Tang Li and Yu-tzu Chang LBSC 758 5/10/06
Developing a Shape-and-Composition CBIR Thesaurus for the Traditional Chinese Landscape Introduction Content-based image retrieval (CBIR) is one of the major approaches of image classification and retrieval that has been investigated extensively in the past decade. Different from traditionally text-based image retrieval (TBIR) which relies on textual descriptions of images, CBIR classifies and searches images according to similarities of automatically extracted visual features, such as color, texture, shape, and structure. Some prominent CBIR system examples are QBIC, WebSEEK, CIRES, etc. Current research has suggested that the two elemental issues in CBIR, feature extraction and similarity measures, tend to be domain-specific 1 . It has been demonstrated that a case study of a controlled and well-defined domain of images is useful to validate and further enhance existing CBIR techniques. Therefore, this paper will focus on application of CBIR to traditional Chinese paintings, specifically Chinese landscapes. With a long and glorious history, Chinese painting has developed its unique form and style by manipulating brushes to apply ink and/or colors on rice paper or silk. In terms of subject matter, Chinese painting can be categorized into three sets: landscape, birdand-flower and figure paintings. Of them Chinese landscape is regarded as the most important set. Numerous schools, theories and techniques relating to it evolved since it flourished during the Song dynasty (960-1279). Today a huge number of Chinese landscapes are collected in the museums, galleries, and public or private collections all over the world. CBIR will be an excellent and feasible retrieval mechanism for the Chinese landscape in terms of its visual features and compositions. Chinese landscapes promote capturing the essence rather than the real shape of nature to express the painters’ ideas or feelings. As a result, Chinese landscapes use relatively simple forms and textures, a few colors (see figure 1 below for a color chart of traditional Chinese painting. Actually a large portion of landscapes are just painted with ink washes.) and a small number of brush strokes. Moreover, a certain number of object types are depicted in the Chinese landscape, commonly mountains, rocks, water, clouds, woods and trees, and sometimes dwellings, pavilions, bridges, figures, animals, etc. For each object type, there are usually a small number of varieties. For example, pine trees, willows and bamboos are the most popular types of trees in the Chinese landscape. Furthermore, compositions of Chinese landscapes follow certain perspectives and models. 1
Danqing Zhang, Binh Pham and Yuefeng Li, “Modeling Traditional Chinese Paintings for Content-Based Image Classification and Retrieval,” Proceedings of the 10th International Multimedia Modeling Conference
(MMM’04): 259.
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Figure 1. Color chart of traditional Chinese painting pigments. Source: Feian Yu, Chinese Painting Colors: Studies of Their Preparation and Application in Traditional and Modern Times (Seattle: University of Washington Press, 1988), 34-35.
In this paper we will develop a shape-and-composition CBIR thesaurus for the Chinese landscape dated from the Song to Qing periods (960-1911). A considerable number of Chinese landscapes within the timeframe are selected for feature extraction. Color and texture are not included in the thesaurus because their associated analysis techniques such as color histogram, 2-dimensional gray level variation, etc. are very complicate and beyond our knowledge. In the thesaurus we emphasize discrimination between object types so as to improve retrieval of relevant images. Therefore, we adopt not only basic shapes (circle, rectangle, triangle, etc.) but also lines (straight, arc, etc.) and shape combinations. Furthermore, we develop special shapes (such as S shape, V shape, linglong, etc.) for those object types which are either unique to Chinese arts and culture (linglongshaped rocks, bamboos, dragon boats, etc.) or in a peculiar shape that cannot be simply abstracted into basic shapes (such as birds, clouds, etc.). Our thesaurus is designed to facilitate extracting and indexing image content data for effective retrieval performance. Although it is domain specific, our approach of developing and classifying the thesaurus can be applicable to CBIR of non-Chinese art images and perhaps general CBIR. At the end of this paper, we will test four Chinese landscapes to demonstrate its feasibility and effectiveness of application into the image indexing and retrieval. The four landscapes are dated to different time periods and are not used as examples in the thesaurus.
Shape-and-Composition CBIR Thesaurus for the Chinese Landscape (960-1911) The thesaurus is a controlled CBIR list of conceptual forms and compositions extracted from the Chinese landscape ranging from the Song to Qing dynasties (9601911). It consists of abstract shapes, lines and composition templates. Shapes can be divided into two main types: basic shapes (circle triangle
/right triangle
trapezoid
/right trapezoid .) and special shapes (irregular polygon
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, ellipse
, rectangle
/semi-ellipse
, and , cloud
,
icon
, linglong or pierced and rounded irregular polygon
, S-shape , V-shape combinations when necessary.
, U-shape
, etc.). Shapes may be used individually or in
Lines include straight lines , arc lines and wavy lines . Lines are always used in groups or sometimes in combination with shapes when necessary. Composition templates characterize visual layout structures that were commonly adopted in the Chinese landscape. They are usually used in combination with shapes and/or lines. Accordingly, the thesaurus is composed of two parts: Part 1 focusing on shapes and lines and Part 2 dealing with composition templates. Part 1 (shapes and lines), the core of the thesaurus, is arranged alphabetically and hierarchically by object types and their varieties that frequently appear in the Chinese landscape. Object types are divided into two main sets: A. primary elements and B. secondary elements. Primary elements refer to object types that can always be found in the Chinese landscape. They consist of five categories, namely clouds, mountains, rocks, plants, and water. Secondary elements refer to object types that occasionally appear in the Chinese landscape. They contain four categories, namely animals, architecture, persons, and transportation facilities. Each category is further divided hierarchically into subcategories. Part 2 (composition templates) includes 14 templates that are classified into two main categories (‘fully filled’ and ‘one part’). They are also organized in an alphabetic and hierarchical order. Each entry includes a number indicating its order in the thesaurus; the name of the category/subcategory; a scope note (SN) that explains or defines the category; occasionally supplemental notes (Note) attached to subcategories when they are not self-explanatory; abstractions (shapes/shape combinations/line groups/line and shape combinations/composition template(s)); Chinese landscape examples with superimposed abstractions or dashed circles* (*used when object types are too small to apply abstractions onto them in the landscape); and additional Chinese landscape examples. Each image of a Chinese landscape is accompanied with a caption which indicates name of the artist, title of the artwork, date/time period, and image source (publications or online resources). We use a list of abbreviations for publications: - CPLMPI Chinese Painting: Leading Masters and Principles, Part I: The First Millennium. - CPLMPII Chinese Painting: Leading Masters and Principles, Part II: The Later Centuries - TCML: CM Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian: zhang fa. (The Techniques of Chinese Masterpieces, Landscapes: Composition Models.) - TCML: CO Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian: she se fa. (The Techniques of Chinese Masterpieces, Landscapes: Coloring.)
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TCML: CW Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian: yun shui fa. (The Techniques of Chinese Masterpieces, Landscapes: Clouds and Water.) TCML: MR Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian: shan shi fa. The Techniques of Chinese Masterpieces, Landscapes: Mountains and Rocks.) TCML: SE Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian: dian jing fa. (The Techniques of Chinese Masterpieces, Landscapes: Secondary Elements.) TCML: TR Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian: shu fa. (The Techniques of Chinese Masterpieces, Landscapes: Trees.)
