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Recent research has primarily focused on the genealogical relationship between ancestral temple painting and its spatial carriers, highlighting a shift in perspective from artistry to symbolism to kinship. While some scholars have noted the influence of ritual culture on architectural painting, few have explored its kinship relationship with architectural carriers. By incorporating relational sociology theory, this study chronologically reviews events influencing the formation of ancestral temple ritual culture, constructs a developmental model, and conducts case studies on the ethicality of architectural painting art, thus establishing a relational sociology analysis framework. Findings: (1) Ancestral temple architectural painting exhibits the ethicality and educational value inherent in Confucian concepts; (2) Themes such as immortal life, literati and scholars, and common folk simplicity highlight the spiritual and material kinship of ancestral temple painting. The vocabulary used in titles such as "He (rapprochement-和)", "He (reunification-合)", "wealth (财)", "happiness (乐)", "blessing (福)", and "longevity (寿)" reveals a positive transmission of Confucian values; (3) The five main artistic expressions of ancestral temple painting are metaphor through objects (借物喻意), the personification of events (以人喻事), using the past to illuminate the present (借古喻今), expressing aspirations through objects (托物喻志), and pun-based symbolism (谐音寓意); (4) The decorative elements of ancestral temples correspond to the forms of their painting art, with the former extending the space of the tomb sacrificial system and the latter representing artistic inheritance. The development of ancestral temple architecture has formed dual developmental contexts centered on ritual culture and supplemented by academic dissemination, fluctuating with the status of Confucianism. The relational sociology model shows that the political aspects of ancestral temples form a sub-lineage of their ritual culture, closely linked to reforms in the educational system and transformations in building functions, further influencing architectural form and decorative art. [ABSTRACT FROM AUTHOR]

Responding to the necessity of scarcity and uniqueness in the digital format, NFTs (Non-Fungible Tokens) have recently gained much attention in cultural industries, especially video games and the art market. Faced with the digital paradigm shift and the challenge of dematerialization, creators started to use NTFs in order to emulate the concept of rarity for displaying, promoting, and monetizing their works in digital environments. An NFT is a certificate of ownership implemented through encrypted metadata pointing to a unique copy of a digital file. Likewise, NFTs enable the tokenization of a large array of digital, or even physical, assets. For this reason, they are used to facilitate the digitalization of contents heavily dependent on copyright and scarcity. Non-Fungible Tokens represent an emerging reality of significant economic, social, and cultural importance, which also raises important legal issues especially concerning the very nature of the NFT, as property or license, and the usage of copyrighted contents or trademarks. Indeed, the most frequent legal issues with NFTs are related to the attribution and exploitation of the Intellectual Property (IP) rights of the underlying content or litigations about non-contractual matters (i.e., theft). Litigious cases affecting NFTs most often take on an international dimension due to the decentralized nature of the technology on which they are developed, distributed on servers hosted in a multitude of countries, as well as the business practices of trading platforms that connect users from all over the world. Consequently, the principles of Private International Law (PIL) are applied to solve legal conflicts. This study focuses on the resolution of litigations related to NFTs in the three countries leading the global art markets: the US, the UK, and China. The analysis focuses on the application of international private law in relation to recent jurisprudence concerning conflicts involving NFTs and artworks. [ABSTRACT FROM AUTHOR]

Interior design, a key strategy for boosting home comfort, can have an impact both on the efficiency of interior decorative design and on the level of energy usage. Nowdays, there are still many problems with interior design in China, including illogical design principles, poor material selections, high energy consumption of design schemes, and a failure to adhere to modern low-carbon design principles. The previous papers on the same research field were analysed and modulated a research gap. As people's economic position grows, they place more value on how a home interacts with its surroundings, which can reduce the environmental impact of house design and construction. This paper analysed foster a far-reaching comprehension of what comprises a maintainable or green material decision and hence embraced a review to learn a preview of current stock of and interest for GSFT items for interior design practice. And the author concludes with the idea of low-carbon design is another course of private interior design, underlining the environmental security, usefulness and logical interior design. [ABSTRACT FROM AUTHOR]

