Dr. LEUNG Kwong-yiu from HKU SPACE states that, narrative painting belongs to the highest rank of aesthetic value, which is “dependence beauty”, in accordance with the historiography of Western philosophy; whereas the figurative painting is of secondary apogee and “nature-sketching” belongs to the lowest rank. Such art theory in Western mode of thought severely confronts with Mr. YU Jianhua’s interpretation that “nature-sketching” of national painting moving towards the realm of “self-expressiveness” and “imitation” is of the highest apogee within the mechanism of Chinese painting art. You can see a great sharp of cultural variation between two streams of thoughts.
The “Civic Painting Society Camp” in Hong Kong uses to adopt “National Painting Nature-Sketching Methodology” to operate the development of Western painting. It often organizes joint nature-sketching exhibitions at City Hall and Central Library, with the ribbon-cutting opening participations and tremendous supports from Central Government Liaison Office and CPPCC Standing Committee Members. However, if the creative value judgments of our society blindly put a prior emphasis on “nature-sketching”, this imposes a great threat to the educational field and contemporary art gallery sectors in terms of prospering the creative visual-art industries. Thus, there is recently a “Cultural Creative and Craft Yellow Circle” emerging within the civic strata to counteract against the “Civic Painting Society Camp”.
For this academic talk, the author purely adopts the perspective of Chinese art history to discuss the leisures of “union between Heaven and Man” and“floating beyond the artistic realm with travelling spirit”. Everybody will discover that, during their arrogant tour within the Nature, lots of ancient court painters wouldn’t completely and realistically record the visible landscape structures in an on-site manner. Instead, part of them would bring back their subconscious impressions about the pretty landscape episodes from their innermost to Jiyandian Academy, Hanlin Painting Academy, Internal Court, Hanlin Court, Labour Department Maintenance House, Literary Thinking Academy and Internal Affairs Painting Court Department for cultivating monumental nature-sketching masterpieces within an indoor environment.
The document discusses several lighting and furniture designs that draw inspiration from nature. It describes the Illusia ceiling light, which creates a floral reflection on tables using handcrafted glass balls inside globes. It also mentions the GROWTH plant pot, which transforms and grows along with the plant using origami-based geometry. Finally, it discusses the 2010 Aim Lamp, which allows for infinite adjustments, and the 2010 Vitra Vegetal Chair, which has the fluidity and elegance of a plant.
Dr. LEUNG Kwong-yiu from HKU SPACE states that, narrative painting belongs to the highest rank of aesthetic value, which is “dependence beauty”, in accordance with the historiography of Western philosophy; whereas the figurative painting is of secondary apogee and “nature-sketching” belongs to the lowest rank. Such art theory in Western mode of thought severely confronts with Mr. YU Jianhua’s interpretation that “nature-sketching” of national painting moving towards the realm of “self-expressiveness” and “imitation” is of the highest apogee within the mechanism of Chinese painting art. You can see a great sharp of cultural variation between two streams of thoughts.
The “Civic Painting Society Camp” in Hong Kong uses to adopt “National Painting Nature-Sketching Methodology” to operate the development of Western painting. It often organizes joint nature-sketching exhibitions at City Hall and Central Library, with the ribbon-cutting opening participations and tremendous supports from Central Government Liaison Office and CPPCC Standing Committee Members. However, if the creative value judgments of our society blindly put a prior emphasis on “nature-sketching”, this imposes a great threat to the educational field and contemporary art gallery sectors in terms of prospering the creative visual-art industries. Thus, there is recently a “Cultural Creative and Craft Yellow Circle” emerging within the civic strata to counteract against the “Civic Painting Society Camp”.
For this academic talk, the author purely adopts the perspective of Chinese art history to discuss the leisures of “union between Heaven and Man” and“floating beyond the artistic realm with travelling spirit”. Everybody will discover that, during their arrogant tour within the Nature, lots of ancient court painters wouldn’t completely and realistically record the visible landscape structures in an on-site manner. Instead, part of them would bring back their subconscious impressions about the pretty landscape episodes from their innermost to Jiyandian Academy, Hanlin Painting Academy, Internal Court, Hanlin Court, Labour Department Maintenance House, Literary Thinking Academy and Internal Affairs Painting Court Department for cultivating monumental nature-sketching masterpieces within an indoor environment.
