Co1-Xs/Co3s4@N,S-Co-Doped Agaric-Derived Porous Carbon Composites for High-Performance Supercapacitors

Yi, Jinliang; Song, Fangxiang; Zhou, Liju; Chen, Qianlin; Yang, Min

doi:10.2139/ssrn.4078490

Cited by 1 publication

(4 citation statements)

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“…However, some scholars dispute the identification of the mountains in The Illustration of Samantabhadra as Mount Emei based on artistic continuity to Song landscape paintings [10]. This paper will argue that this argument is not valid for two reasons after explaining the existence of travelers in the mural from Cave 29 in the part of mediums.…”

Section: The Presence Of Travelersmentioning

confidence: 81%

“…The foreground of the landscape, which is around the middle of the whole mural, meticulously depicts water ripples and the adjacent riverbank with line drawing, one popular painting technique in Song paintings [10]. The middle ground of the landscape displays traces of human activities and is faintly shrouded by the vapour from the mountains' falls and streams.…”

Section: The Panoramic Viewmentioning

confidence: 99%

“…This process mirrors a spiritual pilgrimage, albeit undertaken within the mind. Scholars who concur that mountains in murals are not Mount Emei also acknowledge this intimate conversation between individuals and divinity facilitated by murals [10].…”

Section: Mediumsmentioning

confidence: 99%

“…In previous studies, Huang Xiaofeng reinterpreted elements in Travelers, establishing a connection to Zen Buddhism [9]. Recent investigations, such as those by Yi Lingping and Yang Rui, compared the illustration in Cave 3 to various Song landscape paintings and highlighted the similarities in composition, elements, and painting techniques, illustrating the intimate artistic associations and ideological impacts of the mainstream culture from the Song Dynasty on later cave art [10]. However, none of them comprehensively explores the profound connection between the landscape depictions in the murals and the travel theme prevalent in Song landscape paintings.…”

Section: Introductionmentioning

confidence: 99%

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Spiritual Travel in Chinese Landscapes ---- Travelers Among Mountains and Streams and Murals from Yulin Caves

Liao

2023

EHSS

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Chinese landscape painting is a non-negligible category in Chinese art history. Unfortunately, the intrinsic fragility of silk results in an obscure provenance of numerous existing silk landscape paintings from ancient Chinese art. Murals in Yulin Caves, located in the northwestern province of Gansu, China, emerge as an invaluable repository that complements these delicate silk paintings. This paper selects The Illustration of Samantabhadra from Caves 29 and 3 of Yulin Caves, both illustrations in caves were created after the Song Dynasty (960-1279 CE), to compare Travelers Among Mountains and Streams (Travelers) painted in the 10th to early 11th century by Fan Kuan (c. 950-1032). The visual comparison involves the panoramic view and the travel theme. The comparison based on the different mediums will discuss the elimination of physical constraints through painted landscapes with the contextualization of murals in situ. Natural light will also be considered as one external factor that influences the artwork viewing experiences of audiences. Comparisons involved in this paper aim to examine the underlying relationships between Song landscape paintings and the subsequent landscape murals, extend the conventional concept of travelers in Song landscape paintings by identifying mountains in murals, and explore how landscapes in silk paintings and murals encourage audiences to experience spiritual travel.

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Section: The Presence Of Travelersmentioning

confidence: 81%

Section: The Panoramic Viewmentioning

confidence: 99%

Section: Mediumsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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