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129-544: Sichuan Fine Arts Institute has a history in the creation of art and research. Artwork has been created by the teachers at SFAI. In the 1950s and 1960s, the institute was symbolized by handcraft arts. In the 1970s, it was sculpture, especially the most famous group statues, the “Rent Collecting Courtyard”. In the 1980s, it was oil painting, such as SFAI's president Luo Zhongli's masterpiece "My Father”, etc. The institute enjoys prestige domestically and internationally. The artwork has contributed to contemporary Chinese art . Since

258-635: A Qin state tomb in Longxian (隴縣), Shaanxi, from about 700 BCE; and more numerous statuettes from around 5th century bronze musicians in a miniature house from Shaoxing (紹興) in Zhejiang ; a 4th-century human-shaped lamp stand from Pingshan (平山) county royal tomb, Hebei . The Taerpo horserider is a Zhou-era Warrior-State Qin terracotta figurine from a tomb in the Taerpo cemetery (塔兒坡墓) near Xianyang in Shaanxi , dated to

387-407: A "new national art." Xu Beihong ( 徐悲鴻 ; Hsü Pei-hung ; 19 July 1895 – 26 September 1953), also known as "Ju Péon", was a Chinese painter. He was primarily known for his Chinese ink paintings of horses and birds and was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century. He was also regarded as one of

516-671: A banquet or hunt; whilst others displayed abstract patterns inlaid with gold, silver, or precious and semiprecious stones. Bronze artifacts also have significant meaning and roles in the Han dynasty as well. People used them for funerary purposes which reflect the aesthetic and artistic qualities of the Han dynasty. Many bronze vessels excavated from tombs in Jiangsu Province, China, have various shapes like Ding, Hu, and Xun which represent traditional Chinese aesthete. These vessels are classical representations of Chinese celestial art forms which play

645-559: A brick wall of a tomb located near modern Nanjing and now found in the Shaanxi Provincial Museum. Each of the figures are labeled and shown either drinking, writing, or playing a musical instrument. Other tomb paintings also depict scenes of daily life, such as men plowing fields with teams of oxen. Following a transition under the Sui dynasty , Buddhist sculpture of the Tang evolved towards

774-583: A brilliant painter of the period. Shitao, born into the Ming dynasty imperial clan as "Zhu Ruoji" (朱若極) , was one Chinese landscape painter in early Qing dynasty (1644–1912). Eight Eccentrics of Yangzhou is the name for a group of eight Chinese painters active in the 18th century, who were known in the Qing dynasty for rejecting the orthodox ideas about painting in favor of a style deemed expressive and individualist. Xu Gu ( 虚谷 ; 虛谷 ; Xū Gǔ ; Hsü Ku , 1824–1896)

903-544: A clean stroke; it has great resistance to crease, corrosion, moth, and mold. Xuan paper has a special ink penetration effect, which is not readily available in paper made in Western countries. It was first mentioned in ancient Chinese books Notes of Past Famous Paintings and New Book of Tang . It was originally produced in the Tang dynasty in Jing County , which was under the jurisdiction of Xuan Prefecture (Xuanzhou), hence

1032-563: A few artists, including the Japanese master Sesshū , continued Xia's tradition for hundreds of years, until the early 17th century. Liang Kai ( 梁楷 ; Liáng Kǎi ; c.  1140–1210 ) was a Chinese painter of the Southern Song dynasty. He was also known as "Madman Liang" because of his very informal pictures. His ink wash painting style has a huge influence on East Asia, especially Japan. Yan Hui ( 颜辉 ; 顏輝 ; Yán Huī ; Yen Hui );

1161-533: A few drops of water on an inkstone and grinds the inkstick in a circular motion until a smooth, black ink of the desired concentration is made. Prepared liquid inks vary in viscosity, solubility, concentration, etc., but are in general more suitable for practicing Chinese calligraphy than executing paintings. Inksticks themselves are sometimes ornately decorated with landscapes or flowers in bas-relief and some are highlighted with gold. Paper (Chinese: traditional 紙 , simplified 纸 ; Pinyin: zhǐ )

1290-494: A few of his works survive, but he is generally considered one of China's greatest artists. He continued the tradition of Li Tang , further simplifying the earlier Song style to achieve a more immediate, striking effect. Together with Ma Yuan , he founded the so-called Ma-Xia ( 馬夏 ) school, one of the most important of the period. Although Xia was popular during his lifetime, his reputation suffered after his death, together with that of all Southern Song academy painters. Nevertheless,

1419-569: A freer, more expressive Southern School ( 南宗画 or 南画 ; Nanzonghua or Nanhua , Japanese: Nanshūga or Nanga ), also called "Literati Painting" ( 文人画 ; Wenrenhua , Japanese: Bunjinga ). Western scholars have written that before the Song dynasty, ink wash was primarily used for representation painting, while in the Yuan dynasty, expressive painting predominated. Chinese historical views have traditionally found it more appropriate to divide

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1548-419: A great influence on East Asian ink wash painting. Li Cheng was a Chinese painter of the Song dynasty. He was influenced by Jing Hao , Juran . Li Cheng has a profound impact on Japanese and Korean painters. Fan Kuan was a Chinese landscape painter of the Song dynasty. He has a profound impact on Japanese and Korean paintings. Guoxi was a Chinese landscape painter from Henan Province who lived during

1677-674: A great influence on the painting concept and practice of East Asian countries, including Japan and Korea. Four Wangs were four Chinese landscape painters in the 17th century, all called Wang (surname Wang). They are best known for their accomplishments in shan shui painting.They were Wang Shimin (1592–1680), Wang Jian (1598–1677), Wang Hui (1632–1717) and Wang Yuanqi (1642–1715). Bada Shanren ( 朱耷 ; zhū dā , born "Zhu Da"; c.  1626–1705 ), Shitao ( 石涛 ; 石濤 ; Shí Tāo ; Shih-t'ao ; other department "Yuan Ji" ( 原濟 ; 原济 ; Yuán Jì ), 1642–1707) and Eight Eccentrics of Yangzhou ( 扬州八怪 ; 揚州八怪 ; Yángzhoū Bā Guài ) are

1806-523: A great role in ancient Chinese's communication with spirits of their ancestors. Other than the vessels, bronze weapons, daily items, and musical instruments are also found in royal Han families' tomb in Jiangsu. Being able to put a full set of Bianzhong in ones tomb signifies his or her status and class in the Han dynasty since this particular type of instrument is only acquired and owned by royal and wealth families. Apparently, Bianzhong and music are also used as