Part I Shapes and Lines
A. Primary Elements SN: This set refers to object types that are always found in the Chinese landscape. It consists of five categories, namely clouds (A1), mountains (A2), rocks (A3), plants (A4), and water (A5).
A1. Clouds SN: This category refers to cloud(s)/cloud sea(s) with contours (A1.1) and without contours (A1.2) in various sizes among the mountains and/or woods. Clouds in the Chinese landscape are very difficult to be simply abstracted into basic shapes because they were either delineated randomly out of artists’ imagination or represented by leaving irregular empty spaces of various sizes. Therefore, a universal cloud icon is used to stand for this category, but the one for with contours (A1.1) is delineated in solid lines while the one for without contours (A1.2) in dashed lines to demonstrate their difference. A single cloud icon can be used to represent an individual cloud/cloud sea in various sizes. A group of cloud icons can be used to stand for adjacent/isolated clouds/cloud seas. - A1.1. With Contours
You, Qiu. Qi xi chuan zhen tu [Landscape of night scenes on 7th Day of July]. Ming Dynasty. Source: TCML: CW, p. 19.
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Qiu, Ying. Tao yuan qian jing tu [Landscape of an Immortal Abode]. Ming Dynasty. Source: TCML: CW, p. 11.
Anonymous. Qian shan lou ge tu [Landscape of mountains and dwellings]. Song Dynasty. Source: TCML: CW, p. 7.
- A1.2. Without Contours
Chen, Jiru. Yun shan you qu tu [Mountains among the clouds]. Ming Dynasty. Source: TCML: CW, p. 52
Ju, Ran (attributed). Yan jiang die zhang tu [Rivers and muntains among the mist]. Song Dynasty. Source: TCML: CW, p. 39.
Anonymous. Fang mi shi yun shan tu [Mountains and couds after Mi Fu]. Yuan Dynasty. Source: TCML: CW, p. 47.
A2. Mountains SN: This category refers to two main subcategories of mountains according to the meticulousness of their brushstrokes: mountains in a close view (A2.2) which are often meticulously delineated with skylines and texture and distant mountains (A2.1) which are usually painted in ink/color washes and a few brushstrokes. 2 Similar to the way we differentiate clouds with contours (A1.1) from clouds without contours (A1.2), we use shapes in solid outlines to stand for mountains in a close view (A2.2) and shapes in dashed lines to represent distant mountains (A2.1). Whether it is depicted in a close view or in the far distance, a mountain in the Chinese landscape is usually composed of peaks and crags. In the thesaurus a peak is defined as ‘an integrated unit of raised earth with a gradual slope and a single pointed summit’. A crag is defined as ‘an integrated unit of raised earth with a steep slope and usually a relatively flat top.’ According to our definitions, the slope steepness and representation of the top are two major measurements to differentiate a peak from a crag. Since peaks and crags are elemental forms of a mountain, they are regarded as the basis of mountain shapes in the Chinese landscape. Accordingly, each subcategory of the mountains category is divided into two main types: crags (A2.1.1/A2.2.1) and peaks (A2.1.2/A2.2.2). These two main types are further classified hierarchically into their varieties on the basis of their spatial relationships. When abstracting their undulating skylines into straight lines, peaks and crags are interpreted as two basic shapes i.e. right trapezoids ( ) standing for crags and 2
It needs to be noted that, the meticulousness of brushstrokes to delineate a mountain is a key measurement to classify whether a mountain is a ‘close view’ or ‘distant’ here. This is because Chinese landscapes were
painted in a unique many-point instead of one-point perspective. For example, behind a mountain range another range may loom with trees, houses and streams in full view. As mentioned previously, Chinese landscapes advocate to capture the essence rather than the reality of the nature.
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triangles ( ) for peaks. Both shapes can be used in groups and combinations to represent multiple adjacent or isolated crags and peaks. The texture of all peaks and crags are ignored and hence considered smooth since it is beyond the scope of the thesaurus. - A2.1. Distant Mountains - - A2.1.1 Crags - - -A2.1.1.1 Adjacent
Fan, Kuan (attributed). Qiu lin fei pu tu [Waterfall among the Fall woods]. Song Dynasty. Source: TCML: MR, p. 149.
Yan, Ciping. Cottages under pine-trees on a rocky promontory. Song Dynasty. Source: CPLMPI, pl. 265.
Ma, Yuan. Rain over a clump of trees on a rocky shore. Song Dynasty. Source: CPLMPI, pl. 285.
- - -A2.1.1.2 Isolated
Huang, Gongwang (attributed). Light snow on the nine peaks. Yuan Dynasty. Source: CPLMPII, pl. 74.
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Zhao, Mengfu. The Abode of the Immortals at the foot of high mountains encircled by white clouds. Yuan Dynasty. Source: CPLMPII, pl. 20.
- - A2.1.2 Peaks - - -A2.1.2.1 Adjacent
Mi, Fei (attributed). Spring mountains and pine-trees. Song Dynasty. Source: CPLMPI, pl. 186.
Yuan, Ji. Jin ling huai gu ce [Past scenery in Nanjing]. Qing Dynasty. Source: TCML: CO, p. 77.
Lou, Guan. Sharp snowcovered peaks rising above an Inlet of Water. Song Dynasty. Source: CPLMPI, pl. 296.
- - -A2.1.2.2 Isolated - - - -A2.1.2.2.1 horizontally
Anonymous. Jiu ju tu [Fall landscape with chrysanthemum]. Yuan Dynasty. Source: TCML: MR, p. 158.
Guo, Pi. River landscape in driving mist. Yuan Dynasty. 1327. Source: CPLMPII, pl. 63.
- - - - A2.1.2.2.2 vertically
Anonymous. Liu xi chun se tu [Willows and creek in the Spring]. Song Dynasty. Source: TCML: CO, p. 29.
- A2.2. Mountains in a Close View - - A2.2.1 Crags - - -A2.2.1.1 Adjacent
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Zhao, Yuan. Lu Yu preparing tea. Yuan Dynasty. Source: CPLMPII, pl. 114b.
Xia Gui. Far-extending clear views over streams and mountains. Song Dynasty. Source: CPLMPI, pl. 307.
Wu, Yuanzhi. The Red Cliff. Jin Dynasty. Source: http://parallel.park.org/Taiwan/ Culture/museum/npmtr/B1114/ B111410/ [accessed 4/29/06]
Xiao, Daoning. Fishing in the mountain stream. Song Dynasty. Source: CPLMPI, pl. 158.
- - - A2.2.1.2 Isolated
Anonymous. Cheng jiang bi you tu [Mountains along the Cheng River]. Song Dynasty. Source: TCML: CO, p. 12.
Yan, Wengui. Towering mountains along a river. Song Dynasty. Source: CPLMPI, pl. 171.
- - A2.2.2 Peaks - - -A2.2.2.1 Adjacent
Qian, Xuan. Shan ju tu [Dwelling in a mountain]. Yuan Dynasty. Source: TCML: CO, p. 14 8
Gao, Kegong. Cloud dispersing after spring rain in the mountains. Yuan Dynasty. Source: CPLMPII, pl. 58.
