control, robot drawing also aims to fulfill a human desire to put creativity in machines and to explore a basic question: can art be programmed? In this thesis, we report on the design and construction of a robot platform in our laboratory geared toward the production of Chinese painting and calligraphy which we will use to explore some of the above issues. / This thesis aims to report on the design and development of a robot drawing platform supporting a pen motion with five degrees of freedom (x, y, and z translation, z-rotation, and pitch) of a brush-pen motion in our laboratory. The platform is interfaced with a camera system and a writing tablet via a window based PC. The integration programming language is Visual Basic 6, with direct access to MATLAB for image processing and the needed computation. The objective of design is to have a platform that is highly accurate and repeatability, easy to command, versatile and user friendly, etc. / This thesis also describes the addition of vision-based capabilities in the platform. Those vision feedback measures have to be calibrated by using optimization method or Genetic Algorithm. Various examples of how the vision information can be used to improve various aspects of the drawing quality in iterative drawing will be demonstrated. / by Lo, Ka Wah. / "August 2007." / Adviser: Yan Yeung. / Source: Dissertation Abstracts International, Volume: 69-02, Section: B, page: 1285. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (p. 143-147). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in English and Chinese. / School code: 1307.

Thesis (Ph. D.)--Princeton University, 1974. / Originally issued in 3 v.; v. 3 (illustrations) not submitted for reproduction. Each entry in the bibliography is transliterated and is in Chinese or Japanese characters. Includes bibliographical references (v. 1, leaves 322-343).

published_or_final_version / Fine Arts / Master / Master of Philosophy

published_or_final_version / Fine Arts / Master / Master of Philosophy

published_or_final_version / Fine Arts / Master / Master of Philosophy