1935-495: A major genre of Korean painting in the following Joseon dynasty as well. In Korea, the Dohwaseo or court academy was very important, and most major painters came from it, although the emphasis of the academy was on realistic decorative works and official portraits, so something of a break from this was required. However the high official and painter Gang Se-hwang and others championed amateur literati or seonbi painting in

2064-734: A markedly lifelike expression. As a consequence of the dynasty's openness to foreign trade and influences through the Silk Road , Tang dynasty Buddhist sculpture assumed a rather classical form, inspired by the Greco-Buddhist art of Central Asia. However, foreign influences came to be negatively perceived towards the end of the Tang dynasty. In the year 845, the Tang emperor Wuzong outlawed all "foreign" religions (including Nestorian Christianity, Zoroastrianism and Buddhism) in order to support indigenous Taoism . He confiscated Buddhist possessions and forced

2193-503: A media to convey or present a reflection of the past events. The bronze mirrors made in the Han dynasty always have complex decorations on their non-reflective side; some of them consist narratives that tell stories. The narratives themselves always reflect the common but essential theories to the Han people's lives. Terracotta statuettes had been known for a long time in China, but there are no known examples of monumental stone statuary before

2322-430: A pair of hollow-tile door panels from a Western Han dynasty tomb near Zhengzhou , dated 60 BCE. A scene of continuous depth recession is conveyed by the zigzag of lines representing roads and garden walls, giving the impression that one is looking down from the top of a hill. This artistic landscape scene was made by the repeated impression of standard stamps on the clay while it was still soft and not yet fired. However,

2451-552: A parody of this painting with a long, horizontal photograph of people in modern clothing making similar facial expressions, poses, and hand gestures as the original painting. With the fall of the Song dynasty in 1279, and the subsequent dislocation caused by the establishment of the Yuan dynasty by the Mongol conquerors, many court and literary artists retreated from social life, and returned to nature, through landscape paintings, and by renewing

2580-445: A path for the Han rulers to communication with their Gods. The excavation of Bianzhong, a typical and royal instrument found in ancient China, emphasizes the development of complex music systems in the Han dynasty. The set of Bianzhong can vary in many cases; for example, a specific excavation of Bianzhong from Jiangsu Province include different sets of bells, like Niuzhong and Yongzhong bells, and many of them appear in animal forms like

2709-516: A profound impact on Japanese and Southeast Asian paintings. Li Tang ( Chinese : 李唐 ; pinyin : Lǐ Táng ; Wade–Giles : Li T'ang , courtesy name Xigu ( Chinese : 晞古 ); c. 1050 – 1130) of the Northern School, especially Ma Yuan ( 馬遠 ; Mǎ Yuǎn ; Ma Yüan ; c.  1160–65 – 1225 ) and Xia Gui's ink wash painting modeling and techniques have a profound influence on Japanese and Korean ink wash paintings. Li Tang

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2838-480: A profound impact on Japanese and Southeast Asian paintings. Wang Wei ( 王維 ; 699–759), Zhang Zao ( 张璪 or 张藻 ) and Dong Yuan ( 董源 ; Dǒng Yuán ; Tung Yüan , Gan : dung3 ngion4 ; c.  934–962 ) are important representatives of early Chinese ink wash painting of the Southern School. Wang Wei was a Chinese poet, musician, painter, and politician during the Tang dynasty , 8th century. Wang Wei

2967-602: A subject over direct imitation . Ink wash painting flourished from the Song dynasty in China (960–1279) onwards, as well as in Japan after it was introduced by Zen Buddhist monks in the 14th century . Some Western scholars divide Chinese painting (including ink wash painting) into three periods: times of representation, times of expression, and historical Oriental art. Chinese scholars have their own views which may be different; they believe that contemporary Chinese ink wash paintings are

3096-498: A wooden stalk and a bamboo tube securing the bundle of hair to the stalk. Legend wrongly credits the invention of the ink brush to the later Qin general Meng Tian . Traces of a writing brush, however, were discovered on the Shang jades, and were suggested to be the grounds of the oracle bone script inscriptions. The writing brush entered a new stage of development in the Han dynasty . First,

3225-472: Is a type of Chinese ink brush painting which uses washes of black ink , such as that used in East Asian calligraphy , in different concentrations. It emerged during the Tang dynasty of China (618–907), and overturned earlier, more realistic techniques. It is typically monochrome , using only shades of black, with a great emphasis on virtuoso brushwork and conveying the perceived "spirit" or "essence" of

3354-612: Is also particularly associated with the Chán or Zen sect of Buddhism , which emphasizes "simplicity, spontaneity and self-expression", and Daoism , which emphasizes "spontaneity and harmony with nature," especially when compared with the less spiritually-oriented Confucianism . East Asian ink wash painting has long inspired modern artists in the West. In his classic book Composition , American artist and educator Arthur Wesley Dow (1857–1922) wrote this about ink wash painting: "The painter... put upon

3483-441: Is also used in some forms of ink painting. 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 the sense of Western style painting requires partially sized paper. Paper manufacturers today understand artists' demands for more versatile papers and work to produce kinds that are more flexible. If one uses traditional paper,

3612-424: Is characterized by finely worked, large ritual jades such as Cong cylinders, Bi discs, Yue axes and also pendants and decorations in the form of chiseled open-work plaques, plates and representations of small birds, turtles and fish. The Liangzhu Jade has a white, milky bone-like aspect due to its tremolite rock origin and influence of water-based fluids at the burial sites. The Bronze Age in China began with

3741-446: Is considered by Dong Qichang to be the most typical style of Southern School. Chinese ink wash painters such as Li Cheng ( 李成 ; Lǐ Chéng ; Li Ch'eng ; 919–967), Courtesy name Xiánxī ( 咸熙 ), Fan Kuan ( 范寬 ; Fàn Kuān ; Fan K'uan , c.  960–1030 ), courtesy name "Zhongli" and "Zhongzheng", better known by his pseudonym "Fan Kuan" and Guo Xi ( 郭熙 ; Guō Xī ; Kuo Hsi ) ( c.  1020–1090 ) had

3870-400: Is not only a traditional Chinese stationery device, but also an important tool of ink painting. It is a stone mortar used for the grinding and containment of ink . In addition to stones, inkstones can be made of clay, bronze, iron and porcelain. This device evolved from the friction tool used to rub dyes about six to seven thousand years ago. In Chinese painting , brush painting was one of

3999-518: Is often considered as a delivery of peace and harmony. During the Qin dynasty, Chinese font, measurement systems, currency were all standardized in order to bring further unification. The Great Wall of China was expanded as a defensive construction against the northern intruders. The Han dynasty was known for jade burial suits . One of the earliest known depictions of a landscape in Chinese art comes from