Jiang, Zan. Massed verdure of wooded peaks. Song Dynasty. Source: CPLMPI, pl. 257.
- - -A2.2.2.2 Isolated - - - -A2.2.2.2.1 horizontally
Huang, Gongwang. A section of Fu-chun scroll. Yuan Dynasty. Source: CPLMPII, pl. 70.
Zhao, Boju. Rocky mountain along a river in Autumn. Song Dynasty. Source: CPLMPI, pl. 271.
- - - - A2.2.2.2.2 vertically
Wang, Meng A fisherman on a mountain stream. Yuan Dynasty. Source: CPLMPII, pl. 111.
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Mo, Shilong. Mountain rising through layers of clouds. Ming Dynasty. Source: CPLMPII, pl. 268.
A3. Rocks SN: This category refers to various rocks that are portrayed individually or sometimes with plants (pine trees, bamboos, etc.) on the ground, in a garden or in the water. Rocks that compose mountains are excluded from this category because they are components of mountains and are evidently not independent object types. According to their various contours, the rocks category is divided into four subcategories: ellipse (A3.1), irregular polygon (A3.2), linglong 3 (pierced and rounded irregular polygon) (A3.3), and rectangle (A3.4). All shapes can be used individually to stand for a single rock or in groups and combinations to represent numerous rocks that are in piles or scattered. The subcategories ellipse is further classified into two varieties, i.e. horizontal and vertical, according to different orientations. -A3.1 Ellipse - - A3.1.1 Horizontal
Zhao, Mengfu. Guai shi qing zu tu [Grotesque rocks and bamboos]. Yuan Dynasty. Source: TCML: MR, p. 18.
Ko, Chiu-ssu. A bamboo and flowering plants growing by a rock. Yuan Dynasty. Source: CPLMPII, pl. 54.
- - A3.1.2 Vertical
Wu, Zhen. Two slender bamboo stalks by a rock. 1347. Yuan Dynasty. Source: CPLMPII, pl. 51.
Ni, Zan. The pavilion of purple fungus and a garden rock. Yuan Dynasty. Source: CPLMPII, pl. 99a.
3 Linglong-shaped rocks are unique to the Chinese culture. They were once very popular in ancient Chinese gardens. Their grotesque forms were mostly carved by Chinese artists or artisans.
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-A3.2 Irregular polygon Note: The shape serves as a generalized icon because irregular polygon-shaped rocks in the Chinese landscape have many varieties and it is unnecessary to categorize each of them.
Anonymous. Song jian shan qin tu [Mountains and animals among pine woods and creeks]. Song Dynasty. Source: TCML: MR, p. 27.
Zhao, Mengfu. A garden rock, dry trees and small bamboo shoots. Yuan Dynasty. Source: CPLMPII, pl. 21.
-A3.3 Linglong (pierced and rounded irregular polygon) Note: The shape serves as a generalized icon because linglong-shaped rocks in the Chinese landscape were usually rendered out of artists’ imagination and thus they have no standard forms. In addition, the one hole here symbolizes one or multiple holes that may be found on linglong-shaped rocks. The number of holes on such rocks is very arbitrary, so it is unnecessary to specify it.
Bada Shanren. Xie sheng tu ce [Album leaf of a rock]. Qing Dynasty. Source: TCML: MR, p. 44.
Du, Jin. Jiao yuan tu [Landscape of a garden with banana trees]. Ming Dynasty. Source: Source: TCML: MR, p. 37.
You, Qiu. Xi yuan ya ji tu [Landscape of a Western Garden]. Ming Dynasty. Source: TCML: MR, p. 41.
-A3.4 Rectangle
Shen, Zhou. Solitary angler on a wintry river. Ming Dynasty. 1484. Source: CPLMPII, pl. 174. 11
Chen, Ju-yen. Mountains with rich growth and a waterfall. Yuan Dynasty. 1367. Source: CPLMPII, pl. 112.
A4. Plants SN: This category refers to all kinds of plants in the Chinese landscape, specifically various types of trees, reeds, and grass. Accordingly, the plants category is divided into three main subcategories, namely grass (A4.1), reeds (A4.2) and trees (A4.3). Since reeds and grass in the Chinese landscape are usually depicted with piles of simple brushstrokes, a group of five straight vertical lines are adopted to symbolize them, but lines for reeds are longer than those for grass to show their difference in nature. One group of lines can be used to stand for a small or large area of reeds/grass. Multiple groups of lines can be adopted to represent isolated areas of reeds/grass. According to their popularity in the Chinese landscape, trees are further divided into two main types: popular (A4.3.1) and uncommon (A4.3.2). Popular species of trees include bamboos (A4.3.1.1), pine trees (A4.3.1.2), and willows (A4.3.1.3). Since popular species of trees are differentiated primarily by their leaves in the Chinese landscape, abstract shapes of leaves are used to represent them. A generalized tree icon is used to stand for all the other species of trees that are seldom seen in the Chinese landscape. -A4.1 Grass
Wu, Zhen. Dong ting yu yin tu [Recluse at the Dongting River]. Yuan Dynasty. Source: TCML: TR, p. 236.
Huang, Ding. Shan shui ce [Album leaf of a landscape]. Qing Dynasty. Source: TCML: TR, p. 241.
-A4.2 Reeds
Sheng, Mao. Qiu ke qing xiao tu [Scenes in the Fall]. Yuan - Dynasty. Source: TCML: TR, p. 225.
-A4.3 Trees - -A4.3.1 Popular - - - A4.3.1.1 Bamboos
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Followers of Ma, Yuan. A man lying in a boat. Song Dynasty. Source: CPLMPI, pl. 295.
Ni, Duan. Bu yu tu [Catching fishes]. Ming Dynasty. Source: TCML: TR, p. 228.
Ni, Zan. Cong huang gu mu tu [Old trees and bamboo shoots]. Yuan Dynasty. Source: TCML: TR, p. 250.
Yun, Shouping. Album leaf. Qing Dynasty. Source: CPLMPII, pl. 417.
Xia, Gui. A man on a donkey with his servant heading toward a bamboo grove. Song Dynasty. Source: CPLMPI, pl. 298.
- - -A4.3.1.2 Pine trees
Li, Longmian (attributed). Immortals and fairies in an imaginary landscape. Song Dynasty. Source: CPLMPI, pl. 196.
Hong, Ren. Huangshan ce [Album of the Huangshan Mountain]. Qing Dynasty. Source: TCML: TR, p. 190.
- - -A4.3.1.3 Willows
Dai, Jin. Peasants returning home merrily in Spring. Ming Dynasty. Source: CPLMPII, pl. 146.
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Ma, Yuan. Early Spring. Song Dynasty. Source: CPLMPI, pl. 289.
- -A4.3.2 Uncommon
Ch’I, Chung. A river view in winter. Song Dynasty. Source: CPLMPI, pl. 311.
Hong, Wu. River in the mountains. Qing Dynasty. Source: CPLMPII, pl .440.