With comparatively new copyright laws, China's courts are still crystalizing the standards of copyrightability. In recent years, case law has particularly clarified that works of applied art qualify for copyright protection, but the enforcement of such claims was long deemed risky in practice due to the uncertainty regarding the interpretation of the protection requirements. Guiding Case No. 157 of the Supreme People's Court of the People's Republic of China demonstrates a newfound consistency in the application of copyright protection standards to works of applied art. Doctrinally, the case law analysis highlights that Chinese courts have merged two distinct copyrightability requirements, originality and aesthetics, settling for that which we call a threshold of 'original aesthetics'. Practitioners litigating international portfolios should be aware of the potential to successfully enforce copyright claims over works of applied art in China. The doctrinal delineation between originality and aesthetics is of importance not only within the scope of academic research, but also serves trial attorneys when pleading copyright infringement cases. [ABSTRACT FROM AUTHOR]

The gradual loss of certain good cultural genes in the traditional ritual system is, to some extent, driven by the value orientation of the art of ancestral hall decoration. This article uses wall paintings as a medium to uncover significant variables affecting the decorating of ancestral hall murals and to analyze the culturally formative relationships underlying their art from a ceremonial perspective. It depends on textual excavation. The analysis demonstrates that: (1) the 521 murals generally transmit positive content; (2) the shift in the painted figures' seating and grooming from formal to casual represents the fading of ceremonial concepts; (3) The control of economic costs may be a possible explanation for the large number of figures in crouching, skirting, and side-lying postures in wall paintings; (4) The fact that the colors employed in the garments of the figures from the Ming and Qing dynasties don't follow the folk color scheme demonstrates that the creative production at that time was not constrained by a lot of ritualistic considerations. The study concludes that the absence of an educational component in the arts is a contributing factor to the diluted nature of traditional rituals in modern China. [ABSTRACT FROM AUTHOR]

The mid-1950s saw the relationship between China and Indonesia evolve from one of mutual hostility to one of fraternity as a trend of détente emerged out of the Geneva (1954) and the Bandung (1955) conferences. This article explores why and how the two newly independent nations applied art diplomacy to reduce their ideological differences and facilitate their commercial and political rapprochements for the sake of Asian solidarity. Through contextualizing a series of art activities between the two nations, especially China's reproduction of President Sukarno's private collection of paintings and Chairman Mao Zedong's gifts of Chinese ink paintings to President Sukarno, this article argues that interactions in the name of art exemplify how China shaped its modern profile as an independent and industrialized power. It will also show how China deviated from its diplomacy of 'Leaning to One Side', formulated in the late 1940s, towards the 'Peaceful United Front' of the mid-1950s. More broadly, art relations between China and Indonesia reflect intensive cultural exchanges between the newly independent, yet ideologically clashing, nations of the Third World in the postwar period and offer a multifaceted history of the Cold War beyond the binary paradigm of the two superpowers of the United States and the Soviet Union. [ABSTRACT FROM AUTHOR]

Much of the current scholarship on the art of China in the 1910s and 1920s focuses on artworks, art academies, and art groups that were associated either with traditional Chinese painting (guohua 國畫) or with oil painting (youhua 油畫). By contrast, other mediums such as sculpture have rarely been discussed by scholars of modern Chinese art. Similar to guohua , the association of which with lofty literati values and imperial eras was hotly debated at the beginning of the Republic of China (1912–1949), the art of sculpture – a category that has long been considered as funerary art, craft, or decorative art – and its relevance to modern China was also discussed by artists and intellectuals at that time. In early twentieth-century China, sculpture eventually gained a new status within the fine arts. This article argues that one important factor that promoted the changing perception of sculpture in the public sphere was the blossoming print culture and its connections with photography and exhibitions in Republican China. Print materials such as newspapers, newspaper supplements, pictorial magazines, and exhibition catalogs/pamphlets promoted the process of modernizing sculpture. [ABSTRACT FROM AUTHOR]