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4128-469: Is one of the important representatives of the Shanghai School. Wang Zhen ( 王震 ; Wang Chen ; 1867–1938), commonly known by his courtesy name Wang Yiting ( 王一亭 ; Wang I-t'ing ), was a prominent businessman and celebrated modern Chinese artist of the Shanghai School. Qi Baishi ( 齐白石 ; 齊白石 ; qí bái shí , 齐璜 ; 齊璜 ; qí huáng 1 January 1864 – 16 September 1957) was a Chinese painter noted for

4257-554: Is regarded as one of the most gifted master forgers of the 20th century. Fu Baoshi ( 傅抱石 ; Fù Bàoshí ; 1904–1965), was a Chinese painter. He also taught in the Art Department of Central University (now Nanjing University ). His works of landscape painting employed skillful use of dots and inking methods, creating a new technique encompassing many varieties within traditional rules. Shi Lu ( 石鲁 ; 石魯 ; Shí Lǔ ; 1919–1982), born "Feng Yaheng" ( 冯亚珩 ; 馮亞珩 ; Féng Yàhéng ),

4386-461: Is tapered to a fine point can deliver an even thin line of ink (much like a pen). A large wool brush (one variation called the 'big cloud') can hold a large volume of water and ink. When the big cloud brush rains down upon the paper, it delivers a graded swath of ink encompassing myriad shades of gray to black. Ink wash painting is usually done on rice paper (Chinese) or washi (Japanese paper) both of which are highly absorbent and unsized . Silk

4515-531: Is that of a horse trampling a Xiongnu warrior . The Mausoleum of Huo Qubing (located in Maoling , the Mausoleum of Han Wudi) has 15 more stone sculptures. These are less naturalistic than the "Horse trampling a Xiongnu", and tend to follow the natural shape of the stone, with details of the figures only emerging in high-relief. Following these early attempts, the usage of monumental stone statues would only develop from

4644-505: Is the basis for the nuance in tonality found in East Asian ink wash painting and brush-and-ink calligraphy. Once a stroke is painted it cannot be changed or erased. As a result, ink and wash painting is a technically demanding art form requiring great skill, concentration, and years of training. The Four Treasures is summarized in a four-word couplet : " 文房四寶: 筆、墨、紙、硯 ," (Pinyin: wénfáng sìbǎo: bǐ, mò, zhǐ, yàn ) " The four jewels of

4773-510: Is the most important representative of early Chinese ink wash painting. He believed that in all forms of painting, ink wash painting is the most advanced. Zhang Zao was a Chinese painter, painting theorist and politician during the Tang dynasty , 8th century. He created the method of using fingers instead of brush to draw ink wash painting. Dong Yuan was a Chinese painter during the Five Dynasties (10th century). His ink wash painting style

4902-474: The Azuchi–Momoyama period (1568–1600) was to use the monochrome style on a much larger scale in byōbu folding screens , often produced in sets so that they ran all round even large rooms. The Shōrin-zu byōbu of about 1595 is a famous example; only some 15% of the paper is painted. Josetsu ( 如拙 , fl. 1405–1496) was one of the first suiboku (ink wash) style Zen Japanese painters in

5031-490: The Four Wangs ( 四王 ; Sì Wáng ; Ssŭ Wang ) of the Qing dynasty are representative painters of retro-style ink wash paintings that imitated the painting style before the Yuan dynasty. Dong Qichang was a Chinese painter, calligrapher , politician, and art theorist of the later period of the Ming dynasty . He is the founder of the theory of Southern School and Northern School in ink wash painting. His theoretical system has

5160-486: The Ming dynasty and later periods as major exponents of the tradition of " literati painting " ( wenrenhua ), which was concerned more with individual expression and learning than with outward representation and immediate visual appeal. Other notable painters from the Yuan period include Gao Kegong ( 高克恭 ; 髙克恭 ; Gaō Kègōng ; Kao K'o-kung ; 1248–1310), also a poet, and was known for his landscapes, and Fang Congyi . Northern School ( 北宗画 ; běi zōng huà )

5289-603: The Northern Song dynasty. One text entitled "The Lofty Message of Forest and Streams" ( Linquan Gaozhi 林泉高致 ) is attributed to him. As representatives of scholar painting (or "Literati Painting", the part of the Southern School), painters such as Su Shi, Mi Fu and Mi Youren, especially Muqi, had a decisive influence on East Asian ink wash painting. Su Shi ( 蘇軾 ; 苏轼 ; 8 January 1037 – 24 August 1101), courtesy name Zizhan (Chinese: 子瞻), art name Dongpo (Chinese: 東坡),

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5418-495: The Qianlong Emperor was a particular offender. In landscape painting the scenes depicted are typically imaginary or very loose adaptations of actual views. The shan shui style of mountain landscapes are by far the most common, often evoking particular areas traditionally famous for their beauty, from which the artist may have been very distant. East Asian writing on aesthetics is generally consistent in saying that

5547-760: The Southern School ( Chinese : 南宗画 ; pinyin : nán zōng huà ) of Chinese painting , especially Li Cheng and Guo Xi . Byeon Sang-byeok , member of the Miryang Byeon clan, was active during the latter half of the Joseon period (1392–1910). Byeon is famous for his precise depictions of animals and people in detailed brushwork. Byeon was deeply influenced by the Court Painting ( Chinese : 院體畫 ; pinyin : Yuàn Tǐ Huà ) of Chinese painting , especially Huang Quan . The Korean painters influenced by

5676-467: The Southern Tang artist Gu Hongzhong in the 10th century, while the well-known version of his painting is a 12th-century remake of the Song dynasty. This is a large horizontal handscroll of a domestic scene showing men of the gentry class being entertained by musicians and dancers while enjoying food, beverage, and wash basins provided by maidservants. In 2000, the modern artist Wang Qingsong created

5805-464: The Wu School , Tang Yin ( Chinese : 唐寅 , 1470–1523), and Qiu Ying ( Chinese : 仇英 , c.  1494–1552 ). They were approximate contemporaries, with Shen Zhou the teacher of Wen Zhengming, while the other two studied with Zhou Chen . Their styles and subject matter were varied. Xu Wei ( 徐渭 ; Xú Wèi ; Hsü Wei , 1521–1593) and Chen Chun ( 陳淳 ; 1483–1544) are the main painters of

5934-553: The Xia dynasty . Examples from this period have been recovered from ruins of the Erlitou culture , in Shanxi, and include complex but unadorned utilitarian objects. In the following Shang dynasty more elaborate objects, including many ritual vessels, were crafted. The Shang are remembered for their bronze casting, noted for its clarity of detail. Shang bronzesmiths usually worked in foundries outside