A5. Water SN: This category refers to natural water in various volumes. Different types of water are usually represented by simple brushstrokes or lines in a conceptual sense in the Chinese landscape. According to major line types for water delineation, the water category is divided into two subcategories, namely non-waterfalls (A5.1) including rivers, springs, lakes, seas, etc. which are usually portrayed in wavy lines and waterfalls (A5.2) which are often depicted in paralleling steep arc lines. Hence, a group of horizontally wavy lines represents all kinds of non-waterfalls (A5.1), while a group of two paralleling steep arc lines stands for waterfalls (A5.2). A single group of arc/wavy lines can be used to represent a continuous stream of a waterfall/non-waterfall in various volumes. Use multiple groups of arc/wavy lines when a waterfall/non-waterfall is interrupted by mountains, rocks, islands, etc.; or when there are several isolated waterfalls /non-waterfalls. Use combinations of arc/wavy line groups when both subcategories appear in a Chinese landscape. - A5.1 Non-Waterfalls Note: Representations of specific non-waterfall types (rivers, springs, lakes, seas, etc.) are not differentiated in this subcategory because their brushstrokes are essentially the same in nature. Furthermore, visualization of a certain non-waterfall type is sometimes very subjective in the Chinese landscape. Divergent illustrations can refer to a same non-waterfall type. Moreover, a larger number of Chinese landscapes with different types of non-waterfalls have to be processed. It will be very time-consuming and unrealistic for the moment to extract appropriate shapes for a particular nonwaterfall type.
Li, Tang. Qing he yu yin tu [Landscape with a hermit at a clear spring]. Song Dynasty. Source: TCML: CW, p. 79. 14
Zhao, Fu. Changjiang wan li tu juan [Landscape of theChangjiang Rriver]. Song Dynasty. Source: TCML: CW, p. 90.
Xie, Shichen. Gao jiang ji xia tu [Lofty river and steep gorges]. Ming Dynasty. Source: TCML: CW, p. 99.
- A5.2 Waterfalls
Tang, Yin. Guan pu tu [View of waterfall]. Ming Dynasty. Source: TCML: CW, p. 148.
Wang, Shimin. Ni zijiu shan shui tu [Landscape for Zijiu]. Qing Dynasty. Source: TCML: CW, p. 190.
Guo, Xi (attributed). Shan shui tu [Landscape]. Song Dynasty Source: TCML: CW, p. 115.
B. Secondary Elements SN: This set refers to object types that sometimes appear in a Chinese landscape. It contains four categories, namely animals (B1), architecture (B2), persons (B3), and transportation facilities (B4). B1. Animals SN: This category refers to various kinds of animals that usually appear in the Chinese landscape. It is composed of two main subcategories: birds (B1.1) and mammals (B1.2). The birds (B1.1) subcategory consists of three types according to their various motions, specifically flying (B1.1.1.1), sitting on the ground or in the water (B1.1.1.2), and standing (B1.1.1.3). A V shape is used to stand for flying (B1.1.1.1). An S shape is used to represent sitting (B1.1.1.2). A combination of an S shape standing for the body and two vertical lines for feet are used to symbolize standing (B1.1.1.3).
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The second mammals subcategory is further divided into two types according to the popularity of their appearance in the Chinese landscape. The first type popular (B1.2.1) includes three varieties of mammals most commonly seen in the Chinese landscape, namely Deer (B1.2.1.1), Donkey/Horse (B1.2.1.2), and Water Buffalo (B1.2.1.3). These mammals have their unique forms and thus are abstracted into special compositions. The second type uncommon (B1.2.2) refers to mammals other than those in the popular type (B1.2.1). Since they are seldom found in the Chinese landscape, it is very difficult to specify and categorize them. Therefore, they are represented by a generalized shape combination which includes a triangle (head) and a rectangle (body).
- B1.1. Birds - - B1.1.1. Flying
Shen, Zhou. Shan shui juan [The landscape]. Ming Dynasty. Source: TCML: SE, p. 245.
Yuan, Ji. Xie du fu shi yi tu [Description of the impression of Du Fu’s poem], Qing Dynasty. Source: TCML: SE, p. 246.
Yu, Zhiding. Zhou yi xiang. Qing Dynasty. Source: TCML: SE, p. 247.
- - B1.1.2. Sitting on the ground or in the water
Wang, Jian. Shan shui ce [The landscape]. Qing Dynasty. Source: SE,Standing p. 246. - -TCML: B1.1.3.
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Ma, Yuan. Ducks playing in the water below overhanging blossoming plum trees. Song Dynasty. Source: CPLMPI, pl. 288.
Jin, Tingbiao. Wen xi tu [The Happiness]. Qing Dynasty. Source: TCML: SE, p. 247.
Fang, Shishu. Winter scene of a garden with a crane and leafless willows. 1733. Source: CPLMPII, pl. 436.
- B1.2. Mammals - - B1.2.1. Popular Note: Since the three types of popular mammals are mainly differentiated by representations of the head (including ears and horns), abstract shapes of their head and horns or ears are used to symbolize them. - - - B1.2.1.1. Deer Note: Two oblique lines are used to stand for the horns and one triangle for the head.
Zhang, Kongsun. Shan shui tu [The landscape]. Yuan Dynasty. Source: TCML: SE, p. 241.
Anonymous. Deer in a mountain landscape. 15th century. Source: http://www.mythinglinks.org/asia.html [accessed 5/7/06.]
- - - B1.2.1.2. Donkey/Horse Note: Two oblique lines are used to stand for the ears and one ellipse for the head.
Anonymous. Shan shui [The landscape]. Yuan Dynasty. Source: TCML: SE, p. 241.
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Chen, Zuyan. Shi yi tu [The impression of the poem]. Yuan Dynasty. Source: TCML: SE, p. 241.
Shu, Liupen. Gan lu tu [Herding the donkey]. Qing Dynasty. Source: TCML: SE, p. 243.
- - - B1.2.1.3. Water Buffalo Note: Two curves are used to stand for the horns and one triangle for the head.
Wang, Cui. Qiu lin tu [The forest in the fall]. Qing Dynasty. Source: TCML: SE, p. 242.
Su, Liupeng. Fang niu tu [Herding the water buffalo]. Qing Dynasty. Source: TCML: SE, p. 244.
- - B1.2.2. Uncommon* (* currently, we cannot find additional examples for this subcategory.)
Liu, Guandao. Yuan shi zu chu lie [The Yuan Emperor goes hunting]. Yuan Dynasty. Source: TCML: SE, p. 240.
B2. Architecture SN: This category includes four main subcategories, i.e. bridges, houses, pavilions, and pagodas. The bridges subcategory (B2.1) is classified into two types, namely arch bridges (B2.1.1) and beam bridges (B2.1.2), according to the shape of the bridge deck. A bridge is abstracted into a combination of a rainbow shape (‘arch’)/a rectangle (‘beam’) standing for the bridge deck and two vertical rectangles for all bridge piers. 18
The house subcategory (B2.2) consists of two types according to the number of stories: multi-storied (B2.2.1) and single-storied (B2.2.2). A trapezoid is used to stand for the roof and a rectangle for the house frame. A pavilion (B2.3) is interpreted as composition of two basic shapes: a triangle symbolizing the roof and a rectangle representing the body. A pagoda (B2.4) is abstracted into a combination of a triangle standing for the top roof, two trapezoids for roofs in between, and three rectangles for story frames. - B2.1. Bridges - - B2.1.1. Arch
Shen, Zhou. Xi shan gao yi tu [The leisure in the valley]. Ming Dynasty. Source: TCML: SE, p. 161.