A bronze wine vessel attributed to 1600–1046 B.C., Shang dynasty in China, an object from the East Asian Collection of the Museum of Applied Arts and Sciences in Sydney (Australia), was studied using a non-destructive scientific analytical protocol based on the synergic combination of nuclear techniques. Gamma spectrometry, neutron-computed tomography, and proton-induced X-ray emission (PIXE) spectroscopy were applied to gain a better insight into the structural and compositional features of the artefact to prove its authenticity. Gamma spectrometry was performed to assess the risk of excessive sample activation induced by long exposure to the neutron beam and to determine the bulk elemental composition. Based on neutron-computed tomography, the porosities and the thickness of the metal wall were evaluated and found consistent with the piece-mould casting technology adopted by craftsmen during the Shang dynasty in China. Finally, PIXE spectroscopy demonstrated the use of a ternary (copper–tin-leaded) alloy and the nature of mineralisation on the surface. [ABSTRACT FROM AUTHOR]

Neoliberalism as it emerged from the West, has been localised when it entered China along with the global market. In the 2010s, a series of neoliberal policies under the mass entrepreneurship and mass innovation (MEMI) initiative were launched to support an entrepreneurial environment for Chinese theatres. To understand how the state applied neoliberalism with Chinese characteristics to Chinese (applied) theatre via the practice of MEMI policies, this paper acknowledges Althusser's theories of ideological state apparatuses (ISAs) and interpellation to demonstrate the construction of the ideological relationship between Chinese theatre artists and China's government. [ABSTRACT FROM AUTHOR]

With the further development of the social economy, people pay more attention to spiritual and cultural needs. As the main place of people's daily life, the family is very important to the creation of its cultural atmosphere. In fact, China has fully entered the era of interior decoration, and people are paying more and more attention to decorative effects and the comfort and individual characteristics of decoration. Therefore, it is of practical significance to develop the application of decorative art in interior space design. However, the transfer effect of current interior decoration art design tends to be artistic, which leads to image distortion, and image content transfer errors are easy to occur in the process of transfer. The application of image style transfer in interior decoration art can effectively solve such problems. This paper analyzes the basic theory of image style transfer through image style transfer technology, Gram matrix, and Poisson image editing technology and designs images from several aspects such as image segmentation, content loss, enhanced style loss, and Poisson image editing constrained image spatial gradient. The application process of style transfer in interior decoration art realizes the application of image style transfer in interior decoration art. The experimental results show that the application of image style transmission in interior decoration art design can effectively avoid the contents of the interior decoration errors and distortions and has a good style transfer effect. [ABSTRACT FROM AUTHOR]

The wooden construction painting is a type of an ancient decorative art on Chinese ancient structures. Comprehensive reports concerning the composition of these materials are rather limited. Here multiple analytical methods were applied to systematically explore the morphology and materials. Several paintings were characterized using a morphological microscope. Scanning electron microscopy–energy dispersive spectrometry (SEM-EDS), X-ray fluorescence (XRF), and X-ray diffraction (XRD) detected emerald green and ultramarine in the paint layers. Gas chromatography–mass spectrometry (GC-MS) indicated that the binding medium in the first layer was composed of blood. Our study helps to comprehensively understand the preparation of the wooden construction paintings in the renowned Summer Palace and provide a scientific basis for its restoration and related archeology work. [ABSTRACT FROM AUTHOR]

Works of applied art cover items from a wide array of industries, but national laws diverge in how to treat such works. This article analyses the level of protection for works of applied art in China and the conditions for such protection, and previews the development of Chinese copyright law in this field. [ABSTRACT FROM AUTHOR]

