Search results
Results from the WOW.Com Content Network
Freehand brush work is a genre of Chinese traditional painting which includes poem, calligraphy, painting and seal. In Chinese called Hsieh yi (traditional Chinese: 寫意; simplified Chinese: 写意; pinyin: Xiěyì), which literally means "writing ideas". [1] It was formed in a long period of artistic activities and promoted by the literati.
Starting in the mid-twentieth century, artists begin to combine traditional Chinese painting techniques with Western art styles, leading to the style of new contemporary Chinese art. One of the representative artists is Wei Dong who drew inspirations from eastern and western sources to express national pride and arrive at personal actualization ...
Mogu (Chinese: 沒骨) is a painting skill or technique in traditional Chinese painting. It literally means "boneless". [1] In these paintings, forms are made by ink and color washes rather than by outlines. [1]
Shan shui painting is a kind of painting which goes against the common definition of what a painting is. Shan shui painting refutes color, light and shadow and personal brush work. Shan shui painting is not an open window for the viewer's eye, it is an object for the viewer's mind. Shan shui painting is more like a vehicle of philosophy. [6]
Before the creation of the book, Chinese art-related works mainly focused on appreciation and cataloging, such as Gu Kaizhi's (顾恺之) On Painting and Xie He's (谢赫) Classified Record of Ancient Paintings. Zhang Yanyuan thus pioneered Chinese art history by being the first to document painters in a chronological format.
Wuxing painting is a style of Chinese painting that draws inspiration from the philosophical concept of the "five phases/elements" . Specifically, it combines the use of Chinese freehand brush work techniques and the metaphysics of the five wuxing elements. [ 1 ]
Ambassador from Persia (波斯國), visiting the court of the Tang dynasty. The Gathering of Kings (王会图), circa 650 CE. The Portraits of Periodical Offering (simplified Chinese: 职贡图; traditional Chinese: 職貢圖; pinyin: Zhígòngtú) were tributary documentative paintings (with illustration on each of the portrait) produced by various Chinese dynasties and later as well in other ...
Guan Liang was born in Panyu, Guangdong province in 1900. In 1917 he went to Tokyo, Japan, where he studied oil painting under Fujishima Takeji. [4] After returning to China in 1922, he taught at the Shanghai Fine Arts School and the National Academy of Art (present-day China Academy of Art) in Hangzhou.