Wang, Jian. Yan fu yuan xiu tu. Qing Dynasty. Source: TCML: SE, p. 173.
Anonymous. Shan shui tu [The landscape]. Song Dynasty. Source: TCML: SE, p. 153.
- - B2.1.2. Beam
Li, Tang. Qing xi yu yin tu [The recluse in the mountain]. Song Dynasty. Source: TCML: SE, p. 151.
Wang, Hui. Gu mu qi feng [The old tree and odd peak]. Qing Dynasty. Source: TCML: SE, p. 170.
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Shen, Zhou. Xi shan gao yi tu [The leisure in the valley]. Ming Dynasty. Source: TCML: SE, p. 162.
- B2.2. Houses - - B2.2.1. Multi-storied
Zhao, Mengfu. Lin wang wei wang chuan tu. Yuan Dynasty. Source: TCML: SE, p. 75.
Wang, Zhengpeng. Xian ge ling xu. Yuan Dynasty. Source: TCML: SE, p. 84.
- - B2.2.2. Single-storied
Zhao, Ji. Xi shan chun xiao [The morning in the spring in the mountain]. Song Dynasty. Source: TCML: SE, p. 100.
Hui, Chong. Xi Shan Chun Xiao [The morning in the spring in the mountain]. Song Dynasty. Source: TCML: SE, p. 100.
Huang, Gongwang. Shan jiu tu [Living in the mountain]. Yuan Dynasty. Source: TCML: SE, p. 106.
Shen, Zhou. Ao ni zan shan shui [Looking at the landscape]. Ming Dynasty. Source: TCML: SE, p. 141.
Shen, Zhou. Qiu jing shan shui [The landscape in the fall]. Ming Dynasty. Source: TCML: SE, p. 141.
- B2.3. Pavilions
Kun, Can. Shui ge guan shu [Reading in the pavillion]. Qing Dynasty. Source: TCML: SE, p. 127. 20
- B2.4. Pagodas
Shen, Zhou. Hu qiu shi er jing tu [The twelve scenes in the Tiger Hill]. Ming Dynasty. Source: TCML: SE, p. 89.
Lu, Zhi. Xue hou fang mei tu [Enjoying the prune tree after the snow]. Ming Dynasty. Source: TCML: SE, p. 91.
Yuan, Shangtong. Shan shui tu [The landscape]. Ming Dynasty. Source: TCML: SE, p. 92.
B3. Person SN: This category refers to all kinds of person(s) in motion (B3.1) and various positions (B3.2). The first subcategory includes bending (B3.1.1) and walking (B3.1.2). The second subcategory is divided into three types: lying down (B3.2.1), sitting (B3.2.2), and standing (B3.2.3). The sitting category is further divided according to the face orientation. A single person is interpreted as composition of two basic shapes, namely a circle standing for the head, and a rectangle or triangle for the body. Use the rectangle when the body is stretching (vertically or horizontally). Otherwise, use the triangle. - B3.1. In motion - - B3.1.1. Bending
Chen Bangxuan. Lu yin wei qi tu [The game of Go under the shade of the trees]. Qing Dynasty. Source: TCML: SE, p. 60.
- - B3.1.2. Walking
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Zhang, Zheduan. Qing ming shang he tu [Life along the River on the Qingming Festival]. Song Dynasty. Source: TCML: SE, p. 4.
Wu, Wei. Fisherman working with nets and crab-pots (Section from a handscroll). Ming Dynasty. Source: CPLMPII, pl. 154.
Shen, Zhou. Shan shui ce [The landscape]. Ming Dynasty. Source: TCML: SE, p. 19.
Dai, Jin. Chun shan ji cui [Spring Mountain]. Ming Dynasty. Source: TCML: SE, p. 14.
Yuan, Ji. Jin ling huai gu ce [The cherish of the memory of the past in jin ling]. Qing Dynasty. Source: TCML: SE, p. 31.
- B3.2. In various positions - - B3.2.1. Lying down
Li, Jian. Shu lin yin tiao tu [Reading and looking into the distance in the forest]. Qing Dynasty. Source: TCML: SE, p. 42.
Followers of Ma Yuan. A man lying in a boat. Song Dynasty. Source: CPLMPI, pl. 295.
- - B3.2.2. Sitting - - - B3.2.2.1. Facing front
Sheng, Mao. Qiu ge qing xiao tu [Playing the flute on the boat in the fall]. Yuan Dynasty. Source: TCML: SE, p. 11.
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Zhang, Kongsun. Shan shui [The landscape]. Yuan Dynasty. Source: TCML: SE, p. 11.
Xu, Gu. Yi chui san bai bei tu.. Qing Dynasty. Source: TCML: SE, p. 41.
- - - B3.2.2.2. Facing left
Anonymous. Shan shui [The landscape]. Song Dynasty. Source: TCML: SE, p. 7.
Shen, Zhou. Wo you ce [Feeling calm]. Ming Dynasty. Source: TCML: SE, p. 18.
Shen, Zhou. Shan shui juan [The landscape]. Ming Dynasty. Source: TCML: SE, p. 19.
- - - B3.2.2.3. Facing right
Ren, Renfa. Heng qin gao shi tu [A literati playing the instrument qin]. Yuan Dynasty. Source: TCML: SE, p. 10.
Wang, Meng. Xia shan gao yin tu live in obscurity [Living in obscurity in the mountain during the summer]. Yuan Dynasty. Source: TCML: SE, p. 12.
Shen, Zhou. Shan shui juan [The landscape]. Ming Dynasty. Source: TCML: SE, p. 19.
- - B3.2.3. Standing
Wang, Wen. Shan shui tu [The landscape]. Ming Dynasty. Source: TCML: SE, p. 27.
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Anonymous. Qiu dong shan shui tu [The landscape in the fall and winter]. Song Dynasty. Source: TCML: SE, p. 9.
Zhang, Zheduan. Qing ming shang he tu [Life along the River on the Qingming Festival]. Song Dynasty. Source: TCML: SE, p. 4.
B4. Transportation Facilities SN: This category consists of two main subcategories: boats (B4.1) and carriages (B4.2). The boats subcategory (B4.1) includes five types according to their various forms: canoes, dragon boat, fishing boat, passenger ship, and sailing boat. The canoe (B4.1.1) is interpreted as one semi-ellipse standing for the body. The dragon boat (B4.1.2) is unique to Chinese and interpreted as a U shape. The fishing boat (B4.1.3), usually with an oval canopy, is represented by a combination of a smaller semi-ellipse (‘canopy’) and a bigger inverted semi-ellipse (‘body’). The passenger ship (B4.1.4), commonly with a rectangular canopy, is interpreted as one semi-ellipse standing for the body and one rectangle for the canopy. The sailing boat (B4.1.5) is divided into two varieties according to forms of its sail, i.e. trapezoid sail and triangle sail. Therefore, a sailing boat is abstracted into a combination of a trapezoid/triangle standing for the sail and semi-ellipse circle for the body. A carriage (B4.2) is symbolized by a combination of a circle standing for wheels and rectangle for the body. - B4.1. Boat - - B4.1.1. Canoe
Xiao, Zhao. Qiu shan hong shu tu [The mountain and red leaves in the fall]. Song Dynasty. Source: TCML: SE, p. 199.
