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post #1 of 15 (permalink) Old January 13th, 2005, 22:38 Thread Starter
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Asian Art

Shall we peruse the art that inspired the 17th Century Dutch and 19th Century German Romantics?



Wen Cheng-ming (Wen Zhengming), 1470-1559; Trees in a Valley (detail); 1549;
Hanging scroll: ink and color on paper; 38 x 11 inches

For me, football is irrationality, tribal, passionate... - Almogŕver
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post #2 of 15 (permalink) Old January 13th, 2005, 22:41 Thread Starter
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Bada Shanren (1626 - 1705),
Cedar Tree, Daly Lily, and Wagtails, Hanging scroll; ink on paper

For me, football is irrationality, tribal, passionate... - Almogŕver
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post #3 of 15 (permalink) Old January 13th, 2005, 22:43 Thread Starter
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Wang Fangyu (Chinese, 1913-1997)
Calligraphy, [character for the word Turtle],
Chinese ink and brush on rice paper

For me, football is irrationality, tribal, passionate... - Almogŕver
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post #4 of 15 (permalink) Old January 13th, 2005, 23:48
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even some of the post modernist like franz klein were influenced by asian art
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post #5 of 15 (permalink) Old January 14th, 2005, 20:42 Thread Starter
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yes, Che another artist whose work was highly influenced by Asian art (Chinese calligraphy in particular) is Robert Motherwell. Also, Brice Marden collaborated with the late Wang Fangyu [ref post #3] on a series of drawings ...



Here's a scroll work by the Ming Dynasty painter Chen Zhou (1427-1509).


For me, football is irrationality, tribal, passionate... - Almogŕver
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post #6 of 15 (permalink) Old January 14th, 2005, 21:02
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Great pic! Love it. the change of generalisation and detail is just perfect.

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Originally Posted by Santiago Bernabeu
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Hala Madrid ... y nada mas.
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post #7 of 15 (permalink) Old January 15th, 2005, 01:32
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I have asian paintings I did with indian ink which i learnt from asian artist....bamboo and shrimp and flowers and all dat. Too bad they are all in my folio which is with my old teacher.

SONO BELLO...SONO SANO...MIA MAMMA MI HA FATTO DORIANO!!!
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post #8 of 15 (permalink) Old January 15th, 2005, 01:47
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I like Japanese woodblock prints, especially the ones of the "Floating World" period. My favorite is T. Yoshitoshi (who is actually more of a Meiji period artist), and this is his masterpeice, "Fujiwara Plays The Flute For A Thief By Moonlight":


You know the scene it's very hum-drum
And my favorite song's entitled "Boredom"...
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post #9 of 15 (permalink) Old March 16th, 2005, 01:51 Thread Starter
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The Wave: one of Hokusai's 36 views of Mt. Fuji ...



Katsushika Hokusai (Japanese, 1760–1849)
The Great Wave at Kanagawa
(from a Series of Thirty-six Views of Mount Fuji),
Edo period (1615–1868), ca. 1830–32; colour woodcut.

For me, football is irrationality, tribal, passionate... - Almogŕver
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post #10 of 15 (permalink) Old March 16th, 2005, 03:10
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Honestly I don't know how to appreciate these Chinese drawings and calligraphy. In our past days, we were forced to practice writing with hair pencils in the primary school. I was not good at all. It is troublesome to handle ink and to clean the utensils for ink! Lately there are new invents that we can write with normal pens in the calligraphy style. What a cheater. But old people enjoy writing with hair pens, like famous economist Steven Cheung.

As long as I'm very limited in this aspect, let me qoute some sayings from my textbook. (It is a chapter delicated to Chinese art. I in particular ignore this chapter. ) It begins with comparisons of Chinese art and art in the West. Chinese art tends to group different elements e.g. music, drawings and writings together. To them, they are all from the one single origin - Chinese philosophy. (I can't say Confucian philosophy here. But main beliefs of Chinese are about love, faith and peace etc.) It emphasizes the sense of totality instead of categorization in the West. The artists try to express their hearted feeling. The physical appearance is therefore less important compared to the spirit. We can see most of the targets in drawings are the nature because in their philosophy human is inseparable from the nature. There are Gods for the air, the land and the nature etc.

Art in the West focuses on objectivism. Charm of human body is one importance. There are many famous sculptures of the nude. Westerners tend to explore the nature, different from Chinese assimilating with the nature. (By Confucian philosophy, people would 'care' about the environment instead of exploring. Our attitude towards science is the same. For them (/us), science is of subjectivity. Well, this partly explains our poor in science in the last few centuries.)

