The first painting hangs in my family’s living room. If you look at the painting from the bottom up, you see, at first, nothing at all: fully a third of the total surface seems empty; then there is some green; not much at first, but then more and more as you gaze up into a wonderfully simple and distinct landscape: ordinary nature it is. But this is ordinary nature as seen by (1) an arduously s...

HAPPY YEAR OF THE YANG (羊)! On Friday February 20, 2015 The Chinese Program ushered in the Year of the Sheep with a celebration chock full of Chinese New Year activities including paper crafts, Jianzi game (aka hacky sack), opera mask painting, Beijing opera performance. Students had their faces painted as opera clowns. Students and faculty members from both Pacific Lutheran University and the ...

After China opened her doors to the world again, I seized the opportunity to organize the University of Minnesota Art and Craft Tour of China, in 1982. When we were in Hangzhou, I visited the China Academy of Fine Arts (Formerly the Zhejiang Academy of Fine Arts) to negotiate with the leaders of the Academy to establish the very first exchange program in the arts with the University of Minnesot...

The technical treatises on painting are rich in teaching, whether to learn make colors or how draw. We tried the portrait of apprentice, his relationship with master. And this, by behavior first gifts second. As for drawing, various techniques used according stage learning where pupil is. From simple straight lines, through master copy, technique ink brush strokes pen, you have draw every day i...

This paper aims to explore the aesthetic development of Chinese traditional landscape painting in contemporary art. Through an in-depth analysis 20 selected artworks from 13th National Art Exhibition, this study reveals key characteristics changes painting, focusing on content update and theme change, innovation techniques expression forms, evolution style features. The findings indicate that p...

Three experiments using Stroop paradigm were designed in which Chinese-English bilinguals were asked to name the ink color of Chinese characters in Chinese in Experiment 1 and in English in Experiment 2 and 3. The visual stimuli were divided into five critical conditions: color characters, homophones of the color characters (S+T+), different-tone homophones (S+T-), characters that shared the sa...