While the work of western European lacquer workshops has been described in much detail, the lacquer workshops in central Europe have not been extensively researched. Nevertheless, they, too, reflected the taste for exotic themes and non-traditional techniques imported from the Orient with the same intensity starting in the late seventeenth century, when an increasing number of aristocratic residences in the region were decorated with exotic and iconographical unfamiliar depictions and interiors (featuring imported Oriental pieces or their more readily available copies). They were produced by local artists and craftsmen, who learned to translate motifs from contemporary literature or their own experience using themes from the past. In the same way as neighbouring Saxony had Martin Schnell or Berlin had Gérard Dagly, the territory of Austria had its own peerless lacquer master – Johann Adalbert Kratochwill, who did lacquerware with scenes in the chinoiserie style. In Bohemia Kratochwill was known under the Czech version of his name Jan Vojtěch Kratochvíl or Jan Vojtěch Kratochvíle. In archival sources his surname is sometimes referred to as Cratochwill. His activities are most closely linked with the aristocratic Sachsen-Lauenburg family, namely the Margrave of Baden-Baden, and the family residences in Schlackenwerth (Ostrov nad Ohří) and Rastatt, Germany. Somewhat later, his presence is documented in Vienna and then Prague. In Bohemia, Kratochwill was one of the artists who had a monopoly on exotic decorative elements. In 1712, he obtained an imperial privilege to use varnish paints, which until then had not been used in the Czech Lands. In 1718, he even acquired an imperial patent for a ten-year privilege to paint 'in the Indian manner' throughout Austria. His lacquer workshop is also interesting for the fact that it carried on after his death under the management of his widow, the painter Maria Anna Kratochvillin, who headed it for almost twenty years. Kratochwill decorated the Chinese Salon in the palace of prominent nobleman Wenzel Adalbert of Sternberg on the Prague Castle grounds. He drew inspiration from non-European models and emulated the principles of Japanese and Chinese lacquerware imported to Europe by the Dutch East India Company. It has recently been shown that the Oriental Salon in the Sternberg Palace might not have been the only work his workshop did on Bohemian territory. Another newly discovered product of Kratochwill's workshop is the dining hall decoration of the chateau in Zákupy/Reichstadt, North Bohemia. Its connection with this master had not been previously known, but a thorough study reveals a composition similar to that of the panels from the Sternberg Palace in Prague. [ABSTRACT FROM AUTHOR]

This study was done to ascertain if some Chinese red lacquered panels had been subsequently integrated onto the two sides and drawer fronts of the original commode, and some secondary areas covered with French imitation lacquer. Another question was the presence of two different stamps marked on the front legs. The results were as expected concerning the use of urushi on the panels. The Chinese lacquer was coloured red with a vermilion base and the French imitation tinted with a lead-based pigment, probably minium. More surprising were the decorations added to the lacquer and especially their distribution over the surfaces. Inserts were added to the Chinese panels at the time of their integration to enable them to fit to the larger commode dimensions. As golden decorations were also applied to these elements it was logical for these to have been made in France, but the real surprise is that a large proportion of the existing Chinese designs were also covered with a new coating of French decorations. Some empty spaces in the Oriental lacquered areas were also filled with new decorations in imitation of the Chinese ones. Finally, the initial round of analyses provided an explanation for the presence of the two stamps; the piece was converted from a chest decorated with marquetry to one with lacquered surfaces. But new questions arose and the history of the commode became more uncertain when later analyses of the French lacquer discerned the presence of PR3, a pigment that appeared only in the twentieth century. [ABSTRACT FROM AUTHOR]

As the most important sacrificial architecture in rural China, ancestral halls are material expressions of the traditional social, cultural and artistic spirit, which contain rich historical and cultural value. Taking the Wan Clan Ancestral Hall of Sanjiang Town, Nanchang County, Nanchang City, Jiangxi Province for example, this study analyzed its spatial sequence, the planar shape and the facade form, and explained the connotation of "respecting law and discipline rites and advocating moral integrity" contained in the spirit of ancestral halls. [ABSTRACT FROM AUTHOR]