6063-540: The regular script . Her well-known works include Famous Concubine Inscription (名姬帖 Ming Ji Tie) and The Inscription of Wei-shi He'nan (衛氏和南帖 Wei-shi He'nan Tie). Gu Kaizhi is a celebrated painter of ancient China born in Wuxi . He wrote three books about painting theory: On Painting (畫論), Introduction of Famous Paintings of Wei and Jin Dynasties (魏晉名畫記) and Painting Yuntai Mountain (畫雲臺山記). He wrote, "In figure paintings

6192-461: The " four arts " expected to be learnt by China's class of scholar-officials . Ink wash painting appeared during the Tang dynasty (618–907), and its early development is credited to Wang Wei (active in the 8th century) and Zhang Zao , among others. In the Ming dynasty , Dong Qichang would identify two distinct styles: a clearer, grander Northern School 北宗画 or 北画 ; Beizonghua or Beihua , Japanese : Hokushūga or Hokuga ), and

6321-555: The "Father of Japanese ink painting". East Asian styles have mainly developed from the painting styles of Southern School and Northern School . Ink wash painting was most likely brought to Korea during the Goryeo dynasty , although no confirmed examples are extant; a number of works preserved in Japanese Buddhist temples are possibly by Korean authors, but this is limited to speculation. Nonetheless, it would continue to develop as

6450-494: The "blue and green" style of the Tang era. Wang Meng was one such painter, and one of his most famous works is the Forest Grotto . Zhao Mengfu was a Chinese scholar, painter and calligrapher during the Yuan dynasty . His rejection of the refined, gentle brushwork of his era in favor of the cruder style of the 8th century is considered to have brought about a revolution that created the modern Chinese landscape painting. There

6579-715: The 11th century. He was famous for ink paintings of bamboo . He could hold two brushes in one hand and paint two different distanced bamboos simultaneously. He did not need to see the bamboo while he painted them because he had seen a lot of them. Zhang Zeduan was a notable painter for his horizontal Along the River During the Qingming Festival landscape and cityscape painting. It is considered one of China's most renowned paintings and has had many well-known remakes throughout Chinese history. Other famous paintings include The Night Revels of Han Xizai , originally painted by

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6708-493: The 1990s, many teachers and students have won national and international awards. Artists from SFAI have exhibited their art internationally. SFAI has been establishing cultural exchange relations with more and more foreign art institutes, delegations, and artists, dispatching students to study abroad and receiving foreign students to study at SFAI. This outreach has resulted in the promotion of international art exchanges and development. These outstanding artists make contributions to

6837-750: The 19th century onwards, in recent decades China has participated with increasing success in worldwide contemporary art . Early forms of art in China are found in the Neolithic Yangshao culture , which dates back to the 6th millennium BC. Archeological findings such as those at the Banpo have revealed that the Yangshao made pottery; early ceramics were unpainted and most often cord-marked. The first decorations were fish and human faces, but these eventually evolved into symmetrical-geometric abstract designs, some painted. The most distinctive feature of Yangshao culture

6966-585: The 4th–3rd century BCE. Another nearly-identical statuette is known, from the same tomb. Small holes in his hands suggest that he was originally holding reins in one hand, and a weapon in the other. This is the earliest known representation of a cavalryman in China. A rich source of art in early China was the state of Chu , which developed in the Yangtze River valley. Excavations of Chu tombs have found painted wooden sculptures, jade disks, glass beads, musical instruments, and an assortment of lacquerware . Many of

7095-533: The Americas Art of Oceania Chinese art is visual art that originated in or is practiced in China, Greater China or by Chinese artists. Art created by Chinese residing outside of China can also be considered a part of Chinese art when it is based on or draws on Chinese culture , heritage, and history. Early " Stone Age art" dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After that period, Chinese art, like Chinese history,

7224-464: The Chinese sensibility. Many painters made both Chinese-style landscapes and genre paintings of everyday life, and there was a tradition of more realistic landscapes of real locations, as well as mountains as fantastical as any Chinese paintings, for which the Taebaek Mountains along the eastern side of Korea offered plenty of inspiration. An Gyeon was a painter of the early Joseon period. He

7353-482: The Emperors. In contrast, the tradition of ink wash painting , practiced mainly by scholar-officials and court painters especially of landscapes , flowers, and birds, developed aesthetic values depending on the individual imagination of and objective observation by the artist that are similar to those of the West, but long pre-dated their development there. After contacts with Western art became increasingly important from

7482-489: The Northern School in the Song dynasty include Gang Hui-an, Kim Hong-do, Jang Seung-eop and so on. Gang Hui-an (1417?–1464), pen name Injae 인재 , was a prominent scholar and painter of the early Joseon period . He was good at poetry, calligraphy, and painting. He entered royal service by passing gwageo in 1441 under the reign of king Sejong (1397–1418–1450). Kim Hong-do ( 김홍도 , born 1745, died 1806?–1814?), also known as "Kim Hong-do", most often styled "Danwon" ( 단원 ),

7611-810: The Ruyang Liu brush in Henan province, the Li Dinghe brush in Shanghai, and the Wu Yunhui in Jiangxi province. Ink wash painting brushes are similar to the brushes used for calligraphy and are traditionally made from bamboo with goat , cattle , horse , sheep , rabbit , marten , badger , deer , boar and wolf hair. The brush hairs are tapered to a fine point, a feature vital to the style of wash paintings. Different brushes have different qualities. A small wolf-hair brush that

7740-450: The Yuan dynasty ( 元四家 ; Yuán Sì Jiā ) is a name used to collectively describe the four Chinese painters Huang Gongwang ( Chinese : 黄公望 , 1269–1354), Wu Zhen ( Chinese : 吳鎮 , 1280–1354), Ni Zan ( Chinese : 倪瓚 ; 1301–1374), and Wang Meng ( 王蒙 , Wáng Méng; Zi : Shūmíng 叔明 , Hao : Xiāngguāng Jūshì 香光居士 ) ( c.  1308–1385 ), who were active during the Yuan dynasty (1271–1368). They were revered during

7869-561: The Zhou period, few sculptures, especially sculptures of human or animal form, are recorded in the extant archaeology, and there does not appear to have been much of a sculptural tradition. Among the very few such depictions known in China before that date: four wooden figurines from Liangdaicun (梁帶村) in Hancheng (韓城), Shaanxi , possibly dating to the 9th century BCE; two wooden human figurines of foreigners possibly representing sedan chair bearers from