In the first and fourth ones, the drawings mixed with wordings speaks for the totality. Another character is the colours. White, grey and black are the only three colours in drawings as we give heavy attention to expressing the feeling. (I'm not sure if it is called expressionism in the West.) Size of a paper, colours and other phycial hindrances don't block them from expressing the ideas of their hearts out of a paper. Ability of drawing physical appearance is important, but still second to expressing the feelings. The upper part of the 'turtle' can be said to be 'strong' with thicker and darker tracks. The squiggles of the turtle also express another character - bravery!
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post #11 of 15 (permalink) Old March 18th, 2005, 09:03
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Man, I always being fascinate with Japan mainly.

"De cada 10 personas que ven televisión...5 son la mitad"
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post #12 of 15 (permalink) Old March 25th, 2005, 01:32 Thread Starter
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Quote:
Originally Posted by Ivan Helguera
As long as I'm very limited in this aspect, let me qoute some sayings from my textbook. (It is a chapter delicated to Chinese art. I in particular ignore this chapter. ) It begins with comparisons of Chinese art and art in the West ...

Art in the West focuses on objectivism. Charm of human body is one importance. There are many famous sculptures of the nude. Westerners tend to explore the nature, different from Chinese assimilating with the nature. (By Confucian philosophy, people would 'care' about the environment instead of exploring. Our attitude towards science is the same. For them (/us), science is of subjectivity. Well, this partly explains our poor in science in the last few centuries.)

In the first and fourth ones, the drawings mixed with wordings speaks for the totality. Another character is the colours. White, grey and black are the only three colours in drawings as we give heavy attention to expressing the feeling. (I'm not sure if it is called expressionism in the West.) Size of a paper, colours and other phycial hindrances don't block them from expressing the ideas of their hearts out of a paper. Ability of drawing physical appearance is important, but still second to expressing the feelings. The upper part of the 'turtle' can be said to be 'strong' with thicker and darker tracks. The squiggles of the turtle also express another character - bravery!
Good to see you here, Ivan.

One of the many items that sets eastern and western art apart is the human figure. While classical Greek art states that the ideal human form is divided into three sections (from top of the head to waist; from waist to knee and from knee to toes), figures in Asian art (Chinese, Japanese, Korean, Indonesian, Malaysian and Indian) present the body in only two parts: from top the head to waist; and from waist to toes. As we enter the 21st Century, it is apparent that western aesthetics has won the war ... How else can we explain the mindless crave for botox treatment, liposuction, anorexia and plastic surgery that break apart a woman's leg bones so that she will appear 10 inches taller?

The origin and purpose of Chinese art is far more complex than its western counterparts. In landscape paintings, the negative space is an equally important entity as the areas which contain objects such as trees, flowers, birds, fish or figures; for negative space is, in both Buddhism and Taoism, a natural force. In western art -- until Dutch landscape art during the 17th Century when trades began between Europe and China -- negative space was [almost] never mentioned.

The Qing Dynasty painter Bada Shanren (ref post #2), who went into hiding as a monk when his family was executed by the emperor, was a master of this technique. To him, negative space represented everything "unspeakable." You may have seen his signature (Bat Tai Shan Yan in Cantonese) which, when written awkwardly together, forms the phrase "Cry Laughter."

I learn to maneuvre the hair pencil from an old elementary school teacher who insisted that the correct way to hold the pen was to grab it as if you were also grabbing an egg between your thumb and index finger at the same time. That was tough. But one has to consider the history of Chinese calligraphy. The first brush appeared in the Qin Dynasty (221 BCE - 206 BCE). It was made of camel hair and the invention was attributed to Meng Tian who was hired as a private tutor for the son of the first emperor of Qin (Chun Chi Wong in Cantonese). Meng Tian never received credit for his creations and was executed by the mad emperor in 209 BCE.


Nuff said Now another sketch by my beloved Bada Shanren.

* Note his signature at upper left (four characters that mock the phrase "Cry Laughter")



Bada Shanren (Zhu Da) , (Chinese, 1626-1705),
Fish, 1688-89, Album leaf; ink on paper; H: 25.5 W: 23.0 cm,
colln Sackler Museum, Washington DC

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post #13 of 15 (permalink) Old March 25th, 2005, 01:38
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I had some chinese paintings i did with indian inc...and guess what! someone stole my folio. Just when i thought i could trust my ex art teacher!
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post #14 of 15 (permalink) Old July 7th, 2009, 15:56
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Saw a yoko ono piece in Toronto, simply a pin pointing up on top of a clear glass box, titled something like pin on box lol

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post #15 of 15 (permalink) Old January 17th, 2010, 12:03
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I adore japanese art, especially the use of watercolor and the transitions from areas of high color variety and depth to sparseness. It's not symmetrical or even sensible at times, which is enjoyable.

Thanks for sharing this stuff. I want to learn these techniques.

Was McFail.

But wishing I was Fankoush.
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