The interpretation of seal carving Ni Zan and Wang Meng paintings
<p>The seal is a form of special artistic expression in Chinese painting, and it is an inheritance as a representation of Chinese ancient traditional arts in the modern days. Seal is the final step in completing a Chinese painting. This research aimed to interpret the seal carvings in...
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ND Painting Miao, Ying Fan The interpretation of seal carving Ni Zan and Wang Meng paintings |
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<p>The seal is a form of special artistic expression in Chinese painting, and it is an inheritance as a representation of Chinese ancient traditional arts in the modern days. Seal is the final step in completing a Chinese painting. This research aimed to interpret the seal carvings in the ancient Chinese paintings. This research employed a qualitative research design. An interview was conducted to gather qualitative data from four experts, two art teachers and two artists from China. The participants of the study were asked to evaluate and interpret the five paintings of Ni Zan and five paintings of Wang Meng. The findings showed that the seal carvings on ancient Chinese paintings were presented through the art elements such as size, shape, meaning, reading style, and color. The findings differences despite both artists came from the same dynasty. Both seals in Ni Zan and Wang Mengs paintings were found to have the balance, color and appearance of their paintings. Furthermore, when searching on Ni Zan seal paintings, the researcher found four aspects. The first aspect was the perspective of aesthetic art styles in landscape painting. The second perspective was the method of appraisal of calligraphy and painting works. The third aspect was the reasons of the formation through Chinese landscape painting, and the last aspect was the perspective of spatial construction in the ancient Chinese landscape painting. On the other hand, when examining on Wang Mengs paintings, there were five perspectives emerged. The first was the use of brush and ink techniques, the second was the process of Chinese landscape painting in the creative practice, and the third was Wang Mengs landscape paintings based on other peoples inspirational perspectives. The fourth aspect was the introduction of painting style, and the last aspect was the Wang Mengs landscape painting space. In conclusion, the study found that there were similarities and differences between Ni Zan and Wang Meng paintings. The study implicates that Ni Zan and Wang Mengs paintings manifested that the seal carvings in paintings were crucial in the history of China and they might serve as a guide and reference to future painters in traditional painting genre.</p> |
| format |
thesis |
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Master's degree |
| author |
Miao, Ying Fan |
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Miao, Ying Fan |
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Miao, Ying Fan |
| title |
The interpretation of seal carving Ni Zan and Wang Meng paintings |
| title_short |
The interpretation of seal carving Ni Zan and Wang Meng paintings |
| title_full |
The interpretation of seal carving Ni Zan and Wang Meng paintings |
| title_fullStr |
The interpretation of seal carving Ni Zan and Wang Meng paintings |
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The interpretation of seal carving Ni Zan and Wang Meng paintings |
| title_sort |
interpretation of seal carving ni zan and wang meng paintings |
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Universiti Pendidikan Sultan Idris |
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Fakulti Seni, Komputeran dan Industri Kreatif |
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2020 |
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https://ir.upsi.edu.my/detailsg.php?det=7502 |
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1747833398645227520 |
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oai:ir.upsi.edu.my:75022022-10-25 The interpretation of seal carving Ni Zan and Wang Meng paintings 2020 Miao, Ying Fan ND Painting <p>The seal is a form of special artistic expression in Chinese painting, and it is an inheritance as a representation of Chinese ancient traditional arts in the modern days. Seal is the final step in completing a Chinese painting. This research aimed to interpret the seal carvings in the ancient Chinese paintings. This research employed a qualitative research design. An interview was conducted to gather qualitative data from four experts, two art teachers and two artists from China. The participants of the study were asked to evaluate and interpret the five paintings of Ni Zan and five paintings of Wang Meng. The findings showed that the seal carvings on ancient Chinese paintings were presented through the art elements such as size, shape, meaning, reading style, and color. The findings differences despite both artists came from the same dynasty. Both seals in Ni Zan and Wang Mengs paintings were found to have the balance, color and appearance of their paintings. Furthermore, when searching on Ni Zan seal paintings, the researcher found four aspects. The first aspect was the perspective of aesthetic art styles in landscape painting. The second perspective was the method of appraisal of calligraphy and painting works. The third aspect was the reasons of the formation through Chinese landscape painting, and the last aspect was the perspective of spatial construction in the ancient Chinese landscape painting. On the other hand, when examining on Wang Mengs paintings, there were five perspectives emerged. The first was the use of brush and ink techniques, the second was the process of Chinese landscape painting in the creative practice, and the third was Wang Mengs landscape paintings based on other peoples inspirational perspectives. The fourth aspect was the introduction of painting style, and the last aspect was the Wang Mengs landscape painting space. In conclusion, the study found that there were similarities and differences between Ni Zan and Wang Meng paintings. The study implicates that Ni Zan and Wang Mengs paintings manifested that the seal carvings in paintings were crucial in the history of China and they might serve as a guide and reference to future painters in traditional painting genre.</p> 2020 thesis https://ir.upsi.edu.my/detailsg.php?det=7502 https://ir.upsi.edu.my/detailsg.php?det=7502 text eng closedAccess Masters Universiti Pendidikan Sultan Idris Fakulti Seni, Komputeran dan Industri Kreatif <p>An Yuan Yuan, J. (2012). .</p><p></p><p>Birgitta Augustin. (2015). Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan. A dissertation of Doctor of Philosophy, Institute of Fine Arts, New York University.</p><p></p><p>Brainard, S. (1991). A Design Manual. 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