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7998-506: The bold and unconstrained style of literati painting, and their ink wash painting is characterized by the incisive and fluent ink and wash. Their ink wash painting style is considered to have the typical characteristics of the Historical Oriental art. Xu Wei, other department "Qingteng Shanren" ( 青藤山人 ; Qīngténg Shānrén ), was a Ming dynasty Chinese painter, poet, writer and dramatist famed for his artistic expressiveness. Chen Chun

8127-409: The burial. The reflective side is usually made by a composition of bronze, copper, tin, and lead. The word "mirror" means "to reflect" or "to look into" in Chinese, so bronze mirrors have been used as a trope for reflecting the reality. The ancient Chinese believe that mirror can act as a representation of the reality, which could make them more aware of the current situation; also, mirrors are used as

8256-406: The cities to make ritual vessels, and sometimes weapons and chariot fittings as well. The bronze vessels were receptacles for storing or serving various solids and liquids used in the performance of sacred ceremonies. Some forms such as the ku and jue can be very graceful, but the most powerful pieces are the ding , sometimes described as having an "air of ferocious majesty". It is typical of

8385-671: The clothes and the appearances were not very important. The eyes were the spirit and the decisive factor." Three of Gu's paintings still survive today: Admonitions of the Instructress to the Court Ladies , Nymph of the Luo River (洛神賦), and Wise and Benevolent Women . There are other examples of Jin dynasty painting from tombs. This includes the Seven Sages of the Bamboo Grove, painted on

8514-403: The decorative craft of engraving and inlaying on the pen-holder appeared. Second, some writings on the production of writing brush have also survived. For example, the first monograph on the selection, production and function of a writing brush was written by Cai Yong in the eastern Han dynasty. Third, the special form of "hairpin white pen" appeared. Officials in the Han dynasty often sharpened

8643-404: The developed Shang style that all available space is decorated, most often with stylized forms of real and imaginary animals. The most common motif is the taotie , which shows a mythological being presented frontally as though squashed onto a horizontal plane to form a symmetrical design. The early significance of taotie is not clear, but myths about it existed around the late Zhou dynasty . It

8772-548: The development of Buddhist art, particularly in the area of statuary. Receiving this distant religion, China soon incorporated strong Chinese traits in its artistic expression. In the fifth to sixth century the Northern dynasties , rather removed from the original sources of inspiration, tended to develop rather symbolic and abstract modes of representation, with schematic lines. Their style is also said to be solemn and majestic. The lack of corporeality of this art, and its distance from

8901-534: The development of fine arts in China. The traditional campus was in the district of Jiulongpo , in Chongqing . The new campus was built in Huxi District , Chongqing, in 2005. The university's philosophy is "close to life, to serve the people; knowledge as equally important, new incentives; open-minded and keeping up with the times". The overall development objective is to provide the highest level of art education in

9030-420: The dragon, a traditional Chinese spiritual animal. Shang bronzes became appreciated as works of art from the Song dynasty , when they were collected and prized not only for their shape and design but also for the various green, blue green, and even reddish patinas created by chemical action as they lay buried in the ground. The study of early Chinese bronze casting is a specialized field of art history. During

9159-516: The end of the Western Han to the Eastern Han. Monumental stone statuary would become a major art form from the 4–6th centuries CE with the onset of monumental Buddhist sculpture in China. Buddhism arrived in China around the 1st century CE (although there are some traditions about a monk visiting China during Asoka 's reign), and through to the 8th century it became very active and creative in

9288-505: The end of the brush and stuck it in their hair or hat for their convenience. Worshipers also often put pen on their heads to show respect. During the Yuan and Ming dynasties, a group of pen making experts emerged in Huzhou . They included Wu Yunhui, Feng Yingke, Lu Wenbao, Zhang Tianxi, and others. Huzhou has been the center of Chinese brush making since the Qing dynasty. At the same time, many famous brushes were produced in other places, such as

9417-526: The end of the period the style had been adopted by several professional or commercial artists, especially from the large Kanō school founded by Kanō Masanobu (1434–1530); his son Kanō Motonobu was also very important. In the Japanese way, the most promising pupils married daughters of the family, and changed their names to Kanō. The school continued to paint in the traditional Japanese yamato-e and other coloured styles as well. A Japanese innovation of

9546-411: The era, including his student Georgia O'Keeffe , from what he called a "story-telling" approach. Dow strived for harmonic compositions through three elements: line, shading, and color. He advocated practicing with East Asian brushes and ink to develop aesthetic acuity with line and shading. Ink wash painting uses tonality and shading achieved by varying the ink density, both by differential grinding of

9675-486: The faith to go underground, therefore affecting the ulterior development of the religion and its arts in China. Glazed or painted earthenware Tang dynasty tomb figures are famous, and well-represented in museums around the world. Most wooden Tang sculptures have not survived, though representations of the Tang international style can still be seen in Nara , Japan. The longevity of stone sculpture has proved much greater. Some of

9804-538: The finest examples can be seen at Longmen , near Luoyang , Yungang near Datong , and Bingling Temple in Gansu . One of the most famous Buddhist Chinese pagodas is the Giant Wild Goose Pagoda , built in 652 AD. Beginning in the Tang dynasty (618–907), the primary subject matter of painting was the landscape, known as shanshui (mountain water) painting. In these landscapes, usually monochromatic and sparse,

9933-456: The finest work was produced in large workshops or factories by essentially unknown artists, especially in Chinese ceramics . Much of the best work in ceramics, textiles , carved lacquer were produced over a long period by the various Imperial factories or workshops, which as well as being used by the court was distributed internally and abroad on a huge scale to demonstrate the wealth and power of

10062-450: The first to create monumental oil paintings with epic Chinese themes – a show of his high proficiency in an essential Western art technique. He was one of the four pioneers of Chinese modern art who earned the title of " The Four Great Academy Presidents ". Liu Haisu ( 刘海粟 ; Liú Hǎisù ; 16 March 1896 – 7 August 1994) was a prominent 20th century Chinese painter and a noted art educator. He excelled in Chinese painting and oil painting. He

10191-515: The foundation of Chinese traditional painting education. He was persecuted during the Cultural Revolution until his death in 1971. Zhang Daqian ( 張大千 ; Chang Ta-ch'ien ; 10 May 1899 – 2 April 1983) was one of the best-known and most prodigious Chinese artists of the 20th century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. In addition, he

10320-542: The general artistic features of this historical stage by the theory of Southern School and Northern School , as promulgated Dong Qichang in the Ming dynasty. Southern School ( 南宗画 ; 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 of painting. Representing painters are Wang Wei, Dong Yuan, and so on. The Southern School has had

