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They are commonly depicted in bird-and-flower paintings, a broad category of classical Chinese art, and they are particularly popular subjects for ink wash painting. The Four Gentlemen are a recurring theme in art because of their long history as symbols of traditional Chinese virtues , such as uprightness, purity, humility, and perseverance ...
known for his paintings of monkeys Yin Zhaohui: 1977-ambiguous scenes of the human form Yuan Jiang: Yüan Chiang: 袁江: 袁江: Qing dynasty: Yuan Yao: Yüan Yao: 袁耀: 袁耀: Qing dynasty: Yun Bing: Yün Ping: 惲冰: 恽冰: 17th century: courtesy names Qingyu and Haoru Yun Shouping: Yün Shou-p'ing: 惲壽平: 恽寿平: 1633–1690 ...
Ink wash painting is usually done on rice paper (Chinese) or washi (Japanese paper) both of which are highly absorbent and unsized. Silk is also used in some forms of ink painting. [18] Many types of Xuan paper and washi do not lend themselves readily to a smooth wash the way watercolor paper does. Each brush stroke is visible, so any "wash" in ...
Bird-and-flower painting by Cai Han and Jin Xiaozhu, c. 17th century.. The huaniaohua is proper of 10th century China; and the most representative artists of this period are Huang Quan (哳㥳) (c. 900 – 965), who was an imperial painter for many years, and Xu Xi (徐熙) (937–975), who came from a prominent family but had never entered into officialdom.
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Ink is a significant tool used to create a freehand brush work, especially in Chinese paintings. Ink paintings are conducted with a liquid of pigments or dyes and then be applied to color a surface to create an image. This genre merely consists of two common colors: black and white varying in thickness of the ink, composition and padding.
The Four Masters of the Ming dynasty (Chinese: 明四家; pinyin: Míng Sì Jiā) are a traditional grouping in Chinese art history of four famous Chinese painters that lived during the Ming dynasty. The group consists of Shen Zhou (1427–1509), Wen Zhengming (1470–1559), Tang Yin (1470–1523), and Qiu Ying (c.1494–c.1552).
The ink bird-and-flower screen was one important concept during the Muromachi period (1336–1573) in the 14th century, which was popularized by Muqi with his triptych painting Guanyin, Crane, and Gibbons and his boneless style. The term "Muqi mode" was created in describing this boneless method of painting without a thin ink outline.