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Art historian James Francis Cahill noted the contrast to later landscape paintings which depicts fishing as a more leisurely activity. [3] The textures of the trees are bold and twisted, with the trunks utilizing washes and dry strokes to emphasize lighting and volume, and in addition, the reeds are shown with flicks of the brush. [2]
Li Cheng (Chinese: 李成; pinyin: Lǐ Chéng; Wade–Giles: Li Ch'eng; 919–967), courtesy name Xiánxī (咸熙), was a Chinese painter of the Song dynasty. He was influenced by Jing Hao and Juran. Li Cheng, Fan Kuan, and Guan Tong became known as the "three great rival artists".
The arts of China (simplified Chinese: 中国艺术; traditional Chinese: 中國藝術) have varied throughout its ancient history, divided into periods by the ruling dynasties of China and changing technology, but still containing a high degree of continuity. Different forms of art have been influenced by great philosophers, teachers ...
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 Admonitions Scroll is a Chinese narrative painting on silk that is traditionally ascribed to Gu Kaizhi (ca. 345 – ca. 406), but which modern scholarship regards as a 5th to 8th century work that may or may not be a copy of an original Jin dynasty (266–420) court painting by Gu.
The Southern School (Chinese: 南宗画; pinyin: nán zōng huà) of Chinese painting, often called "literati painting" (文人画; wén rén huà), is a term used to denote art and artists which stand in opposition to the formal Northern School (北宗画; běi zōng huà) of painting. The distinction is not geographic, but relates to the ...
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At a time when Chinese art in the Mao period, particularly during the Cultural Revolution, turned into pure political propaganda, and normal self-expression and "art for art's sake" practice were forbidden both in institutional settings and for individual artists, the Wuming staged their own rebellion by painting non-political subjects on small ...