Abstract: We need to profit from Chu culture in Creation of Wuhan Regional Architecture. Chu‘s Decorative Art is visual form of chu material culture in the sense of aesthetic sense and inexhaustible treasure that also has significant reference value for our Creation of Wuhan Regional Architecture. Methods of Absorbing Chu‘s Decorative Art mainly include applying the Images, applying the abstracted forms, applying the Art Schema, use of the schemas, applying the aesthetic characteristics and reconfiguring images and shapes. [Copyright &y& Elsevier]

‘Au Mikado’ was a tea and coffee emporium situated in the central, ‘first’ district of Vienna during the closing years of the nineteenth century and the first decades of the twentieth. Although not a great deal of recorded information survives about this establishment, what does exist, in the form of sales catalogues and an invitation to sale of Heinrich von Siebold's private collection in 1909, sheds some light upon the access to Japanese and Chinese art in Vienna during this period. This study will seek to address the role of ‘Au Mikado’ and similar establishments in Vienna, examining the range of Chinese and Japanese items available for sale to the Viennese public. [ABSTRACT FROM PUBLISHER]

The thesis is mainly exploring the inheritance and the innovation of Padauk Furniture under the condition of modern society from four aspects of furniture such as form. structure. decoration, materials, aiming at advocating Chinese traditional furniture's culture, and promoting development of Padauk furniture's industry in order. [ABSTRACT FROM AUTHOR]

This article explores the relation between value and vision, or the ways in which seeing, seeing in a particular way, and failing to see, might all have economic consequences. I address these issues in the context of a discourse I heard from artisans producing zisha pottery, in the Jiangsu Province of China. This discourse concerned the consequences of the inability of purchasers of zisha pottery to 'see' the craft, and the need for clients to be taught to distinguish between apparently very similar pots, with the aim of promoting 'traditional' methods. The observation of interactions between artisans and their clients led me to suggest that one can fruitfully borrow insights from the anthropology of the senses and of learning to inform anthropological theories of value. [ABSTRACT FROM AUTHOR]

The article reports on the two Chinese bowls in the collection of the Oriental Art Department of the Georgian National Museum. The first is a Celadon bowl that has a narrow neck, a flat bottom, and tapes downward with light-green glaze, clay grayish-white, that dates from the 14th-15th centuries. The second, lidded bowl has white clay, light-blue cobalt and grayish-white glaze wherein its neck is decorated with wavy blue lines, its body is decorated with images of dragons with Chinese clouds and ornamental floral motives, and the lid is decorated with floral motives.

This paper reports the study of ancient potteries unearthed from the Guangfulin site in Shanghai. From the external features of these potteries, archeologists can classify them into two different cultural types: Liangzhu culture (local culture) and a new culture which might be derived elsewhere, but they can not recognize whether they were produced in the same place. Proton induced X-ray emission (PIXE) and instrumental neutron activation analysis (INAA) were used to measure the chemical compositions of the samples and the results were analyzed using multivariate statistics. We found that the two methods can complement each other and their database can be mutually referenced in the study of ancient potteries. Experimental results a how that the compositions of the potteries from the two cultural types are different, which means that the materials for ancient potteriea of new culture originate from elsewhere. This supports the archaeologists' speculation that a group of ancient people migrated to Shanghai from some other places 4000 years ago. [ABSTRACT FROM AUTHOR]

The article presents case studies on the early Chinese Art's interpretation of a face. A face is said to have been popularly interpreted as an outward appearance, as it serves as a key to identification based appearance. It is believed to have been ontogenetically developed as a unique identifier of members of the same species that enabled the development of a more refined sense of individuality. It is inferred that demonstration of a face as an artifact is difficult. Such study is aimed to further analyze the concept of the face as an artifact, involving those without any claim to individuality and personal identity. The existence of such faces is believed to challenge people to change some generally accepted notions in the development of portraiture in China.