Ma, Lin. He Xiang xiao xia tu [The fragracet of the lotus in the summer]. Song Dynasty. Source: TCML: SE, p. 200.
Wu, Yuanzhi. Chi bi tu [Landscape of the Red Cliff]. Song Dynasty. Source: TCML: SE, p. 201.
- - B4.1.2. Dragon boat
Wang, Zhenpeng. Long chi jing du tu [The dragon boat contest]. Yuan Dynasty. Source: TCML: SE, p. 189. 24
Anonymous. Long zhou jing du tu [dragon boat contest]. Song Dynasty. Source: TCML: CO, p. 28.
- - B4.1.3. Fishing boat
Wu, Zhen. Yu fu tu [The fisher]. Yuan Dynasty. Source: TCML: SE, p. 224.
Wang Fu. Parting of friends on a riverbank.1404. Source: CPLMPII, pl. 130.
- - B4.1.4. Passenger ship
Ma, Lin. He xiang xiao xia tu [The fragrance of the lotus in the summer]. Song Dynasty. Source: TCML: SE, p. 186.
Shen, Zhou. Hu qiu tu ce [The Tiger Hill]. Ming Dynasty. Source: TCML: SE, p. 189.
Chen, Hongshou. A weeping willow by a pavilion on a riverbank. Ming Dynasty. Source: CPLMPII, pl. 316.
- - B4.1.5. Sailing boat - - - B4.1.5.1. Trapezoid sail
Chen, Hongshou. Yuan pu gui fan [The return from the far shore]. Ming Dynasty. Source: TCML: SE, p. 194.
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Shi ,Tao. A small sailing boat on the Qinhuai River. Qing Dynasty. Source: CPLMPII, pl. 395.
- - - B4.1.5.2 Triangle sail
Xia, Gui. Xu shan wu jin [The endless mountain]. Song Dynasty. Source: TCML: SE, p. 191.
Wang, Yuan. Song ting hui you [Meeting friends in the pavillion ]. Yuan Dynasty. Source: TCML: SE, p. 192. Anonymous. Chun jiang fan bao tu [Sailing boats in the Spring river]. Song Dynasty. Source: TCML: CO, p. 164.
- B4.2. Carriage
Zhu, Rei. Xue jian pan che tu [Driving the carriage in the snow]. Song Dynasty. Source: TCML: SE, p. 237.
Zhu, Rei. Xue jian pan che tu [Driving the carriage in the snow]. Song Dynasty. Source: TCML: SE, p. 237.
Zhu, Rei. Xue jian pan che tu [Driving the carriage in the snow]. Song Dynasty. Source: TCML: SE, p. 237.
Part II Composition Templates SN: This part consists of 14 composition templates that are commonly applied to the Chinese landscape. Based on overall layout of objects in the Chinese landscape, the composition templates are classified into two main categories, namely fully filled (C1.) and one part (C2.).
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A Chinese landscape in the ‘fully filled’ (C1) framework represents objects all over the rice paper or silk. In terms of spatial relationships between objects, this category is further divided into two subcategories, i.e. non-symmetrical (C1.1) and symmetrical (C1.2). The non-symmetrical subcategory includes four types, namely extended (C1.1.1), fragmented (C1.1.2), vertically superimposed (C1.1.3), and zigzagged (C1.1.4). The extended type is further classified into two varieties: horizontally extended (C1.1.1.1) and vertically extended (C1.1.1.2). According to the orientation of balanced parts, the symmetrical subcategory consists of three types: bilateral (C1.2.1), diagonal (C1.2.2), and up and down (C1.2.3). A Chinese landscape in the ‘one part’ (C2) framework represents objects in a certain part of the rice paper or silk. In terms of various locations of a certain part in the paper or silk, this category contains six subcategories: center (C2.1), left (C2.2), lower (C2.3), lower left (C2.4), lower right (C2.5), and right (C2.6). To clearly demonstrate the composition, all objects in the landscape are abstracted into rectangles or lines.
C1. Fully filled - C1.1. Non-symmetrical - - C1.1.1. Extended - - - C1.1.1.1. Horizontally
Error!
Yuan, Ji. Liang yue gu peng [The isolated fleabane under the moon]. Qing Dynasty. Source: TCML: CM, p. 28.
Anonymous. Han ya tu [The winter crow]. Song Dynasty. Source: TCML: CM, p. 19.
Ni, Zan. Shan shui tu [The landscape]. Yuan Dynasty. Source: TCML: CM, p. 20.
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- - - C1.1.1.2 Vertically
Wen, Zhengming. Xiao xiang ye yu tu [The night rains]. Ming Dynasty. Source: TCML: CM, p. 21.
Dong, Qichang. Qiu xiang ba jing tu [The eight scenes in the fall]. Ming Dynasty. Source: TCML: CM, p. 23. Dong, Qichang. Gao yi tu [The leisure]. Ming Dynasty. Source: TCML: CM, p. 22.
- - C1.1.2. Fragmented Note: Objects are spread all over the painting without evident spatial relationships between one another.
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Yuan, Ji. Shan shui ce [The landscape]. Qing Dynasty. Source: TCML: CM, p. 127.
Bada Shanren. Shun shui tu [The water and forest]. Qing Dynasty. Source: TCML: CM, p. 126.
Wen, Jia. Qiu tang hong ou [The pond and red lotus root in the fall]. Dynasty. Source: TCML: CM, p. 122.
- - C1.1.3. Vertically superimposed Note: Objects are usually lofty and vertically superimposed.
Hong, Ren. Xi yuan zuo yu tu. Qing Dynasty. Source: TCML: CM, p. 14. 29
Ma, Wan. Xue gang du guan tu. Yuan Dynasty. Source: TCML: CM, p. 12.
Fan, Kuan. Xue shan xiao si tu [The temple in the snow mounain]. Song Dynasty. Source: TCML: CM, p. 4.
- - C1.1.4. Zigzagged Note: Objects are arranged in a zigzag route.
Wang, Cui. Shan shui tu [The landscape]. Qing Dynasty. Source: TCML: CM, p. 117.
Kun, Can. Xi xhan diao ting tu [The fishing boat in the valley]. Qing Dynasty. Source: TCML: CM, p. 111.
Yuan, Ji. Shan shui ce [The landscape]. Qing Dynasty. Source: TCML: CM, p. 114.
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- C1.2. Symmetrical - - C1.2.1. Bilateral
Yuan, Ji. Shan shui tu ce [The landscape]. Qing Dynasty. Source: TCML: CM, p. 101.
Hong, Ren. Huang shan tu ce [The Huang Mountain]. Qing Dynasty. Source: TCML: CM, p. 96.
Gong, Xian. Shan shui tu ce [The landscape]. Qing Dynasty. Source: TCML: CM, p. 97.
- - C1.2.2. Diagonal
or
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Huan, Ding. Shan shui tu [The landscape]. Qing Dynasty. Source: TCML: CM，p. 69.