10449-443: The goal of ink and wash painting is not simply to reproduce the appearance of the subject, but to capture its spirit. To paint a horse the ink-wash painting artist must understand its temperament better than its muscles and bones. To paint a flower there is no need to perfectly match its petals and colors, but it is essential to convey its liveliness and fragrance. It has been compared to the later Western movement of Impressionism . It

10578-597: The idea of an "ink wash" refers to a wet-on-wet technique, applying black ink to paper where a lighter ink has already been applied, or by quickly manipulating watery diluted ink once it has been applied to the paper by using a very large brush. In ink wash paintings, as in calligraphy, artists usually grind inkstick over an inkstone to obtain black ink , but prepared liquid inks ( bokuju ( 墨汁 ) in Japanese) are also available. Most inksticks are made of soot from pine or oil combined with animal glue . An artist puts

10707-583: The ink stick in water and by varying the ink load and pressure within a single brushstroke. Ink wash painting artists spend years practicing basic brush strokes to refine their brush movement and ink flow. These skills are closely related to those needed for basic writing in East Asian characters, and then for calligraphy, which essentially use the same ink and brushes. In the hand of a master, a single stroke can produce considerable variations in tonality, from deep black to silvery gray. Thus, in its original context, shading means more than just dark-light arrangement: It

10836-453: The inner harmony of man and nature, as perceived according to Taoist and Buddhist concepts. Liang Kai was a Chinese painter who lived in the 13th century (Song dynasty). He called himself "Madman Liang", and he spent his life drinking and painting. Eventually, he retired and became a Zen monk. Liang is credited with inventing the Zen school of Chinese art. Wen Tong was a painter who lived in

10965-452: The innovative masters of ink wash painting in the late Ming and early Qing dynasties. Bada Shanren, other department "Bada Shanren" ( 八大山人 ; bā dà shān rén ), was a Han Chinese painter of ink wash painting and a calligrapher. He was of royal descent, being a direct offspring of the Ming dynasty prince Zhu Quan who had a feudal establishment in Nanchang . Art historians have named him as

11094-636: The lacquer objects are finely painted, red on black or black on red. A site in Changsha , Hunan province, has revealed some of the oldest paintings on silk discovered to date. The Terracotta Army , inside the Mausoleum of the First Qin Emperor, consists of more than 7,000 life-size tomb terracotta figures of warriors and horses buried with the self-proclaimed first Emperor of China Qin Shi Huang in 210–209 BC. The figures were painted before being placed into

11223-582: The last innovators in the literati style of painting and is noted for his freehand landscapes. Important painters who have absorbed Western sketching methods to improve Chinese ink wash painting include Gao Jianfu, Xu Beihong and Liu Haisu, etc. Gao Jianfu (1879–1951; 高剑父 , pronounced "Gou Gim Fu" in Cantonese) was a Chinese painter and social activist. He is known for leading the Lingnan School 's effort to modernize Chinese traditional ink wash painting as

11352-559: The leisure to perfect the technique and sensibility necessary for great brushwork. Calligraphy was thought to be the highest and purest form of painting. The implements were the brush, made of animal hair, and black ink made from pine soot and animal glue. Writing as well as painting was done on silk. But after the invention of paper in the 1st century, silk was gradually replaced by the new and cheaper material. Original writings by famous calligraphers have been greatly valued throughout China's history and are mounted on scrolls and hung on walls in

11481-491: The long horizontal handscroll format tended to be associated with professional coloured painting, but was also used for literati painting. In both formats paintings were generally kept rolled up, and brought out for the owner to admire, often with a small group of friends. Chinese collectors liked to stamp paintings with their seals and usually in red inkpad; sometimes they would add poems or notes of appreciation. Some old and famous paintings have become very disfigured by this;

11610-596: The name Xuan paper. During the Tang dynasty, the paper was often a mixture of hemp (the first fiber used for paper in China) and mulberry fiber. The materials used in Xuan paper are closely related to the geographical environment of Jingxian. The bark of the Pteroceltis tatarinowii , a common variety of elm , is used as the main material for the production of rice paper in this area. Rice and several other materials were later added to

11739-500: The number of techniques, including more sophisticated perspective, use of pointillism and crosshatching to build up vivid effect. Zhan Ziqian was a painter during the Sui dynasty. His only painting in existence is Strolling About In Spring arranged mountains perspectively. Because pure landscape paintings are hardly seen in Europe until the 17th century, Strolling About In Spring may well be

11868-419: The oldest known landscape art scene tradition in the classical sense of painting is a work by Zhan Ziqian of the Sui dynasty (581–618). Other than jade artifacts, bronze is another favorite medium for artists since it is hard and durable. Bronze mirrors have been mass-produced in the Han dynasty (206 BCE – 220 CE), and almost every tomb excavated that has been dated as Han dynasty has mirror in

11997-430: The original Buddhist objective of expressing the pure ideal of enlightenment in an accessible, realistic manner, progressively led to a research towards more naturalism and realism, leading to the expression of Tang Buddhist art. In ancient China, painting and calligraphy were the most highly appreciated arts in court circles and were produced almost exclusively by amateurs, aristocrats and scholar-officials who alone had

12126-416: The paintings as gifts for friends or patrons, rather than painting for payment. In practice a talented painter often had an advantage in climbing the bureaucratic ladder. In Korea, painters were less segregated, and more willing to paint in two techniques, such as mixing areas of colour with monochrome ink, for example in painting the faces of figures. The vertical hanging scroll was the classic format;

12255-418: The paper the fewest possible lines and tones; just enough to cause form, texture and effect to be felt. Every brush-touch must be full-charged with meaning, and useless detail eliminated. Put together all the good points in such a method, and you have the qualities of the highest art". Dow's fascination with ink wash painting not only shaped his own approach to art but also helped free many American modernists of

12384-473: The pluralistic continuation of multiple historical traditions. In China, Japan and, to a lesser extent, Korea, ink wash painting formed a distinct stylistic tradition with a different set of artists working in it than from those in other types of painting. In China especially it was a gentlemanly occupation associated with poetry and calligraphy . It was often produced by the scholar-official or literati class, ideally illustrating their own poetry and producing

12513-521: The purpose was not to reproduce exactly the appearance of nature but rather to grasp an emotion or atmosphere so as to catch the "rhythm" of nature. Painting in the traditional style involved essentially the same techniques as calligraphy and was done with a brush dipped in black or colored ink; oils were not used. As with calligraphy, the most popular materials on which paintings were made were paper and silk. The finished works were then mounted on scrolls, which could be hung or rolled up. Traditional painting

12642-443: The recipe in the Song and Yuan Dynasties. In those dynasties bamboo and mulberry began to be used to produce rice paper as well. The production of Xuan paper is about an eighteen-step process – taken in detail over a hundred steps may be counted. Some paper makers keep their process strictly secret. The process includes cooking and bleaching the bark of Pteroceltis tatarinowii and adding various fruit juices. The inkstone

