What is "Chinese Narrative Illustration"?

Murray, Julia K.

doi:10.2307/3051315

Cited by 34 publications

(4 citation statements)

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“…In the digital age, brands can effectively communicate their brand story to consumers through various methods such as narrative illustration, pictorial narrative, and narrative painting (Williams, 2019;Murray, 1995). Visual narrative (VN) is defined as visual storytelling, narrative images, picture stories, and narrative pictures (Pimenta & Poovaiah, 2010).…”

Section: Visual Narrativesmentioning

confidence: 99%

Enhancing Consumer Visual Experience through Visual Identity of Dynamic Design: An Integrative Literature Review

Mengyao,

Zainal Abidin,

Shaari

2024

IJARBSS

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Issues: With the advent of the digital era, more than static visual identity design is needed to meet the aesthetic demands of contemporary consumers. This research explores enhancing consumer visual experiences through dynamic visual identity design. Methodology: By focusing on the elements and evaluation criteria of visual identity, along with relevant theories, this study establishes a conceptual framework emphasizing the significance of dynamic visual elements, visual experiences, and visual narratives. The aim is to enhance the visual appeal of brands through these dimensions. Results: A conceptual framework for dynamic visual identity design was proposed, providing guidance and reference for future research. Conclusion: Dynamic visual identity design contributes to strengthening brand affinity, bridging the gap between brands and consumers, and enhancing the overall visual appeal for young consumers in the digital age. The framework aims to optimize brand expression and increase consumer engagement.

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Section: Visual Narrativesmentioning

confidence: 99%

Enhancing Consumer Visual Experience through Visual Identity of Dynamic Design: An Integrative Literature Review

Mengyao,

Zainal Abidin,

Shaari

2024

IJARBSS

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“…However, in the sixth-century Chinese cases, we found the outstanding emphasis on the scenes of exile. The perception of the knowledge, teaching, or message that is embedded in each group of episodes typically changes as the story focus changes from one set to the next (Dehejia 1990;Shih 1993;Murray 1995Murray , 1998Brown 1997). In the current case, the selection of the exile scene implies that the exile scenes grew significant enough to take the place of the previous emphasis on scenes of gifting.…”

Section: From Pingcheng To Luoyang: śYāma Jātaka's Replacement By Sud...mentioning

confidence: 99%

Filial Piety in Fluidity: The Tension between the Textual and Visual Traditions of Śyāma Jātaka in Early Medieval China

Zhao

2023

Religions

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The Śyāma jātaka is renowned for its portrayal of a devoted son who cared for his blind parents. The story has been translated into various textual versions and depicted in reliefs and murals, gaining wide circulation in the Buddhist world. Previous scholarship on the story’s transmission in China has primarily focused on its representation of filial piety and its resonance with the Chinese context. However, a careful examination of surviving visual depictions of jātaka stories brings to light historical and regional disparities that have often been overlooked in relation to the reception of Śyāma jātaka’s didactic teachings in early medieval China. While the story has flourished in North China (including the Central Plain and the Hexi Corridor) from the late fifth century onwards, it was intriguingly absent from the region during the first half of the sixth century. This absence of the Śyāma jātaka stands in contrast to the popularity of other jātakas such as Sudāna and Mahasattva, which were widely circulated in China. In this article, I explore the uneven adaptation of the Śyāma jātaka within Chinese visual culture by placing the story’s textual and visual traditions within the broader historical milieu of depicting Buddhist stories and filial paragons in the sixth century. My study demonstrates that the story’s theme in multiple dimensions was simplified to filial piety during the textual translation process of the story in third- and fourth-century China. Moreover, it reveals that the story’s visual legacy faced challenges and negotiations when integrating into the local teaching of filial piety. This reluctance can be attributed to two historical factors: the revival of pre-existing visual traditions depicting Chinese filial sons, and the growing preference for other jātakas that embodied teachings on generosity in early sixth-century North China. Furthermore, this study sheds light on the tension between textual and visual traditions when incorporating Buddhist teachings into a new social context. While various rhetoric strategies were developed in text translation to integrate Buddhist teachings into existing Chinese thought, the visual tradition posed separate questions regarding its necessity, the didactic intentions of patrons, and the visual logic understood by viewers.

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“…mask 68 (F). Visually, the entire installation looks like a hand-scroll, which is commonly used in traditional Chinese painting (Murray, 1998) that brings the audiences to a journey as the scroll unfolds.…”

Section: "Hutong Diary" No1 -"The Invisible Greatness"mentioning

confidence: 99%

Spatial visual music - the combination of visual music and physical space

Yáng¹

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for their illuminating ideas, kind support, and precious friendship. V A special thanks to my parents Mrs. Pei Hualan and Mr. Yang Jiayi, and my husband Dr. Li Xian, for their love, care, dedication, encouragement, and the many years of support during my graduate studies. It was their immeasurable love that supports and keeps me motivated throughout my research. Last but not least, I would also like to thank Nanyang Technological University and Singapore Ministry of Education for providing me the opportunity and the resources to continue my research. VI CONTENTS STATEMENT OF ORIGINALITY .

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What is "Chinese Narrative Illustration"?

Cited by 34 publications

References 0 publications

Enhancing Consumer Visual Experience through Visual Identity of Dynamic Design: An Integrative Literature Review

Enhancing Consumer Visual Experience through Visual Identity of Dynamic Design: An Integrative Literature Review

Filial Piety in Fluidity: The Tension between the Textual and Visual Traditions of Śyāma Jātaka in Early Medieval China

Spatial visual music - the combination of visual music and physical space

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