{"id":{"repo_id":"edithcowan","oai_identifier":"oai:ro.ecu.edu.au:theses-1272"},"canonical_url":"https://search.dev.ndltd.org/etd/edithcowan/oai:ro.ecu.edu.au:theses-1272","repository":{"repo_id":"edithcowan","name":"Edith Cowan University","base_url":"https://ro.ecu.edu.au/do/oai/"},"display":{"title":"The transformation of line, shape and intention in Chinese painting since Xu Beihong and Lin Fengmian","abstract":"The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. The dissertation proposes that Chinese painting has undergone two stages of critical transformation that are worthy of notice: the first occurring in the chaotic situation during Wei Jin North and South Dynasty in the third century, and the second stage lasting from the beginning of the 20th century till now.","abstract_html":"The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. The dissertation proposes that Chinese painting has undergone two stages of critical transformation that are worthy of notice: the first occurring in the chaotic situation during Wei Jin North and South Dynasty in the third century, and the second stage lasting from the beginning of the 20th century till now.","abstract_has_math":false,"creators":["Shen, Cheen"],"institution":"Edith Cowan University, Research Online, Perth, Western Australia","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007-01-01T08:00:00Z","date_published":"2007-01-01T08:00:00Z","updated_at":"2026-07-27T19:21:32Z","subjects":["Painting","Chinese","Three kingdoms-Sui dynasty","220-618","20th century.","Chinese Studies"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://ro.ecu.edu.au/theses/272","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Shen, Cheen"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2007-01-01T08:00:00Z"]},{"key":"dc:publisher","label":"Institution","values":["Edith Cowan University, Research Online, Perth, Western Australia"]},{"key":"dc:type","label":"Dc Type","values":["ecu_thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Painting","Chinese","Three kingdoms-Sui dynasty","220-618","20th century.","Chinese Studies"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://ro.ecu.edu.au/theses/272","https://ro.ecu.edu.au/context/theses/article/1272/viewcontent/The_20transformation_20of_20line_20shape_20and_20intention_20in_20Chinese_20painting.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. The dissertation proposes that Chinese painting has undergone two stages of critical transformation that are worthy of notice: the first occurring in the chaotic situation during Wei Jin North and South Dynasty in the third century, and the second stage lasting from the beginning of the 20th century till now."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:source","label":"Dc Source","values":["Theses: Doctorates and Masters"]},{"key":"dc:title","label":"Title","values":["The transformation of line, shape and intention in Chinese painting since Xu Beihong and Lin Fengmian"]}]}],"canonical_facts":{"dc:creator":["Shen, Cheen"],"dc:date":["2007-01-01T08:00:00Z"],"dc:description":["The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. 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