Hu, Yukun. Jin Ling Huai Gu [The cherish of the memory of the past in Jin Ling]. Qing Dynasty. Source: TCML: CM, p. 68.
Gu, Daishen. Shan shui tu ce [The landscape]. Qing Dynasty. Source: TCML: CM, p. 100.
- - C1.2.3. Up and down
Wu, Hong. Shan shui tu ce [The landscape]. Ming Dynasty. Source: TCML: CM, p. 93.
Qian, Du. Xian huo luo zhou tu [The canoes in the valley]. Qing Dynasty. Source: TCML: CM, p. 62. Yuan, Ji. Fu chun yi jiao tu [One corner in the spring]. Qing Dynasty. Source: TCML: CM, p. 102.
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C2. One part - C2.1. Center
Qin, Bingwen. Shan shui tu [The landscape]. Qing Dynasty. Source: TCML: CM, p. 59.
Wang, Duo. Shan shui tu [The landscape]. Qing Dynasty. Source: TCML: CM, p. 53.
- C2.2. Left
Zhang, Hong. Shi hu qiu ji [The clear view of the stone and lake after raining in the Fall]. Ming Dynasty. Source: TCML: CM, p. 82.
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Shen, Hao. Shan shui tu ce [The landscape]. Ming Dynasty. Source: TCML: CM, p. 83.
- C2.3. Lower
Hong, Ren. Huang shan tu ce [The Huang Mountain]. Qing Dynasty. Source: TCML: CM, p. 35.
Hu, Yukun. Jin ling huai gu [The cherish of the memory of the past in Jin Ling]. Qing Dynasty.Source: TCML: CM, p. 37.
Jia, Shigu. Yan guan gu si tu [The old temple]. Song Dynasty. Source: TCML: CM p. 71.
Gu, Sashen. Shan shui tu ce [The landscape]. Qing Dynasty. Source: TCML: CM, p. 85.
- C2.4. Lower left
- C2.5 Lower right
Anonymous. Shan shui Tu [The landscape]. Song Dynasty.Source: TCML: CM, p. 76.
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Anonymous. Shan shui tu [The landscape]. Song Dynasty.Source: TCML: CM, p. 75.
Anonymous. Shan shui tu [The landscape]. Song Dynasty. Source: TCML: CM, p. 74.
- C2.6. Right
Tang, Yin. Luo xia gu wu tu [The single duck in the sunset]. Ming Dynasty. Source: TCML: CM, p. 79.
Lu, Zhi. Shan shui tu [The landscape]. Ming Dynasty. Source: TCML: CM, p. 78.
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Wen, Jia. Shi hu qiu se [The stone and lake in the fall]. Ming Dynasty. Source: TCML: CM, p. 80.
Thesaurus Test We randomly select four Chinese landscapes dated to different time periods to test feasibility and effectiveness of our thesaurus when applied to the image indexing and retrieval. a) Indexing Sample 1 Song. Qu, Ding (attributed). Summer mountains. 11th century. Source: Metropolitan Museum of Art, New York. http://www.metmuseum.org/Works_ of_Art/viewOnezoom.asp?dep=6&zo omFlag=0&viewmode=0&item=197 3%2E120%2E1 [accessed 5/5/06.]
This Song landscape consists of A. primary elements (mainly peaks and crags in the distance and close view, pine trees, and river.) and B. secondary elements (specifically sailing boats). The counterparts in the thesaurus are:
- - - A2.1.1.2 Isolated (distant crags) - - -A2.1.2.1 Adjacent (distant peaks) - - - -A2.1.2.2.1 horizontally (isolated distant peaks)
- - - - A2.1.2.2.2 vertically (isolated distant peaks)
- - - A2.2.1.2 Isolated (close crags) - - -A2.2.2.1 Adjacent (close peaks) - - - -A2.2.2.2.1 horizontally (isolated close peaks) - - - - A2.2.2.2.2 vertically (isolated close peaks)
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- - -A4.3.1.2 Pine trees - A5.1 Non-Waterfalls - - - B4.1.5.2 Triangle sail (sailing boat)
The composition of this Song landscape corresponds to C1.1.1.1 fully-filled, non-symmetrical, and horizontally extended.
, namely
Sample 2 Yuan. Wu, Zhen. Fisherman. 1341. Source: Freer Gallery of Art, Washington DC. http://www.asia.si.edu/colle ctions/singleObject.cfm?Obj ectId=10144 [accessed 5/5/06]
This Yuan landscape is composed of A. primary elements (particularly distant peaks, rocks, and river) and B. secondary elements (fishing boat and fisherman). The counterparts in the thesaurus are: - - -A2.1.2.1 Adjacent (distant peaks) - - - -A2.1.2.2.1 horizontally (isolated distant peaks)
- - - - A2.1.2.2.2 vertically (isolated distant peaks) - - A3.1.1 Horizontal (ellipse rocks) -A3.4 Rectangle (rocks) - A5.1 Non-Waterfalls - - - B3.2.2.1. Facing front (sitting persons) - - B4.1.3. Fishing boat
The composition of this Yuan landscape conforms to C1.1.2. non-symmetrical, and fragmented.
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, i.e. fully-filled,
Sample 3 Ming Jiang, Song. Taking a lute to visit a friend. c. 1500 AD. Source: Compass, The British Museum http://www.thebritishmuseum.ac.uk/compass/ixbin/ hixclient.exe?_IXDB_=compass&_IXFIRST_=1&_ IXMAXHITS_=1&_IXSPFX_=graphical/full/&$+ with+all_unique_id_index+is+$=OBJ2095&submit -button=summary [accessed 5/2/06]
This Ming landscape contains: A. primary elements (especially clouds, distant crags, pine trees, and rocks) and B. secondary elements (a bridge and figures). The counterparts in the thesaurus are: - A1.2. Without Contours (clouds)
- - -A2.1.1.1 Adjacent (distant crags)
- - - A2.1.1.2 Isolated (distant crags) - - -A4.3.1.2 Pine trees -A3.2 Irregular polygon - - B2.1.2. Beam (bridges)
- - B3.1.1. Bending (persons)
- - B3.1.2. Walking
The composition of this Ming landscape follows C1.1.1.2 symmetrical, and vertically extended. 38
: fully filled, non-
Sample 4 Qing. Wang, Yuanqi. Fang gao fangshan yun shan tu [Clouds and Mountains after Gao Fangshan]. c. 1697. Source: Yi Shu Bo Lan, Da Ji Yuan Wen Hua Wang (Art Museum, The Era Cultural Net) http://www.epochtimes.com/b5/3/5/9/c12780.htm [accessed 5/2/06]
This Qing landscape includes: A. primary elements (especially clouds, distant crags and peaks, rocks, grass, reeds, pine tree, willows, other trees, and waterfalls) and B. secondary elements (bridges, houses and pavilions). The counterparts in the thesaurus are: - A1.2. Without Contours (clouds)
- - - A2.1.1.2 Isolated (distant crags) - - -A2.1.2.1 Adjacent (distant peaks) - - - -A2.1.2.2.1 horizontally (isolated distant peaks)
- - - - A2.1.2.2.2 vertically (isolated distant peaks) -A3.2 Irregular polygon -A4.1 Grass -A4.2 Reeds
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- - -A4.3.1.2 Pine trees
- - -A4.3.1.3 Willows - -A4.3.2 Uncommon - A5.2 Waterfalls - - B2.1.1. Arch (bridges) - - B2.2.2. Single-storied (houses) - B2.3. Pavilions The composition of this Qing landscape is typical of C1.1.4 non-symmetrical, and zigzagged.