The document discusses several lighting and furniture designs that draw inspiration from nature. It describes the Illusia ceiling light, which creates a floral reflection on tables using handcrafted glass balls inside globes. It also mentions the GROWTH plant pot, which transforms and grows along with the plant using origami-based geometry. Finally, it discusses the 2010 Aim Lamp, which allows for infinite adjustments, and the 2010 Vitra Vegetal Chair, which has the fluidity and elegance of a plant.
This document describes several different night lights and their key features:
1. The Milk Glass LED Nightlight is shaped like a glass of milk and is made of durable acrylic. It turns off when placed upside down.
2. The Color-Changing Night-Light has portable glowing balls and a touch interface to change colors and dim light.
3. The LUNE light is a harmonious circle that blends into any decor. It has a lifespan of over 50,000 hours.
4. Additional lights described include ones that are adjusted by rolling or winding movement, and a moon lamp with wooden plugs to adjust brightness through different openings.
This document discusses a poetic design project by Andrea Forti & Eleonora Dal Farra that researches the intrinsic features of the environment and physical substances. It combines traditional material processing techniques with avant-garde methods to focus on telling the story of the environment through poetic expression and realistic yet absolute poetic form.
This document appears to be a design document that includes a student ID number, Chinese characters, and design details such as the name of a designer, the year of a design project, and the name of a design or company. It provides high-level information about a design or project but does not include enough contextual details to form a comprehensive summary in 3 sentences or less.
The document discusses the differences between pragmatic and poetic interaction with products or systems. Pragmatic interaction focuses on practical use, social and ethical dimensions, satisfying dynamic form, and actively involving people's skills. Poetic interaction involves unreal organisms, frozen textiles, wood, marble, paper, ceramic, and plastic. The document also provides biographical information about Erika Rossi, including her educational background graduating from Iuav’s master programme in visual and multimedia communication and degrees in industrial design.
Studio Drift creates artistic projects using light as a key element. They draw inspiration from nature in both form and philosophy. Two examples are provided: Count Sheep, a projection animation about wool production that can only be fully seen by walking along the projection wall and watching it within one's shadow; and Ghost Collection, a series of illuminated objects that bring to life the forms and textures of natural materials through light.
The document appears to be a collection of poetic designs and artworks created by different artists. It includes titles and descriptions of works like "A Four Day Long Ray Of Light" by artist FOS, a sand clock installation titled "SAND CLOCK" by Studio Ayaskan, and an artwork called "A New Desire" and another named "Tsukubai Hosun". The document showcases short poems and concepts related to different artistic creations in a minimal format.
This document describes several different night lights and their key features:
1. The Milk Glass LED Nightlight is shaped like a glass of milk and is made of durable acrylic. It turns off when placed upside down.
2. The Color-Changing Night-Light has portable glowing balls and a touch interface to change colors and dim light.
3. The LUNE light is a harmonious circle that blends into any decor. It has a lifespan of over 50,000 hours.
4. Additional lights described include ones that are adjusted by rolling or winding movement, and a moon lamp with wooden plugs to adjust brightness through different openings.
This document discusses a poetic design project by Andrea Forti & Eleonora Dal Farra that researches the intrinsic features of the environment and physical substances. It combines traditional material processing techniques with avant-garde methods to focus on telling the story of the environment through poetic expression and realistic yet absolute poetic form.
This document appears to be a design document that includes a student ID number, Chinese characters, and design details such as the name of a designer, the year of a design project, and the name of a design or company. It provides high-level information about a design or project but does not include enough contextual details to form a comprehensive summary in 3 sentences or less.
The document discusses the differences between pragmatic and poetic interaction with products or systems. Pragmatic interaction focuses on practical use, social and ethical dimensions, satisfying dynamic form, and actively involving people's skills. Poetic interaction involves unreal organisms, frozen textiles, wood, marble, paper, ceramic, and plastic. The document also provides biographical information about Erika Rossi, including her educational background graduating from Iuav’s master programme in visual and multimedia communication and degrees in industrial design.
Studio Drift creates artistic projects using light as a key element. They draw inspiration from nature in both form and philosophy. Two examples are provided: Count Sheep, a projection animation about wool production that can only be fully seen by walking along the projection wall and watching it within one's shadow; and Ghost Collection, a series of illuminated objects that bring to life the forms and textures of natural materials through light.
The document appears to be a collection of poetic designs and artworks created by different artists. It includes titles and descriptions of works like "A Four Day Long Ray Of Light" by artist FOS, a sand clock installation titled "SAND CLOCK" by Studio Ayaskan, and an artwork called "A New Desire" and another named "Tsukubai Hosun". The document showcases short poems and concepts related to different artistic creations in a minimal format.