12771-541: The same way that paintings are. Wang Xizhi was a famous Chinese calligrapher who lived in the 4th century AD. His most famous work is the Lanting Xu , the preface to a collection of poems. The script was often celebrated as the high point of the semi-cursive "Running Style" in the history of Chinese calligraphy. Wei Shuo was a well-known calligrapher of the Eastern Jin dynasty who established consequential rules about

12900-518: The sculptures is an evidence of the advancement of art during the Qin dynasty. It is without precedent in the historical record of art in East Asia. A music instrument called Qin zither was developed during the Qin dynasty. The aesthetic components have always been as important as the functional parts on a musical instrument in Chinese history. The Qin zither has seven strings. Although Qin zither can sometimes remind people of corruptive history times, it

13029-469: The so-called Ma-Xia ( 馬夏 ) school of painting, and are considered among the finest from the period. His works has inspired both Chinese artists of the Zhe School , as well as the great early Japanese painters Shūbun and Sesshū . Xia Gui ( 夏圭 or 夏珪 ; Hsia Kui ; fl. 1195–1225), courtesy name Yuyu ( 禹玉 ), was a Chinese landscape painter of the Song dynasty. Very little is known about his life, and only

13158-564: The stone sculptures at the Mausoleum of Huo Qubing (140–117 BCE), a general of Emperor Han Wudi who went to the western regions to fight the Xiongnu . In literary sources, there is only a single 3rd–4th century CE record of a possible earlier example: two alleged monumental stone statues of qilin (Chinese unicorns) said have been set up on top of the tomb of the First Emperor Qin Shihuang . The most famous of Huo Qubing's statues

13287-477: The study: Brush, Ink, Paper, Inkstone " by Chinese scholar-official or literati class, which are also indispensable tools and materials for East Asian painting. The earliest intact ink brush was found in 1954 in the tomb of a Chu citizen from the Warring States period (475–221 BCE ) located in an archaeological dig site Zuo Gong Shan 15 near Changsha . This primitive version of an ink brush found had

13416-475: The style was introduced in the 14th century, during the Muromachi period (1333–1573) through Zen Buddhist monasteries, and in particular Josetsu , a painter who immigrated from China and taught the first major early painter Tenshō Shūbun (d. c.  1450 ). Both he and his pupil Sesshū Tōyō (1420–1506) were monks, although Sesshū eventually left the clergy, and spent a year or so in China in 1468–69. By

13545-468: The vault. The original colors were visible when the pieces were first unearthed. However, exposure to air caused the pigments to fade, so today the unearthed figures appear terracotta in color. The figures are in several poses including standing infantry and kneeling archers, as well as charioteers with horses. Each figure's head appears to be unique, showing a variety of facial features and expressions as well as hair styles. The spectacular realism displayed by

13674-807: The western region of China. Programs of study at SFAI include craft art, oil painting, sculpture, design, architecture, printmaking, art theory, and traditional Chinese painting. (The institute no longer offers Chinese language classes for international and exchange students as a second language at the Huxi campus.) The following at alumni of the Sichuan Fine Arts Institute: 29°36′10″N 106°17′51″E  /  29.6027°N 106.2974°E  / 29.6027; 106.2974 Chinese art Art of Central Asia Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of

13803-454: The whimsical, often playful style of his ink wash painting works. Huang Binhong ( 黃賓虹 ; Huáng Bīnhóng ; 1865–1955) was a Chinese literati painter and art historian born in Jinhua , Zhejiang province. His ancestral home was She County , Anhui province. He was the grandson of artist Huang Fengliu. He would later be associated with Shanghai and finally Hangzhou . He is considered one of

13932-402: The world's first landscape painting. During the Song dynasty (960–1279), landscapes of more subtle expression appeared; immeasurable distances were conveyed through the use of blurred outlines, mountain contours disappearing into the mist, and impressionistic treatment of natural phenomena. Emphasis was placed on the spiritual qualities of the painting and on the ability of the artist to reveal

14061-521: Was a Ming dynasty artist . Born into a wealthy family of scholar-officials in Suzhou , he learned calligraphy from Wen Zhengming , one of the Four Masters of the Ming dynasty . Chén Chún later broke with Wen to favor a more freestyle method of ink wash painting. Dong Qichang ( Chinese : 董其昌 ; pinyin : Dǒng Qíchāng ; Wade–Giles : Tung Ch'i-ch'ang ; 1555–1636) of the Ming dynasty and

14190-640: Was a Chinese Chan Buddhist monk and painter who lived in the 13th century, around the end of the Southern Song dynasty (1127–1279). Today, he is considered to be one of the greatest Chan painters in history. His ink paintings, such as the Daitoku-ji triptych and Six Persimmons are regarded as essential Chan paintings. Muqi's style of painting has also profoundly impacted painters from later periods to follow, especially monk painters in Japan . Four Masters of

14319-410: Was a Chinese landscape painter who practised at Kaifeng and Hangzhou during the Song dynasty . He forms a link between earlier painters such as Guo Xi , Fan Kuan and Li Cheng and later artists such as Xia Gui and Ma Yuan . He perfected the technique of "axe-cut" brush-strokes. Ma Yuan was a Chinese painter of the Song dynasty. His works, together with that of Xia Gui , formed the basis of

14448-539: Was a Chinese monk painter and poet during the Qing dynasty. His ink wash paintings give the audience a sense of abstraction and illusion. Modern and contemporary Chinese freehand ink wash painting is the most famous of the Shanghai School , and the most representative ones are the following painters. Wu Changshuo ( 吳昌碩 ; Wú Chāngshuò 12 September 1844 – 29 November 1927, also romanised as Wu Changshi, 吳昌石 ; Wú Chāngshí ), born Wu Junqing ( 吳俊卿 ; Wú Jùnqīng ),

14577-450: Was a Chinese painter, wood block printer , poet and calligrapher. He based his pseudonym on two artists who greatly influenced him, the landscape painter Shitao and writer Lu Xun . He created two different ink wash painting styles. Since the Tang dynasty, Japan, Korea, and East Asian countries have extensively studied Chinese painting and ink wash painting. Josetsu ( Chinese : 如拙 ) who immigrated to Japan from China has been called