, namely fully filled,
b) Retrieval Apparently, all these landscapes will be equipped with multiple access points once they are indexed on the basis of the thesaurus. Therefore, they can be easily retrieved by applying any of the above shape(s) and/or composition templates in a CBIR system that adopts the thesaurus.
Summary and Future Work In this paper, we develop a shape-and-composition CBIR thesaurus for the traditional Chinese landscape dated from the Song to Qing periods (960-1911). Development of the thesaurus is based on visual features of Chinese landscapes, such as less complexity of forms and textures, a few colors, a certain number of object types, varieties and composition structures, etc. In the thesaurus we adopt not only basic shapes (circle, triangle, rectangle, etc.) like the current CBIR systems but also lines and shape combinations. Further, we develop special shapes to symbolize object types with unique forms. By emphasizing discrimination between object types in the thesaurus, we aim to improve recall of relevant images. At the end of this paper we test four randomly selected Chinese landscapes from different time periods to examine practicability and effectiveness of the thesaurus. The results demonstrate the thesaurus can be very feasible and useful for content-based indexing and retrieval of the Chinese landscape. For the future research, we may need to process a larger number of sample paintings to get a complete list of shape and composition abstractions for the Chinese landscape (such as abstractions for other possible popular species of trees and animals, etc.). Because of the limited resources and time, we have only analyzed a relatively small portion of Chinese landscape paintings for feature extraction. Besides, some
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computing algorithm and techniques may need to be developed to automatically process the feature extraction. Furthermore, we may consider incorporating color and texture into the thesaurus so as to make it more solid and effective for a CBIR system. Currently, the thesaurus does not include color and texture features because of their complex algorithm and computer processing, as well as the limit of time and our knowledge.
References Deb, Sagarmay, ed. Multimedia Systems and Content-based Image Retrieval. Hershey, PA: Idea Group Publishing, 2004. Jörgensen, Corinne. “Access to Pictorial Material: A Review of Current Research and Future Prospects.” Computers and the Humanities (1999) no.33: 293-318. Lu, Fushen and Shen, Mingquan, et al. Zhongguo hua li dai ming jia ji fa tu pu, shan shui bian (The Techniques of Chinese Masterpieces, Landscapes). 8 vols. Shanghai: shanghai shu hua chubanshe, 1990. Siren, Osvald. Chinese Painting: Leading Masters and Principles, Part I: The First Millennium. New York: Hacker Art Books, 1973. ----------------. Chinese Painting: Leading Masters and Principles, Part II: The Later Centuries. New York: Hacker Art Books, 1973. Wu, Yangmu. The Techniques of Chinese Painting. London: The Herbert Press, 1990. Yu, Feian. Chinese Painting Colors: Studies of Their Preparation and Application in Traditional and Modern Times. Seattle: University of Washington Press, 1988. Yang, Christopher C. “Content-Based Image Retrieval: A Comparison between Query by Example and Image Browsing Map Approaches.” Journal of Information Science 30 (2004) no.3: 254-267. Zhang, Danging, B. Pham and Li, Yuefeng Li. “Modeling Traditional Chinese Paintings for Content-Based Image Classification and Retrieval.” Proceedings of the 10th International Multimedia Modeling Conference (MMM’04): 258-64.
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Appendix: CBIR Thesaurus for Chinese Landscapes (Abstractions only) Part I Shapes and Lines
A. Primary Elements A1. Clouds - A1.1. With Contours
- A1.2. Without Contours
A2. Mountains - A2.1. Distant Mountains - - A2.1.1 Crags
- - -A2.1.1.1 Adjacent
- - - A2.1.1.2 Isolated
- - A2.1.2 Peaks - - -A2.1.2.1 Adjacent - - -A2.1.2.2 Isolated - - - -A2.1.2.2.1 horizontally
- - - - A2.1.2.2.2 vertically
- A2.2. Mountains in a Close View - - A2.2.1 Crags 42
- - -A2.2.1.1 Adjacent
- - - A2.2.1.2 Isolated - - A2.2.2 Peaks - - -A2.2.2.1 Adjacent - - -A2.2.2.2 Isolated - - - -A2.2.2.2.1 horizontally
- - - - A2.2.2.2.2 vertically
A3. Rocks -A3.1 Ellipse - - A3.1.1 Horizontal - - A3.1.2 Vertical
-A3.2 Irregular polygon -A3.3 Linglong (pierced and rounded irregular polygon) -A3.4 Rectangle
A4. Plants -A4.1 Grass
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-A4.2 Reeds -A4.3 Trees - -A4.3.1 Popular - - - A4.3.1.1 Bamboos - - -A4.3.1.2 Pine trees
- - -A4.3.1.3 Willows
- -A4.3.2 Uncommon
A5. Water - A5.1 Non-Waterfalls
- A5.2 Waterfalls
B. Secondary Elements B1. Animals - B1.1. Birds - - B1.1.1. Flying - - B1.1.2. Sitting on the ground or in the water
- - B1.1.3. Standing
- B1.2. Mammals
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- - B1.2.1. Popular
- - - B1.2.1.1. Deer - - - B1.2.1.2. Donkey/Horse
- - - B1.2.1.3. Water Buffalo - - B1.2.2. Uncommon
B2. Architecture - B2.1. Bridges
- - B2.1.1. Arch - - B2.1.2. Beam
- B2.2. Houses
- - B2.2.1. Multi-storied
- - B2.2.2. Single-storied - B2.3. Pavilions
- B2.4. Pagodas
B3. Person
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- B3.1. In motion - - B3.1.1. Bending
- - B3.1.2. Walking
- B3.2. In various positions
- - B3.2.1. Lying down - - B3.2.2. Sitting - - - B3.2.2.1. Facing front
- - - B3.2.2.2. Facing left
- - - B3.2.2.3. Facing right
- - B3.2.3. Standing
B4. Transportation Facilities - B4.1. Boat - - B4.1.1. Canoe
- - B4.1.2. Dragon boat
- - B4.1.3. Fishing boat
- - B4.1.4. Passenger ship
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- - B4.1.5. Sailing boat - - - B4.1.5.1. Trapezoid sail
- - - B4.1.5.2 Triangle sail
- B4.2. Carriage
Part II Composition Templates
C1. Fully filled - C1.1. Non-symmetrical - - C1.1.1. Extended - - - C1.1.1.1. Horizontally
- - - C1.1.1.2 Vertically
- - C1.1.2. Fragmented
- - C1.1.3. Vertically superimposed
- - C1.1.4. Zigzagged
- C1.2. Symmetrical
- - C1.2.1. Bilateral
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- - C1.2.2. Diagonal
- - C1.2.3. Up and down
C2. One part
- C2.1. Center
- C2.2. Left
- C2.3. Lower
- C2.4. Lower left
- C2.5 Lower right
- C2.6. Right
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or