Between 1780 and 1860, mothers and housewives set their tables using Chinese ceramics and British imitations, including the willow pattern. Since these ceramics carried idealized Chinese scenes, women could construct an exotic China, called ‘Cathay,’ that they could visit in their imaginations at a time when the real China was cloaked in mystery. Curiously, the dearth of information on China conferred credibility onto Cathay; when Americans traveled to Canton, they compared the actual country with the ceramic patterns etched in memory. Around 1900, large importers of Asian goods dictated through advertising exactly how women should construct China for pleasure. [ABSTRACT FROM AUTHOR]

Pao Shih-ch'ên's I-chou shuang-ch'i [The Two Oars of the Calligraphy Boat] and K'ang Yu-wei's Kuang i-chou shuang-ch'i [The Augment Two Oars of the Calligraphy Boat] are two of the most influential works in the history of the art of calligraphy in the modern age. The latter work is especially important. K'ang's work dwells on the principles of the evolution and development of the art of calligraphy. It provides us with a systematic knowledge of calligraphy. It establishes the value judgment of the upgrading of the rubbings from tablets and the downgrading of the T'ng calligraphists. It fortifies the significance of reform of the art of calligraphy in the late Ch'ing period. Furthermore it relates the calligraphic reform with the political reform of the same period and reveals the ideology and mental attitudes of the author. Therefore the work differs from Pao's greatly in both nature and contents. Pao's work represents the experience of his real creative process in his advanced years. K'ang's work, on the contrary, is based on a theoretical structure. It is comparatively more detailed and its emphasis is on the regular style. It stresses the importance of the stone inscriptions of the Northern-Southern Dynasties and disparages the works of the T'ang calligraphers. K'ang differs not only with Pao, who stresses the running style, but also with Juan Yüan, who praises the stone inscriptions but belittles the rubbings and draws a line between the Northern and Southern schools. This is because K'ang strongly believes that both the Northern and the Southern schools derive from the Han calligrapher Wei Kai, and there is no reason for dividing them into two schools. Moreover, there are also good stone inscriptions in the Southern Dynasties. The theory that the Northern Dynasties excel in their stone tablets and the Southern ones in the rubbings of the tablets is therefore inappropriate. In addition, K'ang's work has a consistent philosophical stand. K'ang, who plays the role of the advocate of the Kung-yang Commentary School, emphasizes that the art of calligraphy, like the politics or the study of the classics, should have a reform. And the method of reform is to revive old customs. This reveals fully the contents and the spirit of K'ang's thought. Furthermore, we may reexamine Liao P'ing's influence on him through this work. Therefore, Kuang i-chou shuang-ch'i is invaluable in the history of political philosophy as well as in the history of the calligraphic art. [ABSTRACT FROM AUTHOR]

The article offers some background information about Chinese lacquer. Lacquer as used in East Asia is derived from the sap of the lacquer tree, by far the most notable species being Rhus verniciflua, a native of China, which was extensively cultivated there at least as early as 500 B.C. and probably earlier. Recent controlled excavations of tombs in the country have revealed considerable numbers of lacquerware objects of the Han period painted with wonderfully original decorative designs. For many years the attention of Chinese and western connoisseurs of Chinese lacquer was focused on what has been called the official wares, that is to say the carved lacquers produced under imperial patronage during the Ming dynasty.

Examines the evolution of Chinese painting in the artistic traditions of China. Emergence of a creative freedom in the brushwork used for ceramic and pottery decorations; Transformation of painting styles from being used for decorative purposes to being valued solely for the artistic enjoyment they provided; Development of the technology of special painting paper made of rice so well that a calligraphy brush could absorb a lot of ink at one time and then print on rice paper in many different shades.

The author discusses the creation of mosaic paintings from natural or industrial scrap materials in China. He analyzes the characteristics of these materials and discusses the growing interest among Chinese artists and community members in this modern approach to the traditional mosaic art form. [ABSTRACT FROM AUTHOR]