14706-599: Was a Chinese poet, writer, politician, calligrapher, painter, pharmacologist, and gastronome of the Song dynasty. Mi Fu ( 米芾 or 米黻 ; Mǐ Fú , also given as Mi Fei, 1051–1107) was a Chinese painter, poet , and calligrapher born in Taiyuan during the Song dynasty. Mi Youren ( 米友仁 , 1074–1153) was a Chinese painter, poet, and calligrapher born in Taiyuan during the Song dynasty. He was the eldest son of Mi Fu. Muqi ( 牧谿 ; Japanese: Mokkei; 1210?–1269?), also known as Fachang ( 法常 ),

14835-474: Was a full-time painter of the Joseon period of Korea. He was together a pillar of the establishment and a key figure of the new trends of his time, the 'true view painting'. Gim Hong-do was an exceptional artist in every field of traditional painting. His ink wash paintings of figures are deeply influenced by the Eight Eccentrics of Yangzhou . Jang Seung-eop (1843–1897) (commonly known by his pen name "Owon")

14964-467: Was a late 13th century Chinese painter who lived during the Southern Song and early Yuan dynasties. Yan Hui's style of painting has also profoundly impacted the painters in Japan. Four Masters of the Ming dynasty ( 明四家 ; Míng Sì Jiā ) are a traditional grouping in Chinese art history of four famous Chinese painters of the Ming dynasty . The group are Shen Zhou ( Chinese : 沈周 , 1427–1509), Wen Zhengming ( Chinese : 文徵明 , 1470–1559), both of

15093-478: Was a manner of Chinese landscape painting centered on a loose group of artists who worked and lived in Northern China during the Five Dynasties period that occupied the time between the collapse of the Tang dynasty and the rise of the Song. Representing painters are Ma Yuan, Xia Gui, and so on. The style stands in opposition to the Southern School ( 南宗画 ; nán zōng huà ) of Chinese painting. Northern School has

15222-470: Was a painter of the late Joseon dynasty in Korea . His life was dramatized in the award-winning 2002 film Chi-hwa-seon directed by Im Kwon-taek . He was also one of few painters to hold a position of rank in the Joseon court. Jeong Seon ( Korean : 정선 ) (1676–1759) was a landscape painter, also known by his pen name "Kyomjae" ("humble study"), who is counted among the most famous Korean painters. His style

15351-478: Was a prominent painter, calligrapher and seal artist of the late Qing period. He is the leader of the Shanghai School. Wu Changshuo's style of painting has profoundly impacted the paintings in Japan. Pu Hua ( 蒲华 ; 蒲華 ; Pú Huá ; P'u Hua ; c.  1834–1911 ) was a Chinese landscape painter and calligrapher during the Qing dynasty. His style name was 'Zuo Ying'. Pu painted landscapes and ink bamboo in an unconventional style of free and easy brush strokes. He

15480-417: Was a subgenre of the shan-shui genre, was most prominent between the mid-18th century and mid-19th century, and was pursued by several other painters as well. Moreover, this style spread to Japan through Choe Buk and Kim Yu-seong as part of diplomatic missions to Japan , where it was sometimes known as "New Joseon Shan-shui painting" (新朝鮮山水畫), and influenced Ike no Taiga and Uragami Gyokudō . In Japan,

15609-518: Was also done in albums, on walls, lacquer work, and in other media. Dong Yuan was an active painter in the Southern Tang Kingdom. He was known for both figure and landscape paintings, and exemplified the elegant style which would become the standard for brush painting in China over the next 900 years. As with many artists in China, his profession was as an official where he studied the existing styles of Li Sixun and Wang Wei. However, he added to

15738-471: Was also the vivid and detailed works of art by Qian Xuan (1235–1305), who had served the Song court, and out of patriotism refused to serve the Mongols, instead turning to painting. He was also famous for reviving and reproducing a more Tang dynasty style of painting. Ink wash painting Ink wash painting ( simplified Chinese : 水墨画 ; traditional Chinese : 水墨畫 ; pinyin : shuǐmòhuà );

15867-522: Was born in Jigok, Seosan , South Chungcheong Province . He entered royal service as a member of the Dohwaseo, the official painters of the Joseon court, and drew Mongyu dowondo  [ ko ] ( 몽유도원도 ) for Prince Anpyeong in 1447 which is currently stored at Tenri University. This piece is the oldest surviving Korean piece for which the author and date of composition are known. He was deeply influenced by

15996-499: Was considered to be variously a covetous man banished to guard a corner of heaven against evil monsters; or a monster equipped with only a head which tries to devour men but hurts only itself. The function and appearance of bronzes changed gradually from the Shang to the Zhou. They shifted from being used in religious rites to more practical purposes. By the Warring States period , bronze vessels had become objects of aesthetic enjoyment. Some were decorated with social scenes, such as from

16125-522: Was first developed in China in the first decade of 100 AD. Previous to its invention, bamboo slips and silks were used for writing material. Several methods of paper production developed over the centuries in China. However, the paper which was considered of highest value was that of the Jingxian in Anhui Province. Xuan paper features great tensile strength, smooth surface, pure and clean texture as well as

16254-674: Was one of the four pioneers of Chinese modern art who earned the title of "The Four Great Academy Presidents". Pan Tianshou, Zhang Daqian and Fu Baoshi are important ink wash painters who stick to the tradition of Chinese classical Literati Painting. Pan Tianshou ( 潘天寿 ; 潘天壽 ; Pān Tiānshòu ; 1897–1971) was a Chinese painter and art educator. Pan was born in Guanzhuang, Ninghai County , Zhejiang Province , and graduated from Zhejiang First Normal School (now Hangzhou High School ). He studied Chinese traditional painting with Wu Changshuo . Later he created his own ink wash painting style and built

16383-431: Was realistic rather than abstract, and he additionally is credited with advancing the ink-wash artform towards a more uniquely Korean direction. His works include ink and oriental water paintings, such as Inwangjesaekdo (1751), Geumgang jeondo (1734), and Ingokjeongsa (1742), as well as numerous "true-view" landscape paintings (진경산수화) on the subject of Korea and the history of its culture. This latter style, which

16512-506: Was the extensive use of painted pottery, especially human facial, animal, and geometric designs. Unlike the later Longshan culture , the Yangshao culture did not use pottery wheels in pottery making. Excavations have found that children were buried in painted pottery jars. The Liangzhu culture was the last Neolithic Jade culture in the Yangtze River Delta and was spaced over a period of about 1,300 years. The Jade from this culture

16641-692: Was typically classified by the succession of ruling dynasties of Chinese emperors , most of which lasted several hundred years. The Palace Museum in Beijing and the National Palace Museum in Taipei contains extensive collections of Chinese art. Chinese art is marked by an unusual degree of continuity within, and consciousness of, tradition, lacking an equivalent to the Western collapse and gradual recovery of Western classical styles of art . Decorative arts are extremely important in Chinese art, and much of

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